AIR Gama Aviation July'15

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Welcome JULY 2015 : ISSUE 50

AIR’s 50th Issue

Managing Director

Victoria Thatcher

Welcome to the 50th edition of AIR, the region’s most H[FOXVLYH PDJD]LQH GHYRWHG WR FXOWXUH DQG WKH ¿QHU things in life. To celebrate this milestone, we’re turning RXU DWWHQWLRQ WR WKH EUDQGV ¿OPV DQG ZRUNV RI OLWHUDWXUH WKDW DUH DOVR HQMR\LQJ D ODQGPDUN \HDU +ROO\ZRRG heavyweight Jeremy Piven is also turning 50 this month, MXVW DV KLV PRVW IDPRXV FKDUDFWHU PDNHV KLV ELJ VFUHHQ bow, so who better for us to interview?

Editorial Director

John Thatcher Group Commercial Director

David Wade david@hotmediapublishing.com

Commercial Director

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Rawan Chehab

AIR

rawan@hotmediapublishing.com

Business Development Manager

Rabih El Turk )URP KHUH XQWLO $,5ÂśV WK LVVXH WKDQNV IRU UHDGLQJ

rabih@hotmediapublishing.com

Editor

Richard Jenkins

Richard Jenkins

richard@hotmediapublishing.com

Editor, AIR Magazine, July 2015

Features Editor

Lara Brunt lara@hotmediapublishing.com

Senior Designer

Andy Knappett Designer

Emi Dixon Illustrator

Andrew Thorpe Production Manager

Chalitha Fernando

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Contents JULY 2015 : ISSUE 50

Features

Fifty

Jeremy Piven The Hollywood star on growing up, getting sensitive, and dealing with fame Fifty Six

Sinatra 2015 would have been Old Blue Eyes’ 100th birthday, and his music is back in London Sixty Two

Printemps 150 years ago, a French department store revolutionised luxury shopping Sixty Six

Harper Lee

AIR

2YHU ÂżIW\ \HDUV VLQFH publishing her masterpiece, Harper Lee is releasing a new novel

Contents

Eighteen

Radar A pair of antique duelling pistols up for auction Twenty Six

Art & Design Van Gogh’s anniversary and the RA’s summer exhibition Thirty Four

Seventy

Style

Motoring

Yves Saint Laurent’s enduring appeal to women

The story of the DeLorean DMC-12

Forty

Seventy Four

Jewellery

Gastronomy

*DUUDUGÂśV \HDUV RI ÂżQH jewellery

Wassim Halal’s diving dishes

Forty Six

Seventy Eight

Timepieces

Travel

A. Lange & SĂśhne have much to celebrate

Zermatt takes on the Matterhorn 10

Tel: 00971 4 364 2876 Fax: 00971 4 369 7494 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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Gama Aviation JULY 2015 : ISSUE 50

Welcome Onboard JULY 2015

I’m delighted to welcome you to the July edition of AIR, Gama’s in-flight magazine. I hope you’ll enjoy learning more about our global business aviation group and the services we provide as you browse through the pages. Gama is one of the world’s largest business jet operators – we have nearly 80 business jets operating all around the globe. Established in the United Kingdom in 1983, we’ve grown to have bases throughout the Middle East, Europe and North and South America, as well as operating licences issued by the UAE, UK, US and Bermudan Authorities. In addition to providing aircraft management and charter services, the group also provides aircraft maintenance, avionics design and installation, aviation software, aircraft cleaning, and leasing services to a wide range of clients. Gama’s expansion in the Middle East continues to progress well; our regional fleet has grown significantly over the past 12 months with the arrival of a number of aircraft, along with the continued development of our regional footprint and services. This includes the opening of our Jeddah office and Abu Dhabi base. Also, Gama is now operating the only business aviation FBO at Sharjah International Airport, which is proving to be a very popular facility for Sharjah and the Northern Emirates, as well as a practical alternative to Dubai International Airport. Business aviation remains one of the best tools available to corporations and individuals who want to make time for themselves and it’s been pleasing to see a continued resurgence in charter flights – the world is travelling for business again and developing much needed revenue for the global economy. Thank you for choosing Gama – welcome onboard.

