AIR_Empire Aviation_May'13

Is su e t w en t y Four | M ay

2013

Robert Downey Jr.

Produced in International Media Production Zone

The rollercoaster ride from Tinseltown bad boy to its most bankable star

mexican wave why Mexico is leading the charge of up and coming designers

monica bellucci the screen siren on why she doesn’t play the part of a typical actress

the great escape the us island beloved of Gatsby that’s this summer’s hottest draw

the ring master How Islamic culture inspired the handmade gems of Sevan Bıçakçı

exotourbillon chronographe.

The ExoTourbillon Chronographe is the first timepiece in the Montblanc Collection Villeret 1858 to unite a tourbillon and a chronograph function. It is the world’s first tourbillon having a balance, being larger than the cage, that oscillates outside of the cage on a higher plane – thus giving rise to the name ExoTourbillon. An innovation so unique a patent has been applied for. Montblanc manufacture calibre MB M16.60. Monopusher chronograph with regulator-style dial, four-minute tourbillon, 30-minute counter and second time zone with day/night display. 47 mm white gold case. Crafted in the Montblanc Manufacture de Haute Horlogerie in Villeret, Switzerland.

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The Montblanc Manufacture in Villeret

EXO: OUTSTANDING outstand in g IN ITS TRUEST FORM

The ExoTourbillon Chronographe is the first watch of the Montblanc Collection Villeret 1858 that combines a chronograph and a tourbillon mechanism, two of the most admired horological complications ever devised and the speciality of the Montblanc manufacture in Villeret. With its column wheel and horizontal coupling, the chronograph embodies the finest artisanal traditions while the four-minute tourbillon features an innovation that has never been seen before. This ingenious device, which serves to eliminate the negative influence of gravity on rate accuracy, has been further optimised in the ExoTourbillon.

By totally isolating the tourbillon cage from the balance, its rotation no longer affects the oscillation of the balance. The result is the world’s first tourbillon with a cage that is smaller than the now detached balance. In the ExoTourbillon, it oscillates in a separate plane – hence the name ExoTourbillon. A smaller cage also means less mass and, therefore, less energy is required to move it. This fully corresponds with the mission of the Institut Minerva de Recherche en Haute

Horlogerie: to cultivate authentic Swiss watchmaking traditions in combination with on-going innovation to ensure that this time-honoured discipline of craftsmanship continues to evolve.

Needless to say, a patent application has been filed for this invention, which is reserved exclusively for timepieces of the Montblanc Collection Villeret 1858.

The owner of an ExoTourbillon Chronographe is treated to the spectacular view of a large screw balance that can “breathe” freely and rotate about its own axis without being trapped in a tourbillon cage. Featuring a chronograph and a second time zone in addition to its innovative tourbillon, this regulator watch is only available in two limited editions.

Marked by footsteps in the white sands, your journey of personal paradise begins. Secluded, secret and serene, Coco Privé Kuda Hithi Island is one of the world’s most exclusive private islands. There’s nowhere in the Maldives,

or anywhere on earth, quite like it. Coco Privé Kuda Hithi Island is a personal, secret and exotic hideaway for you and only you. It is here that any and every dream is recognised and brought to life.

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With the new Infiniti QX, every aspect of your drive has been crafted, refined and then taken to an even higher ground. In turn, creating the first class SUV. Visit the nearest Infiniti showroom to experience the Infiniti QX like never before.

Infiniti QX: 400 horsepower 5.6-litre V8 VVEL engine with 560 Nm of torque.

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Contents / Fe atures

Managing Director Victoria Thatcher Editorial Director John Thatcher Advertisement Director Chris Capstick chris@hotmediapublishing.com Editor Leah Oatway leah@hotmediapublishing.com Contributing Editor Hazel Plush hazel@hotmediapublishing.com

Fifty

Robert Downey Jr. The Iron Man star on life, love, acting a hero and why exactly he carries around a little black suitcase

Writer Grace Hyne grace@hotmediapublishing.com Senior Designer Adam Sneade

Fifty Six

In the Cannes

Designer / Illustrator Vanessa Arnaud

As the international film industry gears up for this year’s Cannes Film Festival AIR reels through its past

Production Manager Haneef Abdul

Sixty Four

Senior Advertisement Manager Stefanie Morgner stefanie@hotmediapublishing.com

Made in Italy Italian film siren Monica Bellucci tells us why she counts herself among the lucky ones...

Advertisement Manager Sukaina Hussein sukaina@hotmediapublishing.com

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Contents / regul ars Twenty Two

Radar

The design world celebrates the winners of its industry equivalent to the Oscars

Thirty One

Timepieces AIR rounds up the best new watches on display at this year’s Baselworld 2013

Thirty Four

Jewellery

We meet Istanbul’s ‘King of Rings’, Sevan Bıçakçı, as he unveils his latest creations

Thirty Eight

Art & Design Art Basel’s inaugural Hong Kong fair puts Eastern art in the spotlight again

Forty Eight

Interiors

The head of Harrods’ interiors shares the trends at Milan Furniture Fair

Seventy Two

Gastronomy

Seventy

Motoring

AIR discovers the emotion driving London’s culinary creative Yoshinori Ishii

Italy’s Lake Como prepares to host the world’s most traditional car show

Seventy Six

Travel

A collection of images and memorabilia shed new light on pre-revolutionary Cuba

Eighty

What I Know Now

Tel: 00971 4 364 2876 Fax: 00971 4 369 7494

Perfumer and businessman Frédéric Malle shares his life lessons learned

Reproduction in whole or in part without written permission from HOT Media Publishing is strictly prohibited. All prices mentioned are correct at time of press but may change. HOT Media Publishing does not accept liability for omissions or errors in AIR.

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EmpirE AviAtion Group

May 2013

Welcome onboard

Welcome to this issue of AIR, Empire Aviation Group’s lifestyle magazine for onboard guests and aircraft owners.

Aircraft management and operation is one of our core services, but this is not always restricted to aircraft owners’ private use or charter customers. One of the most demanding missions in private aviation is ‘Air Ambulance’, where missions really are critical.

In 2010, EAG and RMSI, the Dubai-based MEDEVAC, emergency medical services and clinical services specialist, teamed up to launch one of the region’s first dedicated Intensive Care Air Ambulance services.

It’s a partnership that has proved to be highly successful, with hundreds of missions being flown since we started operations, from our selected base at Dubai International.

For these demanding missions, a Hawker 800XP business jet - reconfigured as an intensive care air ambulance – was the aircraft selected by RMSI for its services.

The challenges are clear – the need to have a 24/7 state of readiness and the demand to launch missions within a couple of hours of notification, with no prior warning or knowledge of the mission type - or even the destination.

It is perhaps the ultimate challenge for our flight operations team and demonstrates a very high degree of professionalism, skill and experience.

In this issue, we explain more about this unique partnership and service, and share some of the real life drama involved.

Steve Hartley Executive Director

Contact details: info@empire.aero empire.aero

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Paras Dhamecha Executive Director

EmpirE AviAtion Group nEws

Air Ambulance - Mission Critical The RMSI air ambulance is based in Dubai to serve its many clients in the region, including global insurance patients, governments, corporations and private clients, as well as patients in hostile situations and remote locations. As an international, medical solutions company, it specialises in providing routine and rapid response medical treatment, as well as medical evacuations from high-risk environments.

Dubai was the natural selection from which to launch the service: “Choosing Dubai as our regional hub and global HQ was a relatively easy task, given the emirate’s status as an aviation hub and a trusted medical centre of excellence,“ says Robert Lamb, President and CEO of RMSI. “Geographically Dubai is the centre of the world, and from both a logistical and commercial aspect the only place I would consider anchoring RMSI’s operations. Being based in Dubai allows for quick, efficient and smooth deployment of RMSI’s air ambulances to our clients across the region, with world class medical care in Dubai enabling us to bring patients here for emergency treatment. The healthy business environment in the city, coupled with innovative vision of its leaders, makes it an attractive place to call home.

“We are delighted to be working with Empire Aviation Group as our aviation partner because of their regional expertise and knowledge. Our aim is to match the standards of US and European operators and EAG’s experience is very valuable.”

Typical air ambulance services are rapid regional response for patients requiring urgent evacuation from areas such as Iraq and Afghanistan.

The patient could be a member of the international community, for example an NGO, defence or security personnel, or construction worker, who is evacuated to a point

of stabilisation and/or treatment in Dubai. These are critical, life threatening situations and cases involving trauma, as well as serious medical cases which are rendered even more threatening by the remoteness of the patient’s location.

“We don’t do the easy jobs,” adds Robert Lamb. “Our work is urgent and critical, whilst operating in challenging situations and remote areas and there is no room for compromise when it comes to medical or aviation proficiency and standards.”

RMSI provides a truly integrated medical solution; including remote on-site medical staffing and clinical facilities, topside medical support through the Dubai based 24-hour Mission Response Center, and both ground and air ambulance services.

Being awarded the first Air Ambulance license in Dubai by the Dubai Corporation for Ambulance Services is a testament to RMSI’s work and was a very proud moment for the RMSI team.

RMSI’s high-speed Intensive Care jets are deployed within minutes of

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receiving flight clearance, providing 24 hour assistance to RMSI clients requiring international medical evacuation services. RMSI’s realtime operations systems provide up to the minute status reports. Every stage of the journey is monitored with high tech satellite tracking, and communication is maintained between the air ambulance and the RMSI Mission Response Center based in Dubai.

Each aircraft is fully equipped with the latest technology and medical equipment. On receiving the emergency alert, a medical team is underway with the right training and equipment geared for any situation.

Highly trained and skilled, RMSI pilots hold a wealth of experience in flying into any area.

RMSI clients such as the UN, NATO and numerous Oil and Gas majors, benefit from a range of services including a 24/7 Mission Response Center, Medical Consultancy and Training, Remote Field Clinics, Primary Emergency Retrieval, Field Hospitals and Air Ambulances.

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EmpirE AviAtion Group nEws Mission accomplished On Tuesday, 30 October 2012, at around 13:00 (DXB time) a subcontractor for one of RMSI’s major clients in Iraq sustained a serious partial amputation injury to his wrist whilst operating in an oilfield. The RMSI Site Paramedic was on-hand to give urgent medical attention and stabilize the patient, whilst escalating the case to the RMSI Mission Response Centre (MRC) for clinical topside and operational support, and to activate International SOS in order to prepare an emergency medical evacuation.

The patient was transferred

by Ground Ambulance at approximately 14:00 to the RMSI IEC Medical Centre for further stabilization and to be assessed for medical fitness to fly, ahead of movement to Basra International airport for medical evacuation by an RMSI Air Ambulance to Dubai.

The RMSI Medical Flight Team received the patient on-board the Dubai-based Hawker 800XP Air Ambulance, and departed Basra only 8 hours following the initial injury. Upon arrival in Dubai, the patient was promptly transferred to the surgical team at the City Hospital at 23:18, less than 11 hours after presenting to the RMSI Clinic on the oilfield. The patient was treated by the surgical team at the City Hospital who successfully reattached the amputated limb; the patient was expected to make a full recovery after rehabilitation.

Hawker 800XP – tHe rigHt stuff Air Ambulance is one of the most demanding forms of mission undertaken in private aviation.

The aircraft selection reflected this and was based on several criteria, including the aircraft’s ability to operate in a variety of demanding conditions with a critical patient onboard, whilst allowing the medical team sufficient space to monitor and treat the patient.

The Hawker 800XP offers a very good package of cabin size, range and economy, as well as overall operational capability. Hot weather, high altitude landing capabilities are essential to access remote areas, whilst cabin temperature and pressure control ensures patient comfort.

The RMSI team looked at the practical medical requirements

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and EAG advised on the aviation considerations. A Hawker 800XP business jet was converted specifically for the purpose by specialists in Australia, who undertook a full strip-out and conversion to an air ambulance configuration that is fully certified by the manufacturer and the civil aviation authorities.

The onboard specifications are an ‘Intensive Care Ambulance’ configuration, which is the gold standard for air ambulance and supports the onboard team, including an intensive care doctor and paramedic, that is capable of treating patients in flight.

The Hawker 800XP is one of the most successful private jets ever made, thanks in part to its fuel economy and takeoff distance.