Richard Lineveldt General Manager Gama Aviation

Contact Details: charter.mena@gamaaviation.com gamaaviation.com 13

WITH US TIME IS ON YOUR SIDE From the moment you touch down at Gama’s Sharjah FBO you’ll know that time is working for you. On average, six minutes after you land you’ll be in your car and on your way. Only 10 minutes from Sharjah itself and a mere 20 minutes (or less*) from Dubai means you’ll be productive before others will have even picked up their bags. Gama Aviation is the exclusive FBO provider at Sharjah, call us for all passenger services and aircraft handling on +971 6557 0177, email fbo.shj@gamaaviation.com or visit www.gamaaviation.com for more information *Helicopter transfers

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• Aircraft & passenger arrival and departure services • Customs & Immigration preclearance services • Private Majlis and First Class lounges • Chauffeur and crew transport options available • Flight Planning Services • Hangar, Fuelling, Aircraft Parking & Maintenance services • Hotels at preferential rates • Car ramp access

Gama Aviation JULY 2015 : ISSUE 50

Gama Aviation and Hermes Retreats team up to create luxury vacation packages Hermes Retreats is a privately owned collection of luxury hotels, villas and lodges. In Thailand, they created one of the ďŹ nest award-winning luxury ensembles of luxury villas (10 suites individually styled & designed) on the tropical islands of Koh Samui. In Kenya, they own Olarro; a unique safari lodge nestled 6,000 ft high in the Loita Hills surrounded by 7,000 acres private conservancy.

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Gama Aviation JULY 2015 : ISSUE 50

In the Seychelles, they own Dhevatara Beach Hotel on the Island of Praslin, one of the 115 granitic islands in The Seychelles archipelago and the second largest island in the country. It is known as the “Isle De Palmes” - The Palm Island. COMING SOON: A new resort in the Seychelles - The Marianne Private Island retreat is a small granitic island that used to be a coconut plantation. Whether your target is adventure, family reunions, romance, corporate getaways, or simply an ethnic experience… there is no better place

to enjoy the tranquility, privacy, exclusivity and luxury other than at a Hermes Retreats’ location. At Gama Aviation, we wanted to give our discerning clients the facility and VIP treatment they deserve when looking for a holiday destination. Now, with our VIP jet charter and vacation packages, travellers have zero arrangements to make except for choosing their desired property and showing up at our gorgeous FBO lounge while we handle all the rest (VIP ground transportation, jet charter, reservations with Hermes Retreats, some wonderful activities 16

and locations). Vacations done The Gama Way! We are confident that the services provided by Gama Aviation to those individuals that want to enjoy their carefree vacations will have a memorable impact and make them eager to try a different destination for their upcoming trips. For more information about Hermes Retreats visit www.hermesretreats. com. To book a trip to any of these stunning locations, please contact charter.mena@gamaaviation.com or call +971 6 502 7 777

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Radar

AIR

JULY 2015 : ISSUE 50

In this 200th anniversary year of the Battle of Waterloo, Sotheby’s will auction a pair of bespoke gold-encrusted pistols made for Napoleon’s beloved son and heir. Created by celebrated gunsmith Jean Lepage and dated 1814, the pistols mark one of the most poignant moments in the Emperor’s turbulent life - the last time he saw his son before defeat in battle and exile to Elba. The pair has an estimate of £800,000-£1.2million and the sale takes place in London on July 8. sothebys.com 18

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Critique JULY 2015 : ISSUE 50

Film Amy Dir: Asif Kapadia A documentary on the late singer-songwriter Amy Winehouse, who remains a huge music icon despite releasing just two albums. AT BEST: “Punchy, provocative and just plain sad, whether you’re a fan of Winehouse’s music or not, Amy is a film you’ll be thinking about for days after.” The List AT WORST: “Heartbreaking and wrenching, if not always satisfying.” The Wrap

Big Game Dir: Jalmari Helander A young teenager camping in the woods helps rescue the US President when Air Force One is shot down near his campsite. AT BEST: “Its tongue-in-cheek humour and lapidary one-liners are combined with some well-staged stunts.” Independent AT WORST: “It all comes together in a satisfyingly preposterous finale… Shame it leaves so many [loose ends] in the middle.” Sky Movies

Mr Holmes Dir: Bill Condon Grappling with the diminishing powers of his mind, ageing Sherlock Holmes revisits the unsolved case that forced him into retirement. AT BEST: “ McKellen gently, brilliantly expose the frailties of an immortal character.” Total Film AT WORST: “The unhurried pace will frustrate some, while those looking for a really brain-teasing mystery will also be disappointed.” The List

Trainwreck Dir: Judd Apatow A commitment-phobic career woman (Amy Schumer) may have to face her fears when she meets a good guy. AT BEST: “Amy Schumer and Judd Apatow craft a winning portrait of a good time Sally in the grip of her first serious relationship.” Variety AT WORST: “Trainwreck isn’t perfect, but it’s hardly a... railway disaster.” CraveOnline 21

Critique JULY 2015 : ISSUE 50

AIR

Theatre

T

ennessee Williams’ oneact drama Suddenly Last Summer was first produced offbroadway in 1958, and its subject matter – a disturbed young woman blackmailed into a lobotomy – is just as devastating today. The Theatre by the Lake, Keswick, brings the drama to England’s north. The Guardian writes of star Emily Tucker’s turn as the unfortunate protagonist: “Emily Tucker turns this histrionic monologue into a theatrical aria so compelling it produces genuine palpitations. The sense of an operatic mad-scene is reinforced in Mary Papadima’s swampy production by Ben Ingles’s doctor affecting a Louisianan lilt so soft and musical he appears to be singing the part. The evening is filled out by a fascinating fragment of Williams exotica,

Mister Paradise, which was only rediscovered among a collection of the playwright’s early one-act exercises in 2000. It too concerns the disillusionment of a poet the world is likely to forget, though compared with Sebastian’s output, Anthony Paradise’s slim volume, discovered in an antique store propping up a table leg, is positively prodigious.” Until November 4. Shakespeare’s late romance, The Tempest, is one of the easiest to stage – and yet also one of the easiest to mis-represent. New York’s Delacorte Park is the latest setting for the play, where protagonist Prospero is the problem, according to The Guardian’s Alexis Soloski: “This changeable, layered Prospero leads director Michael Greif’s patchy interpretation of the late romance. 22

As Waterston plays him, Prospero is both a tyrant and a victim. Robbed of his dukedom, he now reigns over a semi-desert isle, enslaving the sylphs and goblins that inhabit it. He can be a kindly master or, as the weals on Caliban’s back show, a pitiless one.” Ben Brantley of the New York Times is kinder, and writes: “The scenes in which Ferdinand and Miranda’s relationship moves from thunderstruck mutual attraction into full-blown love are among the best here. I also enjoyed the performances of Jesse Tyler Ferguson (a star of “Modern Family” on television and a Shakespeare in the Park staple) and Danny Mastrogiorgio as drunken castaways who team up with the island’s resident rebel, the misshapen Caliban.” Until July 5 Patrick Marber has spent some time in the wilderness of British playwriting, but has returned to form with The Red Lion, running at The National Theatre in London. Dominic Cavendish of The Telegraph writes: “His choice of subject? Football. Not high-end, multi-million pound, bribery and corruption football but grass-roots, non-League, semi-pro, relatively lowly footie. In theory, this is where the honest-to-goodness passion is but Marber, without chasing headlines, suggests that even here funny money lurks and promising youth gets tempted into foul play. Sound worthy? Not at all. It’s a triumph.” Cavendish goes on to praise the underlying depth, writing: “The evening’s sustained pleasure doesn’t really lie in the bare-bones of what happens but the way Marber fleshes things out – moving beyond a rote examination of the beautiful game and peering at its ineffable qualities, using fancy verbals, subtle understatement, all the tricks of the trade. Without getting bogged down in pretention, sentimentality or pedantry, he locates a desperate male urge for a sanctuary – even here in the dank, forlorn dressing-room where the action takes place.” Until September 30.

Critique JULY 2015 : ISSUE 50

Art A

rt gets interactive in London this summer, as Belgian artist Carsten Höller – best known for his installation of five slides in Tate Modern’s Turbine Hall in 2006 – brings his experiential works to the Southbank Centre. The exhibition, Carsten Höller: Decision, sprawls across the gallery and erupts beyond its roof and walls. The Telegraph’s Rupert Hawksley predicts the show will be a huge hit, but ultimately feels it’s a bit gimmicky. “Almost every installation is designed to be explored or played with – though the experience is only very occasionally enlightening. And that has always been the problem with Höller. His exhibitions are great fun but largely forgettable – an immediate sugar rush, which leaves little lasting impression.” While the first work Decision Corridors “makes an impact”, The Independent’s Zoe Pilger says the rest of the exhibition has the atmosphere of a children’s playground. “When I visit, there are children running all over the exhibition, shrieking with delight. The inclusion of all ages in art is a good thing, but a more adult, more serious, and more coherent exhibition could have asked interesting questions about the nature of choice, free will and responsibility,” she writes. Until September 6. in Paris, the Palace of Versailles welcomes Bombay-born, Britainbased Anish Kapoor for an alfresco exhibition in its grand 17th-century formal gardens. With just six sculptures installed throughout 800 hectares of André Le Nôtre-designed gardens, the exhibition plays on the relationship between spectacle and history. According to Kapoor, Le Nôtre is one of the great French artists. “Almost every little thing is designed to an abstract perfection, where nature itself is almost not nature. I’m interested in turning all that upside down. The whole show in a way is about reversal,” the artist remarked to the Wall Street Journal. Until November 1. 24