A . L A N G E & S Ö H N E • BA L LY • B o S S H U G o B o S S • B R E G U E T • BV L G A R I • B U R B E R RY • CA N A L I CA R T I E R • C H L o é • D E G R I S o G o N o • E R M E N E G I L D o Z E G N A • F A U C H o N L E C A F é • G I U S E P P E Z A N o T T I • G I V E N C H Y • H E R M È S • H E R V E L E G E R • I W C S C H A F F H A U S E N • JA E G E R - L E Co U LT R E J . M . W E S To N • K I To N • L A N V I N • M A N o L o B L A H N I K • M o N T B L A N C • o F F I C I N E PA N E R A I • P I AG E T P o R S C H E D E S I G N • R o G E R D U B U I S • R o L E X • SA LVATo R E F E R R AGA M o • S T E FA N o R I CCI S T E P H A N E Ro L L A N D • To M F o R D • VA N CL E E F & A R P E L S • VE R SACE • VE R T U

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RadaR > Known globally as the design industry’s equivalent to the Oscars, every year the very best of design – from fashion to architecture – is celebrated at London’s Design Museum Designs of the Year awards.

Among the winners this year is Diana Vreeland: The Eye Has To Travel, a documentary that charts the rise of the ‘Empress of Fashion’. Diana Vreeland’s impact on fashion and style is legendary: from her role as fashion adviser to former First Lady Jacqueline Kennedy Onassis to her reign as editor-in-chief of Vogue. The film, which features 350 illustrations (including famous photographs), shows fashion as it was being invented – rightfully earning it the fashion award at this year’s event.

All award nominees and winners are on display at London’s Design Museum until July 7.

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Image by James Karales, courtesy of the Estate of James Karales

RadaR > Pucci’s vibrant, hypnotic prints are renowned the world over. Synonymous with the lifestyle of the jet set, the fashion giant’s story began in the 1950s, in a small boutique on the isle of Capri. Today, with 50 boutiques worldwide, its colourful story is told in stylish tome Emilio Pucci, published this month

by Taschen.

> Shoes have beguiled their wearers for centuries. A source of inspiration for children’s fiction writers and other creatives, and fodder for historians, both the shoes and their creators often play an important role in fairy tales, legends and fictional classics. Their significance is explored in a new year-long exhibition at the Museo Salvatore Ferragamo, in Florence, Italy: The Amazing Shoemaker – Fairy Tales and Legends about Shoes and Shoemakers.

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Redesigning history Those wishing to acquire their own piece of architectural history in Europe should look toward the former Palais Maeterlinck, on the Cap de Nice. The stunning 1920s estate, nestled in a mountainside overlooking the French Riviera, is undergoing a dramatic transformation

by Sotheby’s International Realty France-Monaco and Czech billionaire Radovan Vitek’s company CPI. The former hotel, which was once home to Belgian Nobel Prize winner Count Maurice Maeterlinck, will become 19 luxury residences - each coming with breathtaking views of the Mediterranean and the option of furnishing by Ralph Lauren Home.

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Ali Bin Ali Qatar • Asia Jewellers Bahrain

Critique

Film

What Maisie Knew

Dirs. Scott McGehee and David Siegel This modern readaptation of Henry James’ novel tells the story of a young girl stuck between two divorcing parents.

At best: “A seriously impressive drama that packs... an emotional punch.” Reel Film Reviews At worst: “Whether or not there is story plausibility here, there is an emotional integrity to every reaction Maisie has to every development.” NPR

Black Rock

Dir. Katie Aselton A girls’ weekend on a remote island turns into a fight for survival for three friends in this thriller.

At best: “Working from a ruthlessly efficient script, Aselton effortlessly sets up the women’s reunion... before flipping the action from drama to thriller.”

Hollywood Reporter At worst: “Straining to be a distaff ‘Deliverance’, indie thriller Black Rock is unable to shock, much less convince.” Variety

Mud

The Iceman

Dir. Jeff Nichols Two young friends find a man named Mud hiding on an island in Mississippi in this coming of age story.

At best: “That Nichols is able to orchestrate this entire journey with steady tension and lyrical imagery is a testament to his storytelling.” Film.com At worst: “What sounds like Huckleberry Finn on the page, ends up like a stock melodrama onscreen, with McConaughey’s nature boy coming off like a moody, brooding fratboy.” Time Out New York

Dir. Ariel Vromen Inspired by a true story, this film follows ruthless hitman Richard Kuklinski from his early mob days to his arrest.

At best: “The Iceman is a slickly made and very violent thriller. There is more than a touch of Goodfellas about it.” The Independent At worst: “This is a finely acted portrait of a sociopath, but his victims might as well be made of cardboard for all we care.

Michael Shannon shoulders the film.” The Times

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Books

Shanghai, China’s boomtown and original sin city, has been a hub for expats since the dubious days of the Spice Route – but often at the expense of its original inhabitants.

But today, as the city reaches new heights of economic and cultural prosperity, the offspring of displaced generations are returning in force, reclaiming the land as their own.

Malaysian-Chinese writer Tash Aw examines the experience of returning in Five Star Billionaire, a novel that follows five young people – a rock star, an illegal migrant worker, a realty shark, an entrepreneur and a dodgy writer of self-help manuals – as they embark on life in the city, plagued by the knowledge that their forefathers were forced to leave. “They carry the curse of self-destruction,” writes Salil Tripathi in New Zealand Herald.

“Insecure, they assert their identity through worldly possessions, and sink into the numbing depression that the loneliness and soullessness of the big city brings.” But the real star of the novel is the city itself, finds Chitralekha Basu of Sydney Morning Herald: “Aw has re-created the sights, sounds (and smells) of

Shanghai in cinematic detail. Indeed, his sixth protagonist is the city herself – glamorous, enticing and ruthless; a seductive charmer who remains unaffected by what she brings on the people who pass through her.”

The opening scene of Taiye Selasi’s debut novel Ghana Must Go sees Kwaku, the head of the Sai family, keeling over from a heart attack in his house in Ghana. His family leave their immigrant lives in America and Nigeria to return for his funeral – and so begins this tale of loss, separation, and displacement. Ghana Must Go is an impressive debut,” writes Margaret Eby in New York Daily News. “[This is] an intensely personal tale that paints family as diaspora. Selasi has a knack for structure that makes the book feel like flipping through a scrapbook of a forgotten relative.” This is a novel about family and belonging – and, of course, race. “Selasi writes about class intelligently, and with a great deal of self-awareness,” writes Eugenia Williamson. “[This is] a unique perspective into the lives of a group underrepresented in American letters, at least until recently.”

When Mr Riordan of Maggie

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O’Farrell’s Instructions for a Heatwave leaves the house at 6.45 on a hot July morning, his wife Gretta doesn’t bat an eyelid. When he fails to return with the newspaper, she worries – and by the evening she is distraught. Her fully-grown children flock to her home and they attempt to piece together the missing man’s story. Following his steps, they venture to Ireland, uncovering a trail of deceit. “It’s an instantly appealing set-up,” writes Elena Seymenliyska of The Telegraph.

“Just as children’s stories need to dispense with parents before the fun can begin, [it] suggests that men – or, rather, old-fashioned masculine traits such as reliability, stability and predictability – must go out the window for the drama to heat up.” For Stacey Bartlett of The Independent, the questions of truth and disclosure are most captivating: “Heatwaves are a ticking time-bomb, the charged pause between thunder and lightning…

Instructions for a Heatwave’s uncomfortable truth is that secrets can evaporate into the walls of a house and sit there quietly for years – and that anybody can disappear if they really want to.”

Critique

Three decades after the peak of his career, it seemed that David Bowie was slipping into obscurity – until March of this year. The Next Day, his 24th studio album, burst virtually unannounced onto iTunes, topping charts worldwide. Bowie’s renaissance has ricocheted through popular culture. Queue David Bowie Is, London’s Victoria and Albert Museum’s retrospective exhibition featuring everything from iconic costumes to scrawled lyrics. “It’s hard to think of a more visually arresting artist whose work touches on as many areas of the arts,” writes Alexis Petridis in The Guardian. “Bowie’s archive is so extensive – he appears to have kept everything – that even when the exhibition is covering welltrodden ground, it manages to dig up stuff that’s fresh and illuminating.”

Jim Carroll of Irish Times said: “The exhibition presents clues about who, and where, Bowie was taking his cues from when it came to reinventions, artistic codes and visual ideas.”

Rawiya, the first all-women photographic collective to emerge from the Middle East, presented its latest exhibition at New Art Exchange in Nottingham, UK, last month. Entitled Realism in Rawiya, the show depicts ‘human stories’ from the region: the son killed in the Iran-Iraq war; the female Palestinian rally driver surrounded by her male engineers; a family picnic on a beach. “The eye of a female photographer is different to that of a male photographer,” photographer Myriam Abdelaziz told The National. “We propose a vision of the Middle East that is more feminine than what we usually see… we want to put out a female perspective.” Sanjay Brown of Nottingham’s arts magazine Left Lion warms to the personal elements of the artworks: “These very personal pictures let you look into [the subjects’] eyes and see the people behind the possibilities, vulnerable and thinking, alive to circumstances

Images, top to bottom: Striped bodysuit for Aladdin Sane tour, 1973 Design by Kansai Yamamoto, Photograph by Masayoshi Sukita (C) Sukita The David Bowie Archive 2012; Original photography for the Earthling album cover, 1997 Union Jack coat designed by Alexander McQueen in collaboration with David Bowie (C) Frank W Ockenfels 3

Art

that can push and pull a person in unhappy directions… [There is] a poignancy and sureness of touch.”

The latest photography exhibition at London’s Natural History Museum, meanwhile, captures human and animal life around the world. Genesis, by acclaimed nature photographer Sebastião Salgado, has been honed from his years of research and travel.

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“Always loyal to black and white photography, the quality of the prints dazzles the viewer and gives the show an eerie feeling of being transported to a bygone era, to our beginnings, which is surely the purpose of the whole enterprise,” writes Julio Etchart in London 24. At the launch, Salgado said it is “a pictorial depiction of the lands and lives of a still pristine planet”.

Critique

Theatre

with Ben Whishaw’s bookish and rather anxious Peter…”

Katori Hall’s To a Mountaintop, now playing at California’s Lucie Stern Theatre, finds Martin Luther King in a run-down motel room. It is the night after he delivered his famous “I’ve been to the mountaintop” speech, and King is at the peak of his political career – but tomorrow he will be shot dead while on the motel room balcony.

Tonight, though, he’s buzzing with

Image: Lucie Stern Theatre, The Joyce

After his success with Skyfall, Hollywood writer John Logan has delved into the world of theatre.

His play, Peter and Alice, opened at London’s Richmond Theatre last month, and features fellow Bond alumnus Dame Judy Dench. The tale begins at the opening of a Lewis Carroll exhibition, where Alice Liddell Hargreaves and Peter Llewelyn Davies – the real-life inspiration for Alice in Wonderland and Peter Pan – first meet. Alice, now 80, reminisces about her childhood in Oxford with Carroll, and Peter, 35, recalls halcyon days with his brothers and author JM Barrie. “They are two tortured individuals struggling with unlookedfor, inherited fame and overpowering nostalgia,” says Caroline Crampton of the New Statesman. Peter and Alice’s adulthoods were rife with tragedy, and Logan highlights the dark motives long associated with both novels: “[The] script is strongest when it forces you to question [Carroll and Barrie’s] motives,” says Crampton. The Telegraph’s Tim Walker is captivated

by Dench’s Alice: “[She] may be nudging 80, but she retains a childlike look of wonder in her beautiful old face, [and] achieves an edgy chemistry

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success and frustration, and the only company is housekeeper Camae. “You get a more tragic sense now, of a man cut down in his prime,” writes Peter Marks in the Washington Post. “In the heat between Arena’s actors, King’s ladies’-man reputation emerges as a more credible factor.” San Francisco Gate’s Robert Hurwitt is full of praise for Adrian Roberts’s portrayal of King: “Roberts turns in a compelling performance, switching to King the icon when needed but for the most part delivering a complex, engrossing portrait of a man well aware that he’s not a saint and both uncomfortable with and basking in his adulation.”

Play and Play, a two-night dance extravaganza by choreographer Bill T Jones, captured critics’ imagination last month at New York’s The Joyce theatre. The most feted installment of the triple bill was D-Man in the Waters, a tribute to Jones’s friend and colleague Demian Acquavella, who died in 1990 – “a beautiful testament to a fiercely strong dancer’s spirit,” remarked Andrew Boynton in The New Yorker. “[D-man] does not confront or tease,” confirms Apollinaire Scherr of the Financial Times. “It happily forgets about us – and itself.”

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Timepieces

Frederic Watrelot A newly discovered Patek Philippe rewrites the history of perpetual calendar wristwatch As I write to you I have just finished unpacking the beautiful watches that have been sent to us here in Dubai from my colleagues in Geneva, ahead of our [Christie’s] sale there on May 13. It’s been a really tough day…gently unwrapping a stainless steel automatic chronograph by Rolex, a large platinum limited edition wristwatch with moon phases by IWC, a Jaeger-LeCoultre 18K pink gold limited edition Reverso, fabulous pieces by Audemars Piguet, Breguet, Vacheron Constantin.

The sale itself is a treat for scholars, historians and collectors, but most importantly for all those with a passion for the highest quality collector’s watches. I can hardly remember an auction featuring over 100 Patek Philippe watches and, simultaneously, also offering over 100 of the world’s finest and rarest Rolex timepieces. These two celebrated Geneva names are the most recognized in the field of wristwatch collecting and for the market this auction promises to be the main event in Europe this coming season. Our team of specialists has applied unforgivingly rigid standards when hand-selecting the finest watches from the world’s most important private collections. We are also very proud to offer numerous significant watches, never before shown or offered publicly, directly from the original owner’s families.

With estimates ranging from $1,000

to over $1million the only common denominator of all the 360 watches is their uncompromised quality.

Among the highlights from Geneva is a newly rediscovered, historically important and probably unique, white gold, perpetual calendar wristwatch

by Patek Philippe. With moon phases and leap-year, denoted by a discreet red dot on the face manufactured

by Patek Philippe in 1981, carries a pre-sale estimate of $850,0001,500,000.

Known as the 3450 ref, this extraordinary example is most likely the first ever wristwatch by Patek Philippe featuring a leap year indication, besides prototypes.

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Perpetual calendar wristwatches manufactured by the maker did not include such an indication until 1982, with the introduction of reference 3450. Therefore, the present watch, indicating 1, 2, 3 and a red dot (for the leap year) during the 4 year cycle, constitutes a spectacular discovery to the world of watch collectors and scholars alike. Presented in mint condition, it also benefits from an ultra-rare white gold case enhancing the beauty of the celebrated ‘padellone’ design. Coming from the property of the family of its original owner and previously unknown to the public, this watch has never been offered on the market before.

Timepieces

All in

good time

The best of Basel proved that the unveiling of this year’s must-have models was well worth the wait

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Louis Vuitton

Bulgari

Patek Philippe

Chanel

A little over a decade since its creation, Louis Vuitton’s Tambour has been reimagined as a more masculine model, the Tambour eVolution. The design tweaks are plentiful: less edgy, less rounded lines that accentuate its boldness; a diameter of 43 or 45mm; a red, arrowshaped hand that instantly attracts the eye; a circular day/night indicator at six o’clock and the wide date window at three o’clock.

Most evolutionary though is the fact that this is the first Louis Vuitton watch created with a metal strap.

First introduced in 1975, Bulgari’s Roma model has, quite literally, stood the test of time. It was a pioneering watch at the moment of its birth, and the intervening decades have seen it varied only very slightly at times in order to maintain its appeal.

This 2013 update sees a self-winding movement – developed and produced in house – encased in 18-carat pink gold and issued as a limited, numbered edition of 250 pieces.

New from Patek is this Ref. 5200 Gondolo 8 Days, Day & Date Indication, whose features include a beautifully crafted art deco case and a newly developed, manually-wound movement. Its magnificent inner workings are visible through its curved display back and the dial features an eight-day power reserve display, the date indicated by hand, a large day-ofweek aperture, and the subsidiary seconds dial.

The first piece of the Mademoiselle Privé collection, this ladies’ timepiece is inspired by Coco Chanel’s cherished Coromandel screens – the elegant Chinese room dividers engraved with traditional symbols and intricate figures. The piece features a handengraved 18 carat gold dial, enamelled using the grand feu technique in a delicate cherry blossom design.

Encircled by 51 snow-set diamonds and mounted on a Black Missipiensis alligator strap, this is a stunning fusion of Swiss watchmaking technique and Oriental grace.

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Dior

Rolex

Longines

Denim inspired many a fashion house at the Spring/ Summer 2013 shows, and its appeal also played an influential role in the colour choice of Dior’s striking Christal Blue; a 38mm, automatic-movement timepiece. An elegant, blue mother-of-pearl dial – your eye will be immediately drawn to a beautiful diamond-set ring at its heart – is housed in a bezel of blue, pyramid-shaped sapphire crystals, which also decorate the entire length of the strap.

This year marks the 50th anniversary of Rolex’s now legendary Oyster Perpetual Cosmograph Daytona, and to mark the occasion a new version – fashioned for the first time entirely in platinum – has been launched. Its additional updated features include a solid-link bracelet with the company’s patented rapid extension system, which allows the wearer to adjust its length by 5mm when circumstances dictate the need. But its true DNA remains in the form of its cerachrom ceramic bezel with a tachymetric scale.

New to Longines’ stable of Conquest Classic timepieces is this stylish and understated 41mm chronograph, resplendent in rose gold. It displays the hours and the minutes, a small second at nine, a 30-minute counter at three, a 12-hour counter at six, as well as the date at 4:30, and houses the brand’s exclusive column-wheel caliber L688.

It’s all held together by a black alligator strap.

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> As the new Rolex Daytona debuts an updated look, one of the finest examples of its predecessors goes under the hammer in Geneva this month [May 12, Mandarin Oriental hotel] when Antiquorum auction a Ref. 6263 Paul Newman prototype. Made in the late 60s, this particular, 18K yellow gold watch is amongst the rarest and most coveted to appear, having until now been unknown to the collecter community.

It’s expected to relaise between $300k-500k.

Jewellery

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urkish jeweller Sevan Bıçakçı is a popular man. When he arrives at Dubai’s Harvey Nichols store with Emre Dilaver, his creative director, there is a flurry of excitement from store staff – all of whom seem genuinely pleased to be welcoming the design duo back into their midst.

From a distance, the men cut imposing figures – strappingly built and dressed head-to-toe in black – but up close they are super friendly, just as eager to greet everyone there and profusely apologetic for being late (less than 10 minutes, which by Dubai standards is considered early).

Bıçakçı has every reason to be cheerful. His creations are delicious triumphs of Turkish craftsmanship – bold, one-off works of art that refuse to bow to the confines often placed on fine jewellery (namely that pieces should be delicate and subtle). Designed and created by hand from his workshop in Istanbul, the pace of production, he explains, does not allow for any kind of mass

his direct environment in Istanbul – the city, the culture and its people. It is this that he believes is responsible for his massive popularity among Turkish and Middle Eastern society.

“As a typical citizen of Istanbul, what you see in your every day life is beautiful: beautiful mosques, Islamic architecture, Islamic art…” he said with a smile.

“In Turkey, for so many years we have been looking up to European luxury houses and designers: there was not much of ourselves in what we used to like and wear. I’m not saying that it’s not beautiful, with all due respect to the beauty of what’s being made in Europe, but we hardly had anything representing our own culture. A few people started saying, ‘Stop, I want to look at my roots. There is so much beauty around me anyway, why not get inspired by that?’”

Bıçakçı’s A-list fan club is impressive: from Halle Berry and Liv Tyler through to Mariah Carey and the Olsen twins. He is understandably

‘As a typical citizen of Istanbul, what you see in your every day life is beautiful: beautiful mosques, Islamic architecture, Islamic art’ endeavour. Which makes international demand for his work even greater.

Today he arrives at his boutique in Harvey Nichols with impressive new creations that immediately trigger coos from his adoring female audience. Among the highlights is a gemencrusted bangle featuring a bird (a description that, I admit, does it no justice).

“It is the latest step of the Sevan evolution,” Bıçakçı explained through Dilaver, who acts as his translator for our interview. “I am always elaborating on production techniques and doing everything to take them one step further each time. What you will see may be a little bit bolder – especially [the] bracelet, which has taken a lot of time – but it’s beautiful.”

Bıçakçı’s work is inspired almost entirely by

proud to have become an ambassador for Islamic art internationally.

“It’s of course the greatest kind of compliment to hear and see – I’m happy to think that I may have created some kind of universal appeal,” he said. “Why should only Muslim people like Islamic art? If there is beauty to it then everyone can admire and appreciate it.”

Bıçakçı’s career began at the tender age of 12, when his parents sent him to work as an apprentice of Hovsep Catak in Istanbul’s Grand Bazaar. It was a life changing, if challenging, time for the then young boy.

“I still remember the day clearly,” he said. “It was the first time for me to be taken somewhere by my mum and dad and then to return home alone. I was so scared. When I entered the

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Turkish delights

The astounding creations of Sevan Bıçakçı have seen him acquire an A-list fan club, international acclaim and more than a few awards.

AIR catches up with Istanbul’s ‘King of Rings’…

Words: Leah Oatway

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Jewellery workshop of my now deceased master I had given up hope of going any further with school.

But then, you know, the moment they left and I was alone with [him] I think I was blessed, because my master turned out to be someone like my dad. He had a warm personality, explained things, took good care of me, never insulting me at all, trying to teach me things… I really felt comfortable with him. He was like a second dad.”

Bıçakçı compares himself to a surviving baby turtle in those early days: “So many thousands hatch, but out of the thousand maybe five will make it to the sea. Lots of other kids my age from the Armenian community ended up doing the same and I see myself as a lucky one because I landed in the right kind of environment.

“I had gone to that workshop with great fear but came back home the same evening feeling like a lion.”

It was this experience, he believes, that gave him the confidence and courage to be bold and create new things.

Catak passed away four years later, a dark time for Bıçakçı, but he had instilled in his apprentice a passion for jewellery-making that inspired him to venture into the unknown.

The international success that later followed, he insists, was accidental and a product of simply being in “the right place at the right time with the right people”.

“There was no marketing plan,” he said. “I was just bored with doing the regular stuff and decided to chase my dreams of making the really special things.”

His big break came with his first interview for Turkey’s CNN channel: a prominent businesswoman watching then visited the workshop, buying several pieces for herself and VIPs. A while later, she was being interviewed at a conference in Ankara and a journalist spotted her Bıçakçı ring. She told the reporters about his workshop and that same week 17 newspapers ran stories on his work. In 2006, he won the United States’ prestigious Couture Design Award for the first time: he has gone on to win it six times.

Despite such prominent international success, Bıçakçı has no intention of moving from his home city, Istanbul.

“I am a typical home boy,” he said. “My friends are there, I’m used to that place and I appreciate it. Thankfully, I’m in charge of this and as long as that remains the case I will try not to forget about the things that bring me joy - and that’s definitely not commerce.”

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Bling rings

Metals to get precious about this summer...

pomellato 18 carat rose gold; round brilliant diamonds weighing 0.52 carats

> For jewellery that shines brighter than the summer sun, look no further than Scintilla Monaco’s Charming Mystery collection. Each hand-made piece is set in classic 18 carat white gold to accentuate the diamonds’ sparkle. This exquisite white gold necklace features 26 marquise, and six pear-shape, diamonds, weighing 13.65 carats.

Other pieces in the collection include beautiful abaya pins. scintillamonaco.com

> Fine jeweller to the stars Theo Fennell unveiled his newest collections to an exclusive group of journalists and fashion junkies at Bloomingdale’s, The Dubai Mall, recently.

Among the candy-coloured delights unveiled was this Diamond and Pink Sapphire Hummingbird and Blossom Tryst Phi Pendant. Perfect for summer wear, the romantic hummingbird and blossom design features 18 carat rose gold graduated with 2.60 carat diamonds and 2.30 carat pink sapphires.

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versace 18 carat white gold; 1.01 carats solitaire with 1.04 carats of small diamonds

lIla JeWelrY 18 carat rose gold; brilliant diamond accents

Art & Design

EastErn promisE All eyes are set to look eastward this month as Art Basel holds its inaugural Hong Kong event…

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he first edition of any art event is exciting, but when it’s one that comes with a reputation as prestigious as Art Basel then that excitement is likely to increase dramatically.

It increases further still when that event is to be based in the financial heart of Asia, amid the East’s burgeoning art scene. So it’s understandable that Magnus Renfrew, Art Basel’s Director Asia, is a happy, if somewhat busy, man.

“There is a great deal of momentum building behind the Hong Kong art scene, and that of Asia,” he enthused.

“Hong Kong’s geographical and financial positioning at the centre of Asia, the absence of import and export tax, and growing international interest in the cultural dialogue between Eastern and Western Art, makes the city the natural place for an international show.”

Art Basel is widely regarded as the world’s foremost modern and contemporary art fair - providing gallerists and artists an opportunity to showcase the best of their offerings.