Critique JULY 2015 : ISSUE 50

Books E

rnest Cline was the subject of a fierce bidding war for the rights to his first novel, Ready Player One, which was immediately co-opted into a screenplay by Warner Brothers. His sophomore effort, Armada, is an altogether new proposition, although still steeped in 1980s pop culture references. Critic Zack Hiwiller writes: “In Armada, Cline name drops The Last Starfighter and Ender’s Game early to give a wink and a nod to the audience that he knows he is just largely rehashing old ground, but he’s in on the joke and so are you now as well. Armada plods along largely content with fulfilling the promise on the book jacket. The first act sticks around for far too long. If Lightman would just read the damn book jacket, he could be clued in on the plot before the midpoint of the book. If you are looking for a story with subtext and mystery, as was at least mildly present in Ready Player One, you will be disappointed. There is one major twist that happens three-quarters of the way through the book, but it is heavily foreshadowed and so the reader just kind of shrugs and continues with the TitanFall fanfiction.” Another new writer with his reference-points firmly fixed in the 80s is comedian Aziz Ansari, whose ruminations on love and dating in the 21st century take the form of a surprisingly in-depth book, Modern Romance. Paste Magazine’s review reads: “The book is an obsessive exploration of what makes hearts flutter and break across the globe, but most importantly, it dissects those ideas through the lens of a right-and-left swiping society. And as a result, Ansari’s final product doesn’t only feel complete—it’s hilariously executed, even without his unmistakable high-register voice belting the punchlines. At 250 pages, Modern Romance is a lean, pithy read that’s perfect to reach the tech-obsessed generation it explores.” Ben Beaumont-Thomas of The Guardian praises the lengths

to which Ansari and his co-writer travelled, saying: “He has partnered with sociologist Eric Klinenberg, a professor and author at New York University, to create a rigorous and data-led examination of how we date. The pair conducted hundreds of interviews with people from Japan to the American midwest to gauge how love, sex and relationships have changed with the advent of networked technology.” Comedy juggernaut Judd Apatow was not always the Hollywoodstraddling monolith he is today. As a boy and teenager, he was just another small-town kid dreaming of stardom, and so he requested interviews with his comedy heroes – many of which responded positively. His new book, Sick in the Head, details meetings with such luminaries as Jerry Seinfeld and Chris Rock. Vulture writes: “Running throughout 25

each conversation is Apatow’s own understanding of comedy as a way to inhabit the world, work things out, and prove oneself. Apatow doesn’t have the happy-go-lucky sensibility of Jimmy Fallon or the meditative Zen of Jerry Seinfeld, which is perhaps what makes him an ideal avatar: He’s a neurotic worrier who self-flagellates even when he shouldn’t, someone still looking for his best self.” The New York Times states: “The focus is also less about how to make comedy than how to manage success in a tough business. The conversations veer, as they tend to do with comics, to dark places. When Mr. Apatow asks Mr. Carrey if success brings him peace, he says he worries calm will ruin his career, describing his work as about needing approval. ‘If I remain worthless in my own mind,’ Mr. Carrey says, ‘I will be the king of show business.’”

Art & Design JULY 2015 : ISSUE 50

Tortured Genius This month marks 125 years since the death of Vincent van Gogh. AIR looks at the tragic story of one of the founding fathers of modern painting AIR

WORDS : LARA BRUNT

“I

put my heart and my soul into my work, and have lost my mind in the process,� lamented Vincent van Gogh. Celebrated as one of the most important painters of all time, van Gogh is also one of the art ZRUOGœV PRVW WUDJLF ¿JXUHV 2YHUORRNHG as an artist during his lifetime, he suffered devastating bouts of mental illness, before eventually committing suicide in July 1890, aged just 37. To coincide with the 125th anniversary of his death, various museums in Europe will be hosting special exhibitions throughout the year, including the Van Gogh Museum in Amsterdam. From September 25, the museum – which houses the world’s largest collection of the artist’s paintings, drawings and letters – presents Munch: Van Gogh, an exhibition that concentrates on the DUWLVWLF DI¿QLW\ EHWZHHQ WKH WZR JLDQWV 0HDQZKLOH ¿QH DUW ERRN SXEOLVKHU