Founded in 1970 by Basel-based gallerists Ernst Beyeler, Trudi Bruckner and Balz Hilt for gallerists, in support of the work they do to

promote artists’ careers, Art Basel was a success from the start. Some 16,300 people visited its inaugural event, with 90 galleries from 10 countries displaying pieces; within six years it had reached its present size of 300 galleries.

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Piercing Brightness (production still) by Shezad Dawood, Paradise Row Le Rite Suspendue/Mouille

by Zhen Chen, de Sarthe Gallery Allegory of the Unfolding Sky

by Jitish Kallat, ARNDT Berlin Silverrelief by Heinz Mack, Beck & Eggeling

Image: courtesy of the artists, galleries and Art Basel

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In 2002, Art Basel debuted at Miami Beach, immediately establishing itself as one of America’s premier art events.

It is highly likely that Art Basel in Hong Kong will enjoy similar success.

“We are already experiencing a great interest in the fair, from international and local collectors, as well as from art lovers generally,” said Renfrew. “Art Basel’s three fairs are all defined by their host city and region.”

With this in mind, more than 50 per cent of the galleries at Art Basel in Hong Kong will come from Asia and the Asia-Pacific region, spanning from Turkey, the Middle East, and the Indian subcontinent, across Asia, Australia and New Zealand.

There will be more than 3,000 art works from 245 galleries on display, among them Dubai’s XVA Gallery, which is bringing work by Pakistani artist Imran Channa. He is working on a new series Age of Mythology.

The breadth of works on offer caters for both emerging and experienced collectors and, for those wishing to do their research ahead of the event, an online catalogue is available.

The aim of Art Basel in Hong Kong, Renfrew explained, is not simply to expand existing relationships between leading figures in the art world but rather to “attract new collectors and visitors and discover new artists and raw talent”.

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“The contemporary art scene in Asia has flourished over the last five years, as international and local interest has become focused on the diverse and exciting works emerging from the region,” he said.

“In addition to homegrown talent, the cultural dialogue between East and West has attracted galleries from

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Europe, America and Mainland China searching for fresh artistic talent and a platform from which to connect with the diverse art scenes across Asia and the Asia-Pacific region.

“Art Basel in Hong Kong will attract collectors wanting to see the best art from across the globe; emerging talent or established masters.”

Art & Design

Image: Observatory by Philip Taaffe, courtesy of Luhring Augustine, New York

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here are myriad reasons for art collectors to get excited about this year’s Frieze Art Fair New York: 180 to be exact. It may still be in its infancy but the fair is already a must for modern art collectors worldwide. And its second edition, which runs from May 10-13, is set to be the largest Frieze-hosted event to date, with 180 galleries from around the world showcasing the latest work by the world’s most innovative artists.

Among the 32 countries represented will be the United Arab Emirates, with Dubai’s The Third Line gallery participating for the second year running. It will be showcasing works by artists from the region who explore text and linguistics within their practice, including Abbas Akhavan, Ala Ebtekar, Farhad Moshiri, Pouran Jinchi and Slavs and Tatars.

“The artists and their chosen works are current and intellectually stimulating, and we feel this will mesh well with the sensibilities of the Frieze NY audience,” said Saira Ansari, of The Third Line gallery. “Through showcasing the vastly different interpretations of text and linguistics in both concepts and execution phase, we hope to present a booth that invites interest not only in the artworks’ visual aesthetics, but also in what the artists are trying to convey.

“Frieze New York provides a great platform to interact with a discerning audience and showcase thought-provoking art,” she added.

“And it’s exciting because we will be participating alongside more than 180 of the world’s leading contemporary galleries. So we are very pleased to be a part of it.”

The inaugural Frieze New York in 2012 was also the first expansion of the British fair to foreign soil; and it was an overwhelming success – with some 45,000 international visitors making the event a sell-out.

Co-directors Amanda Sharp and Matthew Slotover are expecting

The big Frieze

AIR casts its eye over this month’s Frieze Art Fair New York, which organisers have billed as “one of the most exciting weeks in the art world calendar”

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‘Frieze Art Fair New York provides a great platform to interact with a discerning audience and showcase thought-provoking art’ even bigger things for this year’s event. “The second edition of the fair provides an opportunity to build on everything it has already achieved,” said Slotover.

Aside from the main event, there are also curated projects and solo stands conceived especially for Frieze New York and debuting works never shown in an art fair context. They will be integrated in zones around the fair and referred to as ‘focus galleries’.

Another interesting development in

this year’s fair is the Frieze Projects programme: specially commissioned works that will be revealed at the 2013 event in Randall’s Island Park, overlooking the East River.

Cecilia Alemani - the programme curator - asked the commissioned artists to “intervene in the fair and its surrounding landscape” by staging works that “play with everyday habits and collective behaviours”.

Among the highlights are seven site-specific projects that respond to

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or work with the surroundings – a colour-coded garden, a speakeasy and a cemetery of art being among them – as well as an original text by novelist Ben Marcus and an all-encompassing tribute to artist-run restaurant Food.

“New York in May 2013 promises to be one of the most exciting weeks in the art world calendar,” said Sharp. “The strength and depth of the participating galleries list demonstrates the importance of New York as an art centre.”

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Open House Looking for a designer or architect to help with a bespoke project? Head to Montreal to discover the best emerging talent…

Images: copyright for 1 and 2 - Marc Cramer; 3 - Frederic Bouchard; 4 - Mitch Lenet.

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f you’re an architecture or design fan, or seeking emerging talent in these fields, there’s only one place to be on the first weekend of this month – Montreal.

Every two years the Frenchspeaking Canadian city shows the world why it was designated one of Unesco’s design cities at its Design Montreal Open House event. On May 4 and 5, the best of the city’s design and architectural talent open their workshops or addresses to the public in a bid to share the fruits of their creativity and inspire others.

“Great design is a reflection of our values and the ways in which our lives and needs evolve,” said actress AnneMarie Cadieux, a spokesperson for the 6th Design Montreal Open House 2013. “Shapes, materials and spaces come to life thanks to the ingenuity and talent of designers. They create buildings and sites in our image, and objects that make our everyday lives more pleasant. This event provides a one-of-a-kind opportunity to come out and meet design professionals from multiple backgrounds, and discover the creativity and passion that are their inspiration.”

With more than 25,000 individuals involved in design and architecture within the city and several institutes dedicated to the subjects, it is little wonder Unesco named Montreal one of its 11 cities of design in 2006. The designation serves to encourage all stakeholders – from the city’s creative types through to its officials – to become more involved in discovering and developing talent.

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Some 100 Montreal architects and designers – whose work has been recognised in local and international competitions – will take part in the Open House event, a unique doorto-door concept that allows visitors to customise their route according to a local area or specific design discipline of interest, be it landscape architecture or fashion design.

It is also possible to explore architecture competition pieces that are now public buildings in the city, such as the striking new Rio Tinto Alcan Planetarium.

“Every designer seeks to create dialogue, generate emotions, sometimes, shake up the established order – but, above all, spark a reaction to the sites or objects he or she produces,” said Claude Cormier, a landscape architect. “The creative act demands conviction and daring.

Conviction, to rally the various stakeholders around a common vision.

Daring, to produce a work that has meaning and provokes our gaze as part of the everyday.”

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UBC Faculty of Pharmaceutical Sciences Building by architects Saucier + Perrotte Terrasse Coloniale by interior designer Martine Brisson Volume - Lumiere by architect Jean-Maxime Labrecque Aanischaaukamikw Cree Cultural Institute by architects Rubin & Rotman

Art & Design

Design house Fabrica Mexico caused quite the stir when it showcased its inaugural collection in the UAE. AIR catches up with the Englishman helping to drive the new wave of Mexican design talent‌

New Mexican wave

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Richard Eagleton and Alexander Andersson Ala bench Droid table Arachnid chair Agave table

esign entrepreneur Richard Eagleton is a brave man. When the Brit decided to up sticks and move to Mexico City, inspired by a week-long holiday, he couldn’t speak a word of Spanish and had no idea what he was going to do there. But six months later, the enthusiastic Englishman touched down in Dubai armed with design pieces belonging to his new company, Fabrica Mexico.

It was the first time a Mexican design house had appeared at Design Days Dubai, possibly the first time Mexican furniture design had ever been showcased in the region, and Eagleton had to ‘beg and borrow’ the tens of thousands of dollars required to bring the pieces (commissioned solely for the Dubai design event) here.

When I first met him, a day before the event’s opening in March, he

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was resplendent in a dickie bow and tailored jacket but more than a little apprehensive about how the pieces would be received. As it turns out, though, he needn’t have been concerned.

“It was amazing,” he enthused weeks later, down a crackling line from Mexico City. “Absolutely amazing. We sold out everything in the first 30 minutes of the first day.

“It was a crazy plan to go: Mexico doesn’t go to Dubai very often. I personally had to find US$50,000 (to fund it). I had to borrow it and beg for it and I found it with absolutely no certainty of return.

“People in Mexico thought I was crazy, but I just knew that we needed a brave move to set us off.”

When Eagleton says “us”, he is referring to his business partner and the co-founder of Fabrica Mexico, Alexander Diaz Andersson, a respected Mexican-Swedish

Art & Design

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designer who cut his teeth at an upholstering company that worked with IKEA before studying industrial design in Madrid, Spain.

On returning to Mexico in 2009, Andersson established design house Telharmonium, before joining forces with Eagleton. Together, they are now committed to bringing modern Mexican design to the world stage.

“There are 19,500 furniture-making companies in Mexico but two-thirds are making rustic pine furniture that the world has fallen out of love with,” Eagleton explained. “There is no growth, no sales, no exports, no future. What we want to do, besides sell great furniture, is establish Mexico as a centre of excellence; a place that people recognise for this reason.”

Finding Mexican design talent is not an issue, he said.

“In Mexico there are amazing designers and architects but, while they are creative and intelligent, they are not well trained commercially.

The great advantage is that they are still using their hands. All the skills that have disappeared around the world still exist here. There is great potential, if we can bring designers and manufacturers together.”

Fabrica Mexico commissions designers and works with manufacturers in Mexico, all in a bid to create synergy between them and encourage a better understanding of the international design market.

And if its offerings at Design Days Dubai 2013 are anything to go by, they are likely to succeed. A unique blend of Mexican and Scandinavian design, its pieces marry the best of contemporary design with vintage undertones. Nods to Mexico are subtle: its Agave table, which garnered 38 commissions during the three-day Dubai event alone, features sleek lines, the finest wood and a sculptured metal base inspired by cacti. It is elegant and refined, with an appealing rustic charm, and each piece is handcrafted using age-old Mexican techniques.

“We are absolutely, 100 per cent, world-class contemporary design,” said Eagleton, who brings years of marketing experience to the partnership. “What we are not is traditional Mexican aesthetic, nor about Mexican rustic pine.

“We want to produce crowd-pleasing material. Some of it is edgy and it is designed to be beautiful: there are no donkeys or sombreros.”

Fabrica Mexico has also created a mentoring scheme, whereby each designer it commissions is contractually obliged to mentor another, in an attempt to foster creative thinking and encourage the sharing of best practices.

Eagleton’s passion for Mexico is difficult to contest: ask him why he is so smitten with his new homeland and he is quick to provide several compelling reasons.

“The obvious thing is that the climate is amazing,” he said. “The architecture is incredible; the people are amazing - they’re warm and engaging; the economy is really good here and you feel a sense of enthusiasm and optimism. It’s just a positive, hard-working environment.”

And he is on a mission to ensure others see the country in the same way. “The truth is that ever since I was a small child I have loved to fix things: birds wings; the family car; people who weren’t performing to the best of their ability… I look out from my balcony in Mexico City, drinking coffee, and see potential in everything:

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it just fuels my sense of exoticism.

Nobody knows what to expect from Mexico. I like that it is an open book.

It is something to be explored, and is very civilised. It has amazing restaurants and more museums than any other city in the world.

“I bet you didn’t know that did you?

And that’s my point: Mexico isn’t very good at telling the world how amazing it is. It has a slightly selfdeprecating attitude. I spend my life telling whoever listens how amazing it is. Yes, there are some issues, but the issues are the reason I love what we are doing. I think we can make a real difference here.”

Following its success in Dubai, Eagleton is now focused on establishing a “robust presence” in the Middle East.

“The Middle East is building a love of contemporary design and it is brilliantly led by members of the royal (families) who are very passionate about contemporary design,” he said.

“The (region) offers an opportunity to launch in a place that appreciates the hand-made and does not have any preconceptions about Mexico.”

Having achieved so much in such a short space of time, it is difficult to envisage him not succeeding.

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Images: Supplied

‘Mexico isn’t very good at telling the world how amazing it is. I spend my life telling whoever listens.

We can make a difference’

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InterIors

Sara CoSgrove Milan’s annual homage to all things design shows that experimentation is key to creativity On returning from this year’s Milan Furniture Fair this year I was both exhausted and inspired in equal measure. Over the past five years the fair has evolved to become Europe’s destination for interiors trends and the place to launch a brand, product, or persona to the movers and shakers of the design-influenced world.

From pop-ups and concept stores to beautifully curated exhibition spaces, Milan celebrates all things ‘design’ to showcase the latest hot new trends in furniture and home ware…

What makes Milan retain its status as the go-to location for designers looking for inspiration is the tension between the more mainstream traditional furniture brands, which sits in close proximity to that of a much more avant-garde flavour. This year it was particularly tricky to discern which camp was attracting the crowds Industrial district Via Tortona saw the industry’s trendsetters exhibiting their collections in an edgy ‘urban’ setting. A host of industry friends even gave the ‘Fiera’ a miss in order to concentrate on the exciting hunt for new fresh design finds at locations such as Via Durini and Wallpaper Handmade exhibition There was so much to see and experience this year that editing my favourites to three trends is a challenge. But some of the significant themes which kept appearing included

desaturated colours, Brazilian influences, and furniture with a twist.

Let’s start with desaturated colours.

In stark contrast to the strong colour palettes popular in recent years, there seemed to be an evolution toward a more washed-out colour vibe. Some of the key brands demonstrating this trend were Rubelli Donghia, Kenzo Maison, B&B Italia, Poltrona Frau and Flexform.

And then there was the Brazilian influence. Perhaps with the World Cup on its way, the rise of the witty product and furniture design duo the Campana Brothers shouldn’t be surprising.

They showcased their fantastic Brazilian Baroque collection as well as introducing their first pieces for luxury French crystal brand Baccarat.

The global style influence of Brazil, with hints of a Copacabana lifestyle, made a refreshing change from the norm. From tropically-inspired green upholstery to beautifully crafted retro-styled timber pieces you could actually imagine having been transported to a far flung lush and laid-back place. Giorgetti, Sici Furniture, and Melle Koot’s Treasure Island Table all displayed this trend as a design direction.

2013 also seems to be the year of super functional furniture - an item, sometimes gimmicky, that has more than one purpose. A quirky piece of furniture that could function as both a stool and a magazine holder, for example, that was almost a sculpture as well as providing a place to sit and read. Zaha Hadid’s wonderful Serac Bench collection is the classic example of this trend. Likewise, Hermes’ latest collection Nécessaire d’Hermès is a wonderful and thoughtful collection of multi-use pieces with a nostalgic undertone, which would appeal to those who favour a more refined look.

Another exciting find was the MilleFueille storage units by Emmanuelle Moureaux and Schonbuch.

What I have learned yet again from Milan is that experimentation is key.

Move away from the predictable, you won’t look back.

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> The line between fine art and contemporary design is becoming increasingly blurred.

Enter: The Sculpture House, a new online venture aiming to bridge the two disciplines by collaborating with carefully-chosen, young international artists with “extraordinary ideas”.

Founded by Brits Alex Cinneck and Richard Davies, the e-gallery’s debut collection includes the Picture Frame Chair by Matt Golden and Kit Craig’s Object Desk (above). thesculpturehouse.co.uk

When AIR catches up with Olivier Roset, of the French design house Ligne Roset, he is in town to launch the new Aati Abu Dhabi showroom, at the capital’s Shining Towers.

It’s the second UAE outlet for luxury furniture shop Aati, and Ligne Roset’s unique contemporary 2013 collection will feature prominently within it.

The 150-year-old luxury brand’s contemporary offerings are a huge hit with UAE nationals and expatriates alike: something Olivier credits to his family’s refusal to bow to mass production pressure.

“People are fed up with going [to a large store] on a Saturday with a truck to take a sofa: they are mixing stuff, going to flea markets… things are changing,” he said. “This was the DNA of our brand for many years.

Now people are understanding and going our way and that is exciting.”

One of Ligne Roset’s key strengths lies in its collaboration with innovative design talent from around the world; a tradition started by Olivier’s father, Michel Roset. For its latest collection, 40 designers made contributions: among the highlights is the Lace seat/footstool inspired by Japanese art and created by young designer Benjamin Graindorge and Dondoli & Pocci’s Amy armchair and footrest.

“When [designers] have a vision, they are like artists and it is hard to make them move, but it’s great because they have a vision and don’t [sell out] to business or the market.”

The pieces are then produced, in

Looking Roset More than a century after Antoine Roset established his small wood-processing company in France, Ligne Roset’s creative furniture continues to dazzle international markets…. limited numbers, by craftsmen based in Ligne Roset’s factories in the small village of Briord, in France’s historical Bugey region.

“We are working with craftsmen and people who have worked in our factories for 30 years - it’s [really] their factory. It is nice to think that in a tiny village of 200 people we are making things that can be sold in Shanghai.”

It also allows the option for bespoke – important when working in international markets where both taste and average living space varies dramatically.

“We can adapt by using different fabrics, by using different woods and different sizes, to suit these local markets and that is one of our strengths.”

Ligne Roset’s story began in 1860, when Antoine Roset opened a wood-processing factory.

Soon he was producing a range of wood products including umbrellas, walking sticks and chair frames. Following the Second World

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War the company – now under the control of Antoine’s grandson, Jean – shifted the focus of the company to producing contract furniture, as the country began its postwar reconstruction. It made tables, chairs and beds for public buildings such as schools and hospitals.

In 1960, with the business buoyant, Jean decided to start producing domestic furniture and as the business expanded, he brought in his sons Pierre and Michel, Olivier’s uncle and father respectively. The integration of design, such as the Togo sofa – famous for its appearance in Big Brother - saw it become a cult brand.

Today, Ligne Roset is a globally recognised name, but it remains a family-run affair.

“Yes, it can be complicated and we have huge arguments - we don’t speak on weekends sometimes - but at the end of the day we are thinking the same way,” he said. “It’s like being in a relationship – you can have arguments, but love is there and we love the products too.”

Words: Chrissy Iley

‘I have mellowed although I still have fire in my belly’

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From behind iron bars to playing Iron Man, Robert Downey Jr. has proved as durable an actor as Hollywood has seen. AIR heads to LA to meet him on the eve of his latest blockbuster movie release

obert Downey Jr strides into the Santa Monica beach front hotel room, hugs me hello and starts to pace around the table. He is wearing a cream, looseknit sweater with a thin T-shirt underneath, soft grey elephant chords, neatly manicured facial hair. His eyes are round, puppy dog saucers.

He’s wiry. A body hard from work out. The eyes swivel and dart, they don’t want to miss anything. He talks fast, sometimes at tangents, but he talks as if whatever he has to say has to be expelled from him, with urgency and passion.

He is carrying a tiny black suitcase. He flips it open to reveal Chinese herbs and other such pills. He is still pacing and talking as he paces.

I wonder if it’s a ritual. Then he opens his minisuitcase. Telling me he’s got nothing to hide. He wants me to see all his pills. He is dedicated to being as healthy as possible Now one of the most sought after and richest actors on the planet, reputedly earning £31 million from his last movie The Avengers alone.

He is the star of the money-minting franchise Iron Man and also the Guy Ritchie Sherlock Holmes franchise which has grossed more than $1 billion. It’s interesting to consider just how spectacular his success has been when many predicted he would not survive, not just in the industry but at all.

We are here to talk about Iron Man 3 where he reprises his role as the eccentric but brilliant industrialist Tony Stark/Iron Man. It is perhaps the most psychologically complex in the trilogy as Stark feels he must answer the question, does the man make the suit or the suit make the man?

A similar line of questioning Downey must have asked himself. From 1996 to 2001 he was arrested various times on drug related charges.

Rehab didn’t work. He trespassed when on parole. He had to do time in jail.

During that time, though, he never delivered less than 100 per cent on set and always turned up on time, even getting a Golden Globe in 2000 for his stint on Ally McBeal.

Iron Man 3 director and writer of Lethal Weapon, Shane Black, said that “Tony Stark/

Iron Man is the story of a true American hero. Robert Downey is the American hero. Someone who is passionate, sometimes misguided, sometimes pompous, a genius and a one-time drunk.” He says it with an affectionate smile and adds, “People don’t just come out of jail and become possibly the biggest actor in the world.”

Downey’s trajectory is one of Hollywood’s most fascinating and traumatic tales. He was always a great actor. [How did he miss that Oscar for Chaplin?] He swapped the red carpet, the fancy hotel suites, for a jail cell. Took it with grace; took it like he knew he deserved it; he chose to feel grateful, not sorry for himself.

Following his stint in jail, he was uninsurable.

His friend Mel Gibson paid his insurance for The Singing Detective, after which he met Shane Black for the first time who directed him in Kiss Kiss Bang Bang.

He had to audition for the first Iron Man gruelling, but he did it. He survived without moral censure to become loveable again where so many others couldn’t and haven’t.

What is it about Downey? His charm, his cleverness, his ability to make anyone laugh.

All of that of course. But essentially he’s utterly loveable. Those big eyes, when they look at you with their mix of playful and sad, win you over every time. Also, he never complains.

He has just turned 48 and has perhaps become the man he never thought he’d be; living in a lovely house with a lovely wife called Susan and a cute baby called Exton.

Iron Man/Tony Stark has brought him financial contentment, but he brought to Iron Man edge, vulnerability, an ability to be iron hard and emotionally soft. The vulnerability draws you in, to the character and the man. This is the man who opens his little suitcase and lets me see his little pills, all of his insecurities.

“I love Tony. I love Iron Man. I love the character, the people I get to work with. Will there be another? I don’t know. Do the audience want more? I am fortunate, I don’t have to overstay my welcome. I don’t say things like, ‘I feel this is my brand and I really need to influence the way it goes’. I don’t. I am married, I have a kid, I have a real life without cameras.

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“How would I feel if someone else played Iron Man? Well, my ego would suffer. It would be smashed. But maybe that would be the best thing for me. I hate seeing people’s egos suffer. I hate it when people have to learn those painful lessons of humility.”

He says this with a permanently raised eyebrow, an ironic wink at himself. His ego of course has suffered, and when his life fell apart.

“I think I have a good amount of humility in the bank, and as long as I don’t create a need for more humility I’ll be around.”

Finally, we have sat down. I wonder if he had to circle the table a certain number of times otherwise something terrible would happen?

He doesn’t answer that specifically. He doesn’t answer much specifically. But he answers with rawness and heart.

“Rituals are very important as long as you don’t become dependent on them. We are always growing and developing spiritually and we always have different needs for different devotions and different prayers. I started off with this prayer: Can I please just play baseball? Can I just be on a team and maybe if I get on a team I can hit a home run… My spirituality has more to do with maintenance than achievement now.

Maintenance is harder than achievement.’

He says he is fine to see other people have a drink at a restaurant, but if a waiter asks him if he would like a glass he says, “No thank you.

I have plans for Christmas.”

Intense martial arts workouts have meant the endorphin high has replaced the drug high and his relationship with his wife Susan Levin, whom he met when she was a producer on Gothika, has given him emotional calm.

“Stability, intellectual peer, and monster sex machine. And she runs the show. She has strength and realism and is someone who is unscathed by her first dozen years of experience.”

Their son Exton was born just over a year ago and Downey talks excitedly about him. His secret to a happy marriage? “Realising that two people become a third thing. I take on some of her characteristics and she takes on some of mine. It’s like having a full length mirror in front of you all day long.”

Downey seems to relish the idea of checking in on himself. It’s as if he enjoys being hard on himself. Shane Black says that after working together on Kiss Kiss Bang Bang: “we felt like kindred spirits. Robert doesn’t change with a big

budget. We still had the same kind of meetings hashing things out, trying to get to the heart of what scenes are about. Yet there’s a little kid inside him.”

Downey says: “I love everything he says. For sure there’s a kid inside. I’m not sure what kid.

Some kids like a rough and tumble atmosphere.

Some need to know they’re very safe. Some are too coddled and some aren’t loved enough.”

You wonder briefly if he ever felt loved enough as a kid. His father was an avant garde film

‘I hate seeing people’s egos suffer.

I hate it when people have to learn those painful lessons of humility’ director. Downey Jr played a puppy in one of his movies, Pound.

His mother was an actress comedian and his parents divorced when he was 13.

Downey is chewing hard on his Nicorette gum.

The last time I interviewed him he smoked at the same time as eating tuna tartare. “It’s the best.

What’s awful is smoking cigarettes.”

Tony Stark has nightmares. What keeps him awake? “Pretty much every night I put my head on the pillow, unless my wife is mad at me, which is not very often, I’ve got a clear conscience. I’m happy. Whenever you have a new opportunity or a new relationship, for me it’s a new baby, these instincts come out. Protective instincts.”

Was he worried about reprising the success of Iron Man? “I know when you have this much, I don’t want to call it pressure, let’s call it money on the table from a major corporation that has Mickey Mouse hand towels in their planes, there is a huge expectation. You have to perform at a certain level and you have to hit a lot of marks.

By that I don’t mean doing it by numbers, you just have to do it.

“They trusted me. They trusted me to go to

places where he needed to go and sometimes be quiet, and in case you haven’t noticed I like to talk. I’m getting better at not having to hear my own voice as often and I think that’s a positive affirmation for the future.”

Does his success feel like revenge on the people that didn’t want to insure him? “No. I know certain people say creative capacity is based on revenge. It’s really not true. I have mellowed although I still have fire in my belly.

I’m a firm believer if you’re not on your side why should anyone else be, why should a studio be?’

Is it really easy for him to have faith in himself? “As I’ve gone on I’ve become much less falsely confident. The missus said to me: ‘You’re a bright guy and when people say these nice things about you, you quickly agree with them.

There is part of you that was raised in a very abstract way and you paid a high price for some of your weaknesses, and there’s a part of you that’s making peace with everything going as well as it has’.

“As you mature things unravel. You start to address them. For me the process of maturing was very dirty, uncomfortable and embarrassing, but necessary.

I have often been my greatest impediment in moving forward and being gainfully employed. This (Iron Man) is not the most important thing but it’s given me an incredible amount of leverage, and I’ve got that leverage without having to sacrifice my enjoyment.”

Downey loves to bring intensity to a character. Maybe he just does it naturally.

Offloads some inner turmoil.

Certainly, Tony Stark is a more complex superhero because of everything Downey has given to him.

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ye ple a n E i e w Pe o rabi rv i s / A he Inte b r o T C ge s: s s y Ile y/ Ima ri : Ch Te x t

‘Pretty much every night I put my head on the pillow, unless my wife is mad at me, which is not very often, I’ve got a clear conscience’

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“Am I that intense? Maybe it’s unmanaged anxiety. I think I’m calming down. Maybe that makes me more capable of playing these tense people, very wired and agitated.”

Is he happy at the moment? “I am embracing the possibility of happiness. There are certain things I want to say I can’t control. I decided I didn’t need to rehearse a dangerous stunt. I did a jump that busted my ankle and I couldn’t believe that had happened to me, but why not me?

In a way it was the best thing that could have happened. It gave me time to think about the movie and time to see what we’d already shot.”

There’s something in Downey’s headset that’s ruthlessly optimistic. How could anyone think a painful twisted ankle was a good thing? But that’s why he has survived so much worse. “And now I have a set of understandings about my physical limitations. I had trained hard. I was in fantastic shape. I was convinced that I would not be injured.”

He believed in his own superpower? “I know.

It’s embarrassing. It was hubris. That’s what it was. Oh [no], not hubris again.

“Do I think I have an inbuilt destruction mechanism? I don’t know. I don’t know how much longer I’ll be doing this sort of thing because a) I have other interests and b) it’s inherently dangerous and c) I’m having a very nice run.”

So you want to quit while you’re ahead?

“Right. I look at people’s careers. I look at the choices they’re making. I look at what the studios are doing. I look at who’s watching them. Then I think oh, they’re twisting this up a little.

“Me and the missus started a production company and I don’t want it to be one of those companies that develops things into oblivion.

We’ve had in a script from a guy who lives in St. Louis who’s a headhunter. He’s turned in the best script that we’ve ever come across. It’s about a lawyer and his judge father. I’ll play the lawyer.”

Robert Duvall is set to play the judge father.

So he will be revisiting a father son relationship?

“Yes. The first image I ever had of a superhero in my lifetime was when I saw my dad in a Superman T-shirt with long arms. The judge needs to be a mountain of a man. My dad and I get along well but there’s a certain amount to be explored there.”

Interesting to say he gets along well. Wasn’t there a time when he was desperate for money and his father wouldn’t give him any? “Yes, but he was right. He was trying to prove a point. He

tended not to give me a hard time, but that time I think he was right.” Downey called him when broke and homeless and asked for money. His father refused to help.

“If he hadn’t said to go and get a job, get it from friends, I might never have discovered my ability to hustle and that life wasn’t a handout.’

He delves in his little suitcase. Each of the Chinese formulas are designed to do something different. There’s also sunglasses and wet wipes and more Nicorette gum. “The supplements are if I’m feeling low in energy. I have an acupuncturist and many secret weapons. I train with martial arts. I am brown belt. I don’t do it every day. Some days I stay at home so I can see the boy.”

The boy, Exton, is an Aquarian. “I had an Aquarian girlfriend once. I’m not sure how that translates to baby boys. We are not in touch any more. She got mad at me for something that was probably my fault. She felt very strongly about it. Even if you have evidence to the contrary, if someone feels very strongly about something it’s always best to assume they are right.”

Before the current Mrs Downey he was married to actress Deborah Falconer after a six-week whirlwind romance. They were married in 1992. They had a son, Indio, now 19. The marriage broke down after Downey’s repeated trips to rehab and jail and ended in 2001. The divorce was finalised in 2004.

Before that he had an eight-year relationship with Sarah Jessica Parker. He told me once that he never left anyone. “I’ve only ever been left. They made that decision. They were never abandoned. Abandonment is something I’ve experienced.”

I don’t think he likes to dwell on the past. He’s very much in the present. He likes to brim with enthusiasm not weighed down by regret. He is not abandoned now by any means. He seems nurtured.

“The missus and I work incredibly hard to stay current with each other, to be kind to each other, to ignite each other when we can because if you’ve gone out and done your day and she’s done her day and you come home exhausted you need to try harder. You don’t want to be just coexisting. I don’t want to be too tired for her.”

Does he prefer to love or be loved? “I prefer to love although I’m getting better at the other.

I’ve allowed myself to be loved up for a good five years.” You can’t help wishing him that for many years to come.

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I

t has survived a world Othello, George Stevens’ A Place in Cannes had been used as a political war, witnessed more flesh the Sun and Raj Kapoor’s Awara. instrument, French filmmakers exposure than a doctor, And, in 1954, legendary director Jean formed the French Directors Guild, and can always be relied on Cocteau sketched the now legendary which in turn established Directors’ to attract the world’s most palm leaf motif for its top prize, the Fortnight, dedicated to supporting glamorous individuals to Grand Prix (in a nod to the city’s many the discovery of new talent, free from its sunny shores: Cannes Film Festival palm trees) – prompting organisers to censorship. Since its inception, the may have begun as something of a rename it the Palme d’Or. segment has showcased the first films social event – a means of celebrating By the end of the decade, what of such greats as Ken Loach, George the best of world cinema, free from was once an event largely attracting Lucas, Martin Scorsese and Francis political restraints – but, 67 years tourists and socialites had become Ford Coppola. later, it is now one of the most a meeting place for the world’s film In the decade that followed, prestigious and highly anticipated elite, who gathered in the sun at Scorsese and Coppola became the events on the international film the Palais Croisette (now the JW golden boys of Cannes, part of a new calendar.

Marriott) to meet, talk shop and toast wave of American cinema – Steven From the controversial antics of to their success.

Spielberg’s The Sugarland Express its visiting stars, now a tradition Cannes came into its own in the and Scorsese’s Taxi Driver were two of (think Sacha Baron Cohen in a swinging sixties, not only appointing the films debuted during the period. lime-green mankini or Madonna’s its first female jury president in 1965, It was also the decade that deliberate wardrobe malfunction), to Olivia de Havilland (followed by European filmmakers came into the shameless booing of their own, with Roman films by an ever-critical Polanski’s The Tenant, French audience – where Ridley Scott’s The Duellists the Academy Awards offer and Louis Malle’s Murmur refined elegance, Cannes of the Heart a hit with serves up wild abandon the critics. Cannes was aplenty. And both the stars riding high and, in 1978, and international press a new out-of-competition adore it. section was introduced to As the world’s biggest film stars prepare to roll into town Having been forced to encourage more daring and for Cannes Film Festival, AIR goes back in time… postpone its inaugural exciting works. event in September 1939 By the time the 1980s following the outbreak of the Second Sophia Loren in 1966), but through rolled around, the Festival had all World War, Cannes Film Festival the sheer depth and quality of the but outgrown its home at the Palais finally launched on September 20, films it was presenting – from Dennis Croisette and, at the end of 1982, a 1946, under the presidency of Louis Hopper’s Easy Rider and Robert dedicated festival and conference Lumière – largely regarded in France Mulligan’s To Kill a Mockingbird, venue was established. To celebrate, and beyond as the inventor of motion to David Lean’s Doctor Zhivago and Cannes stars (past and present) left pictures. Among the list of films Federico Fellini’s La Dolce Vita. Amid their hand prints in the concrete on presented were Alfred Hitchcock’s criticism that it was difficult for new Esplanade Georges Pompidou.

Notorious, Roberto Rossellini’s and emerging directors to get their Another decade brought another Rome, Open City, Billy Wilder’s Lost films shown at Cannes, the world’s string of classics – from David Lynch’s Weekend and David Lean’s Brief first ‘sidebar’ festival was launched in Wild at Heart to Lars von Trier’s Encounter. The event was more of 1962 – International Critics’ Week.

Europa, Spike Lee’s Jungle Fever and a forum than a competition, with The 1960s was also the decade Quentin Tarantino’s Pulp Fiction. almost every film winning some of the last glitch in the festival’s And, in 1993, Jane Campion became kind of award. Nonetheless, it was illustrious history. In 1968, amid the first and, to date, only female considered a success and by the general discontent in France, the director in the Festival’s history to win early 1950s – having weathered early culture minister tried to fire the cothe Palme d’Or, for The Piano. financial storms – it was attracting founder and head of the Cinemateque Today, Cannes is well established the best of international cinema (and Francaise, Henri Langois – a wellas one of the world’s foremost film its uber-glamorous stars). Between respected film figure. After much festivals, with directors aware that 1951 and 1953 at least 105 films furore, Langois was reinstated, but the to gain recognition there is to all but competed, including Orson Welles’s Festival was cancelled. Disturbed that guarantee success.

In the

Cannes

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1.

2.

3.

4.

TiTle

1.

Jack Nicholson pulled his now famous pose at Cannes during the Festival in 1974.

2.

Sophia Loren on the balcony of room 431 at the Carlton Hotel, above the croisette in Cannes, where she stayed while in town for the 1959 Festival.

3.

5.

Johnny Depp and then model girlfriend Kate Moss were the biggest draw at Cannes in 1997.

4.

Hollywood’s original golden couple, Natalie Wood and Warren Beatty, court the cameras in 1962.

5.

The paparazzi dress the part as they await the star turns on the red carpet in 1961.

6.

Flame-haired Jessica Chastain cemented her place on Hollywood’s A-list with her appearance at Cannes last year.

6.

Hits Parade The

Many of the most acclaimed movies of all time made their debut at Cannes. AIR paints its past success stories Best actor

Best actress

Best director

Palme d’Or

1986

Brit Bob Hoskins is best actor for Mona Lisa 1984 1952

1955 – First Palm d’Or

Viva Zapata! marks Marlon Brando’s first best actor nod

1946 - First Cannes

US actor Ray Milland scoops the best actor gong for The Lost Weekend

Director Delbert Mann wins the first Palme d’Or for his work on Marty

Orson Welles wins the Grand Prix du Festival International du Film for Othello

Michèle Morgan (for La Symphonie Pastorale) wins best actress

1957

The Long Hot Summer sees Paul Newman crowned best actor

1951

Golden girl Bette Davis, as broadway star Mango Channing, wins best actress for All About Eve

Other notable films at this inaugural festival included Hitchcock’s Notorious and Roberto Rossellini’s Rome Open City

Industry legend Ingmar Bergman is best director for Brink of Life 1960

Much-loved comedy La Dolce Vita is judged best film 1963

This Sporting Life sees Richard Harris get the nod for best actor

1979 Apocalypse Now - 62 -

UK-hit Cal wins Helen Mirren the best actress award 1979

The genre-defining Apocalypse Now wins Francis Ford Coppola another Palme d’Or 1976

Martin Scorsese’s seminal Taxi Driver takes home the big prize 1974

Francis Ford Coppola wins his first Palme d’Or for The Conversation 1968

Jon Voight wins best actor for his epic performance in Coming Home

1994 Pulp Fiction

1990

David Lynch’s memorable Wild at Heart is the biggest hit with the jury Foe of the taxman Gérard Depardieu (for Cyrano de Bergerac) is best actor 1993

2001

2002

The controversial Roman Polanski wins big for The Pianist

Former Palme d’Or winners Joel Coen, [for The Man Who Wasn’t There] and David Lynch [for Mulholland Drive] share the best director award

Jane Campion (The Piano) becomes the first female to win the Palme d’Or 1994

Quentin Tarantino’s masterful Pulp Fiction scoops the top prize

2004

Maggie Cheung is the first Asian to win at Cannes for Clean

2000

2006

Singer-cum-actress Björk is a surprise winner for Dancer in the Dark

Spanish language flick Volver is a hit for Penelope Cruz 2008

Benicio del Toro as Che Guevara is best actor 2010

Javier Bardem is best actor for his role in Spanish hit Biutiful

1976 Taxi Driver - 63 -

2012

Austrian director Michael Haneke wins his second Palme d’Or in only three years for Amour Romanian pair Cosmina Stratan and Cristina Flutur share the best actress award for Beyond the Hills 2011

Silent movie-era throwback The Artist sees Jean Dujardin as best actor

Terence Malick [The Tree of Life] is the festival’s big winner

Made in Italy Some 20 years after Monica Bellucci made her film debut, the actress speaks about life as a working mother, love and why she intends to age gracefully….

Words: Leah Oatway

R

un an internet search on Italian actress Monica Bellucci and it is all but impossible to avoid reference to her smouldering beauty. The former model’s sultry looks are a global phenomenon. At 48, Bellucci continues to top lists of the world’s most attractive women and just last year the long-term Cartier muse became the face of Dolce&Gabbana.

“She expresses perfectly the Dolce & Gabbana woman,” said Stefano Gabbana at the time. “She is ravishing – a true Italian icon.” Domenico Dolce adding: “Her beauty is timeless.

She expressed Dolce & Gabbana as a picture of the perfect woman.”

But, Bellucci is far more than just a pretty face. Some 20 years after the raven-haired, olive-skinned beauty made the move from modelling to acting, her on-screen talent is now as universally accepted as her astonishing looks. Indeed, so powerful a force is Bellucci that when Hollywood wants her, it literally comes knocking.

“I don’t think I need to live in Los Angeles if I want to work in Hollywood,” said the actress, who, until her recent move to Rio de Janeiro, was based in Paris with her husband, the French actor Vincent Cassel, and their two young daughters, Deva and Leonie. “They know where I am. It’s funny, because I met Spike Lee in Paris; the meeting with Mel Gibson was in Rome. I only come to Los Angeles when I have to do meetings.”

Of course, it wasn’t always that way.

Having been born in Città di Castello, Umbria, Italy, in 1964, Belluci moved to Milan in 1988 seeking fame and fortune and signed with Elite Model Management. Within a year she was gracing the catwalk and fashion pages on both sides of the Atlantic – Paris and New York. However, hungry to do more, that same year Bellucci enrolled in acting classes.

“In the beginning, it was so difficult because people didn’t take me seriously,” she admitted. “And, actually, it’s normal because being a model is completely different from being an actress. It doesn’t happen

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very often that a model can become a good actress, so I know I’m very lucky to have the possibility to work in this profession, with such good directors from all over. Of course, I am luckier because those people call me, I don’t look for them.”

Having had minor roles in the Italian film La Riffa and Bram Stoker’s Dracula in the early nineties, it was Bellucci’s captivating performance as Lisa in the award-winning L’Appartement that saw her gain a César Award nomination in France for best supporting actress - catapulting her firmly into the limelight. It was on set that she also met and fell in love with her co-star, Cassel.

“It was not an instant thing, not at all,” she has told reporters. “I was

from The Matrix Reloaded and The Brothers Grimm to The Whistleblower and the highly controversial Irreversible. Never one to shy away from a challenging role, choosing the right films, she insists, is even more important as a European actress straddling two continents.

“I am never going to be [a typical Hollywood actress], because I look different, I sound different,” she said.

“So I have to find the right project each time. When I make a film, I stay there for two or three or five months of my life. It’s a long time. I have to give a lot in the movies and that’s why I need to believe in the project. And then, if it’s successful or not, nobody knows.”

She added: “From the moment I am there working, I need to feel that

Images: Courtesy of Dolce&Gabbana. Additional reporting: Fabian W Waintal

‘It doesn’t happen very often that a model can become a good actress. I know I am very lucky’ attracted to him - at the same time I wasn’t sure of him.

“The more time passes by, the more I love the man he has become,” she continued. “When I met him he was a 28-year-old boy. Now he’s a man with a great sense of responsibility who makes me feel good.”

Cassel has spoken equally as adoringly of his leading lady.

“I hope it’s not too arrogant to say that with Monica, many people do [fall in love],” the acclaimed actor told journalists during a press junket for Mesrine. “Serge Gainsbourg used to say that a cinema is [not] a place to leave one’s wife alone, and I know this from having [fallen for] Monica during filming. It is so strong, so intense, so I know I’ll never fall in love with anyone again. It’s also why I’ve now made nine films with her.”

Bellucci remains a big box office draw: whether starring in a Hollywood or European title, her name carries weight and award nominations usually follow. Her resumé is as impressive as it is eclectic, including everything

the director believes in what he is doing, that all of the actors are there together. For me, it is impossible to make films just for the money.”

While other actresses in her age group have resorted to face fillers and surgery to retain their looks, Bellucci is steadfast in her resolve not to be drawn into that world.

“There is this thing in America where actresses reach 40 and go mad,” she has said in the past. “The film industry wants all these young people.

They also like a different sort of woman (to me). I will never be skinny.

I love to eat. Who cares? I am natural.”

It is this attitude Bellucci hopes to instill in her two daughters.

“I think that the movie The Brothers Grimm was a good metaphor for anyone who believes that their image or beauty is who they are. When the image or the myth is destroyed, the person is lost along with it. I think it is the perfect movie for all of us, but especially for actors because we are the first victims of vanity.”

The threat of her looks fading does

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not worry the actress – unsurprising given how dazzling she remains as she approaches 50. Death, however, is a concern.

“I am scared about death because I have two children and I want to see them grow up,” explained Bellucci, who made a conscious decision to become a mother relatively late in life – she gave birth to Deva in 2004, aged 39, and Leonie at 45.

“If I had been pregnant 10 years before, it would have been a disaster,” she said. “I wasn’t ready and I was so much into myself, but now I am prepared to give and to take care of my baby.”

She had initially planned to have another daughter soon after her first, but that changed when she became a mother to Deva.

“Ultimately, I wanted to have time with just her and be really confident and know who she really is before I could get pregnant with my second,” Bellucci told the UK’s Daily Mail. “I was lucky to get pregnant at 44. We didn’t have to try for a long time - it was natural.

“As a woman I feel so complete because it happened at the right time in my life.”

Pictures taken behind behind the scenes at Dolce&Gabbana’s SS13 campaign shoot, the first advertising campaign shot by Domenico Dolce.

motoring

Wheels of Fortune Classic car enthusiasts from across the globe will decamp to Italy’s glorious Lake Como this month for the world’s oldest celebration of automobile design

A

s far back as 1929 the stunning surrounds of Italy’s Lake Como played host to what’s still widely considered the most traditional car show held anywhere in the world, the Concorso d’Eleganza Villa d’Este. This weekend-long homage to classic car design is housed in the manicured grounds of the lakeside Villa d’Este, and sees more than 50 rare examples of beautifully crafted and impeccably preserved cars from the period 1920-1980 compete for a medley of prizes.

The likes of Ferrari, Bugatti, Mercedes and Lamborghini will all display models at the event, which has been held under the patronage of the BMW Group since the turn of the century. And of those on show, Dr Ralf Rodepeter, Director of the BMW Museum and member of the Concorso d’Eleganza Villa d’Este Selection Committee, is confident of the cars that will draw the most eyes. “Aston

Martin created a monument to itself with the 1960 DB4GT Zagato”, stated Rodepeter when he spoke of the event recently. “Just 19 examples of this extraordinary sports car were fitted with their hand-built Zagato bodies in Newport Pagnell, and only four were purpose-built in 1961 for use on the race track.” The model on show at Villa d’Este is one of these four, a car that was driven by champion driver Jim Clark and lovingly restored to its 1963 state by Aston Martin while in the hands of its current private owner.

“The first step to Ferruccio Lamborghini fulfilling his dream of building genuine sports cars that would give his Italian rivals from Maranello something to think about came in the form of the 350

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GTV prototype, which left a lasting impression on the automotive world at the 1963 Turin Motor Show,” recalls Rodepeter. “This Franco Scaglionedesigned precursor to the first Lamborghini series-produced sports car (the 350 GT) was a hit on account of its V12 engine, conjured by Giotto Bizzarrini, which occupied its own pride of place alongside the car at the show.“ Guests at Concorso d’Eleganza will get to see a 1963, ready-to-drive, mint condition 350 GTV, resplendent in stunning green metallic paintwork.

But perhaps the finest car on show

‘The Bugatti T 57SC model remains one of the world’s rarest and most valuable cars’ belongs to Bugatti. Its T 57SC model remains one of the world’s rarest and most valuable cars. “The ‘masterpiece’ of Jean Bugatti, son of company founder Ettore Bugatti, is blessed with both breathtaking design and extraordinary engineering” enthused Rodepeter. “Only four examples of this nigh-on flawless automobile

were built between 1937 and 1938 at the legendary factory in the Alsace, and the one on show at Concorso d’Eleganza is number four in the production run”.

Though each of these models is already in private hands, attendees to the shores of Lake Como can bid for a slew of other unique vehicles, with RM

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Auctions putting some 45 top-class cars under the hammer. They include a stunning 1953 Ferrari 340/375 MM Berlinetta ‘Competizione’ by Pinin Farina (pictured above); a 1930 Bugatti Type 46 Coupé Superprofilée in the style of Jean Bugatti; and the ever cool 1962 Mercedes-Benz 300SL Roadster. And where better to road test your new purchase than amid the spectacular surrounds of Lake Como?

Concorso d’Eleganza Villa d’Este. May 24-27, 2013, Villa d’Este hotel, Lake Como, Italy

gastronomy

Fishy business

When it comes to setting dining trends, every city follows London’s lead. AIR met one of its most creative chef to find out what gourmands will be served up next...

Words: Leah Oatway

I

t’s difficult to imagine a chef that works harder than Yoshinori Ishii.

When he’s not whizzing up culinary masterpieces as the executive chef of Umu, the Michelin-starred Japanese restaurant in London’s Mayfair district that revered critic Simon Kelner reviewed as “the best meal I have ever eaten in my life”, he’s busy making the crockery it is served on.

“I make it at home in my dining room and my ceramist friend fires it at County Hall, just next to the London Eye,” he told AIR in a rare moment outside of the kitchen.

The relationship between what is cooked and the pottery used to present it, Ishii explains, is an important part of Japanese culture.

“We say ‘plates are costume for food’ and so it is very important for us to present food deliciously and entertain

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the customer’s eye as much as their taste buds. There is a great deal of variety between the types of Japanese dishes I make: ceramic, porcelain, wood, bamboo, metal, paper… all with different shapes. Every dish has its own intended purpose. If I serve 10 courses from the menu at Umu, I enjoy choosing a variety of 10 dishes to present the food, each unique to the course served.”

Ishii’s aim is to eventually design

and make all of the restaurant’s plates, a feat he says “will hopefully be completed in about one year’s time”.

“I just can’t picture food without considering the plates it will be served on – plates are part of my food, as they are key to the presentation, which is an aspect of cooking and eating that I have grown up with.”

It is this passion and creative streak that first led a young Ishii to cooking.

Having grown up in the seaside prefecture of Chiba, on Japan’s east coast, he developed an early fondness for fishing and would sometimes cook the fish that he caught. When his mother died, Ishii, then just 12 years old, “took over the role of cook in the household”.

“I taught myself with memories of the taste of my mother’s dishes,” he said. “It continues to inspire my food.

These are always in mind and will stay with me always. [She] cooked very delicious food every day. It was very basic, home-style food such as traditional Japanese dishes, pickles, fish and rice, but it was delicious.”

Having fallen in love with cooking, Ishii pursued it as a career, cutting his teeth at the three Michelinstarred restaurant Kyoto Kitcho in Japan, where – alongside his role as sous chef – he cultivated traditional Japanese vegetables and preserved and arranged all of the restaurant’s cultural touches, from flower arranging to tableware.

From there he moved on to the Japanese Embassy for the United Nations in Geneva and New York, where he was head chef, before working as omakase chef (read: a chef responsible for choosing innovative dishes for customers, at their request) at New York’s Morimoto restaurant.

It was during this time that he won the prestigious Rising Star Chef award and reached the finals of the Vilcek prize for culinary arts.

Today, at Umu, Ishii serves up acclaimed Kyoto-inspired cuisine, including Kaiseki, a Japanese banquet of seven set dishes that traditionally accompanies the tea ceremony. “Kyoto was the capital around the 8th century

‘I just can’t picture food without considering the plates it will be served on – plates are part of my food’ and had mountains around the city.

There was no sea around so fresh fish was difficult to source, but it was possible to bring in dried or cooked fish.

“People developed food in that unique location without fresh fish. In Kyoto, they love to keep to tradition and discover something new as well – that’s why, nowadays, we can eat something very traditional but very modern at the same time.”

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While the people of Kyoto may not have always cooked with the freshest fish, it’s something Ishii is a passionate advocate of. So much so that he is on a one-man mission in London to revolutionise the way British chefs consider fish – from the water it swims in through to the way it is treated post-catch.

“Japanese people know how to choose fresh fish very well, even if they are not chefs,” he said. “If it’s

gastronomy

‘I taught myself with memories of the taste of my mother’s dishes’

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old, nobody will buy it, which is why fishmongers try to sell their fish as fresh as possible. Japan has a special mode of transport too – we can get same-day shipping even in Tokyo: fishermen land in the morning and come into the city in the evening.”

In New York, Japanese fishmongers often import fish from Japan’s Tsukiji market, quickly, for customers. It was Ishii’s initial frustration at the absence of a similar system in the UK that inspired his attempt at a “fish ‘n’ chip revolution”.

“Before we had established our excellent suppliers at Umu, it used to really stress me out when the fishmongers would deliver old fish,” he said. “[The fish ‘n’ chip revolution] is about creating a more efficient transport system with Japan, teaching other fishermen how to handle fish

in the same way as the Japanese fishermen do. I believe that this is good for the customer, the chefs using the fish, the fishmongers, fishermen and also for sustainability in nature.”

And it is not just how it’s brought in, either: water and soil impact the texture, taste and look of both fish and vegetables and should always be carefully considered.

“Soil in Japan has more minerals from weather and climate (warmer in summer and colder in winter, with a longer spring and autumn), which makes the vegetables tastier in my opinion. When I farmed Japanese round eggplants from special Japanese seeds, they grew in the same shape but had a completely different flavour.”

Japanese farmers even use sardines as plant food when growing

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vegetables, in a bid to enrich the vegetables with minerals.

“River water comes from the mountains and flows into the sea where the minerals from the different soils enrich the fish. The presence of these minerals gives extra UMAMI acid, which is very important for the flavour and gives an improved texture to the vegetables as well. Also, it makes the vegetables healthier.”

If the Brits heed his advice, the acclaimed Japanese chef sees no reason why there couldn’t one day be a Michelin-star worthy fish and chip restaurant. “Why not? If the chef knows the quality of the fish is excellent and sources from the best possible fishermen, using the correct potatoes, the correct style of cooking and with the correct marketing behind them, of course it could be possible.”

Travel

The

Cuban collective

Renowned British furniture designer and photographer Basil Hyman hopes to shed new light on pre-revolutionary Cuba through his archive of images and memorabilia‌

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Images: Supplied

W

hen Basil Hyman finally made it to Havana, Cuba, in 2006, it was the realisation of a dream the British photographer and furniture designer had held since his early 20s.

With Walker Evans’ paradisiacal images of glamorous, prerevolutionary Cuba still fresh in his mind’s eye, Hyman had finally ventured there with his wife and a magazine photographer friend to celebrate his 70th birthday in style.

All those years later, though, the reality of Castro’s Cuba was decidedly different from that which had inspired his trip.

“There was no trace left of the decadent years,” the now 76-yearold Brit recalled. “Nightlife was not allowed, horse racing was gone and the deluxe hotels were no longer deluxe. What surprised me more was that we were unable to find any printed evidence of Cuba’s past.”

On arriving back in London, Hyman - a lifelong collector of ephemera – was determined to recover such materials, believing there are memories and tales of bygone times to be found in items others would simply throwaway. While he found nothing of note in the English capital, success came when he crossed the English Channel and explored Paris.

“I came across a dealer who sold me an archive of a known 1920s Chicago gangster, Grover Dullard, who was once the chauffeur and body guard of Terry ‘Machine Gun’ Druggan, a friend of Al Capone.”

The archive was, in fact, a fascinating and diverse collection of old photographs of rival Chicago gangsters. Among the images were their Havana holiday snaps, as well as menus, playbills and tickets.

During the United States’ prohibition era, Cuba’s tourism industry had flourished – funded in large part by gangsters looking to invest their ill-gotten gains. Havana was a playground for the rich, with

luxurious hotels and a glamorous and wild nightlife: it soon became the destination of choice for the world’s celebrities and super wealthy.

Perhaps the most famous of Havana’s destinations was Hotel Nacional, which opened in 1930 and counted Errol Flynn, Spencer Tracy and Ava Gardner among its long list of high-profile guests. It was here that the Mafia conference, dramatised forever in The Godfather II, was secretly convened by renowned mobster Lucky Luciano and Meyer Lansky in 1946. A postcard and luggage tag from the hotel feature in Hyman’s The Havana Archive archive, to be published in June.

Havana, until Fidel Castro seized power on January 1, 1959, was a place of excess, indulgence and shady dealings – and it is this world, good and bad, that Hyman’s book brings to life.

‘Havana pre-Castro was a place of excess, indulgence and shady dealings’ Arguably the most impressive photograph in his collection features a group of men at a Chicago racetrack (pictured left): on the back of the image, the men are listed as Al Capone, Al Jolson and Dion (also known as Dean) O’Banion – a known Capone rival who was assassinated

by Capone’s Chicago South Side gang some time in 1924.

There are also images of Dullard with various people in Cuba, and a letter, seemingly from his sister, Carrie, sending him luck and best wishes for a supposed losing streak he had encountered.

Pages from old photograph albums also feature, which include two images that had been pasted in and labelled as ‘Bugs in Cuba’ and ‘Bugs before he went to prison’. Hyman believes the name Bugs could well refer to Bugs Moran, another prominent Chicago

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gang leader, and continues to spend his days researching the materials in his possession to learn more.

In the meantime, and in a bid to enlist the help of the wider public in creating a picture of how Cuba used to be, Hyman’s fascinating find has been collated and published by Booth-Clibborn Editions. It is divided into two parts: the first consists of Dullard’s property; the second a collection of printed material from pre-revolutionary Cuba.

“The archive is a sinister backdrop to the image of Havana and prerevolutionary Cuba,” said Hyman. “To complete the picture, I have included my collection of ephemera celebrating the glamorous and exotic holiday destination I dreamed of in my 20s, with its famous hotels, extravagant cabarets and clubs, and the people who visited them.”

Images: nantucketislandresorts.com

F

orget the Hamptons or Long Island, when it comes to exclusive summer getaways the seriously wealthy are heading over to Nantucket Island.

If this month’s release of Baz Luhrmann’s The Great Gatsby sees you seeking a summer escape fit for its protagonist, Jay Gatsby, then you’d do well to familiarise yourself with this charming destination before the crowds descend.

Located at America’s most easterly point, 30 miles south of Cape Cod, Massachusetts, Nantucket Island is considered by many to be the modern-day equivalent of West Egg – the fictitious scene of Gatsby’s long, hedonistic summers, where he partied with New York’s super wealthy ‘new money’ crowd.

West Egg is said to have been based on Great Neck, Long Island – a popular haunt with the rich and glamorous during the jazz era. But while Long Island remains a hotspot for the monied, today its formidable charm has been usurped by the serenity and understated elegance of postcard-perfect Nantucket Island.

If you need further convincing, why not ask Tommy Hilfiger, Bill Gates or Google CEO Eric Schmidt? They are, after all, among an ever-expanding list of the world’s most influential billionaires who escape to the former fishing village, resplendent with 82 miles of sandy beaches, as well as lighthouses, historic harbours and quaint inns.

If it looks familiar, perhaps it’s because Walt Disney is said to have modelled Disneyland on it, so enamoured was he with its unassuming beauty.

Don’t expect anything glitzy though: there aren’t even traffic lights there, let alone lights of the neon variety.

Nantucket Island’s charm lies in its classic New England beauty, its sense of community and olde worlde character: think independent stores selling nautical supplies, cedarshingle houses and seal-filled waters. You won’t find a fastfood joint on this Quaker-settled island.

Despite its simple approach though, Nantucket Island is no stranger to wealth. Its history is steeped in the whaling industry, which in the 18th and 19th century was buoyant (Moby Dick is said to have been based there). Nantucket

thrived then, its literacy rates and wealth among the highest in America.

The island’s wealth sank with the whaling industry, when kerosene and petroleum were discovered, before the Broadway jet set rediscovered its beauty in the 1920s. The Northeast’s wealthy followed and, later still, the super rich.

Head to Nantucket this summer and its small population of around 10,000 will have swollen to as many as 60,000 people, making booking way ahead of time imperative for those not blessed with cedar-shingled holiday homes on the island.

Yacht owners may fancy sailing into The White Elephant (whiteelephanthotel.com), a chic haunt established in the 1920s and favoured by A-listers, (including Luhrmann’s Gatsby, Leonardo DiCaprio), who is said to have stayed there. Moor your pride and joy outside before watching the sun set over the harbour from the cosy confines of the hotel’s garden cottages. A short stroll from this beautiful abode will find you on the cobbled streets of Petticoat Row, at the heart of the historic district. This central shopping street earned its name during the mid-19th century, when most of the shops were owned and run by Nantucket women. Shopping desires satiated, there’s just time for a walk on one of the island’s windswept beaches before enjoying the finest steak or seafood at Brant Point Grill.

Satiated, curl up with a book in the plush library or return to your cottage to warm up in front of a log fire.

If it’s refined, old-school glamour you’re after, then reserve a room at The Wauwinet (wauwinet.com), on the northeast corner of the island. Live the Gatsby dream with a little croquet in the gardens, learn to cook with chef Kyle Zachary, of Toppers – the hotel’s fine dining restaurant where the who’s who of Nantucket head for a feed, or learn how to haul in a lobster trap aboard The Wauwinet Lady (the hotel’s boat). There are also two private and pristine beaches to enjoy before dining.

Nantucket is an island that offers its A-list clientele everything they could wish for: from 82 miles of beaches to cosy abodes and a thriving art scene. Just don’t expect the Hollywood star treatment – its visitors are far too classy for that.

Treasured Island Ever wondered where the modern day Gatsby’s spend their summers?

AIR reveals the exclusive charms of Nantucket Island…

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life lessons

What I KnoW noW

Frederic Malle

Founder of Frederic Malle

I believe in friendship and working with the right people. I own 100 per cent of my company, so I’m free.

company and now they have become our logo and emblem. I work for them.

I publish their work.

At a time when all the stores were completely minimalist, I went the opposite way because I’m an animal of comfort, because I knew that I would be at that store and because I believe that to choose a fragrance you need a certain level of intimacy.

I was wearing fragrances as a child, which was very unusual. I was very aware of fragrance because my mother (then art director of Dior’s perfume house) brought me up around it. [She] had an obsession with fragrance because her father (Serge HeftlerLouiche, founder of Parfums Christian Dior) died when she was very young.

There was more to perfume than perfume itself.

I have the perfumers’s pictures [in my stores]. They have their names on the bottle, they are the authors of the

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I am very lucky in life: I will never say that enough. I come from a family that has the most extraordinary legacy. I was pushed to be curious… I owe that to my parents.

Even though I love the idea of having a legacy, and my children are very important to me, I want them to do their own thing. My biggest pride will be having them be themselves.

I want to create a company that can work by itself, which can become a shelter for the world’s best perfumists.