Taschen, has rereleased its comprehensive tome, Van Gogh: The Complete Paintings by Rainer Metzger and Ingo F. Walther. The book presents a detailed monograph on the artist’s life and art alongside a complete catalogue of his 871 paintings, reproducing most of them in colour.

Overlooked during his lifetime, he suered bouts of mental illness While van Gogh’s works today fetch tens of millions of dollars at auction – ¾3RUWUDLW 2I 'U *DFKHWœ VROG IRU D UHFRUG $82.5 million at Christie’s in New York in 1990 – he remained poor throughout his life. Born on March 30, 1853, in Groot-Zundert in the Netherlands, van Gogh quit school, aged just 15, for reasons unknown. His uncle found him 26

a job as a trainee at the international DUW GHDOHU *RXSLO &LH ÂżUVW LQ 7KH +DJXH DQG ODWHU LQ WKH ÂżUPÂśV London branch. During this time he visited the British Museum and the National Gallery, where he admired works by ‘peasant painters’ such as François Millet and Jules Breton. He also fell in love with his landlady’s daughter, Eugenie Loyer. When she rejected his marriage proposal, van Gogh suffered a breakdown that could have impacted the artistic world immeasurably. In 1875, he was transferred to Paris, where he became increasingly religious and less and less enamoured ZLWK KLV MRE DW WKH DUW GHDOLQJ ÂżUP The following year he was dismissed and, after a short stint as a teacher in London, returned home to study theology. However, he lacked the discipline to study and instead became a missionary at an impoverished

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coalmine in Belgium. Van Gogh began to draw pictures of the miners and their families, often sending the sketches to his brother, Theo, who worked as an art dealer at his old company, Goupil & Cie. After 7KHR RIIHUHG WR VXSSRUW KLP ¿QDQFLDOO\ van Gogh moved to Brussels in 1880 to become an artist. His parents, in contrast, were extremely disappointed, equating the life of an artist with social failure. Next, he moved to The Hague and took painting lessons from a cousin by marriage, the celebrated artist Anton Mauve. After an unrequited love, van Gogh became enamoured with Clasina Maria Hoornik, an alcoholic prostitute. She became his mistress and model for a time, but the relationship did not last. In 1885, van Gogh began work on ZKDW LV FRQVLGHUHG WR EH KLV ¿UVW masterpiece, The Potato Eaters. Later that year, he enrolled at the Royal Academy of Fine Arts in Antwerp, although he did not stay in the Flemish city for long. In 1886, he moved to Paris, where his brother Theo was now living. Impressionism was the growing trend in the French capital, and van Gogh was inspired by the colour and light. Van Gogh was introduced to the works of Claude Monet, Henri de Toulouse-Lautrec and Emile Bernard, among others, and began to experiment freely. Brighter colours, as in The Hill of Montmartre with Stone Quarry, replaced the dark tones of The Potato Eaters, while rural labourers gave way WR FDIpV DQG ERXOHYDUGV ÀRUDO VWLOO OLIHV and portraits. After two years, he moved to the village of Arles in the south of France. Delighted with the bright light and colours, he set to work enthusiastically, painting orchards in blossom and workers gathering the harvest. As his style became looser and more expressive, van Gogh rented four rooms in the Yellow House, with the view to establish a colony for artists, whose work Theo could sell in Paris. Living on coffee and absinthe, van Gogh began feeling unwell, and it soon became clear his psychological health was also suffering. ,Q 2FWREHU IHOORZ DUWLVW 3DXO Gauguin moved in with him. They had very different views on art – Gauguin

worked mainly from memory and his imagination, while van Gogh preferred to paint what he could see in front RI KLP Âą DQG DUJXHG FRQVWDQWO\ 2QH December night, van Gogh became so distraught that he threatened his friend with a razor. Later that evening, he

He sliced o part of his own ear and wrapped it in newspaper sliced off part of his own ear, wrapped it in newspaper and presented it to a woman in the nearby red-light district. After being discharged from hospital in early January 1889, van Gogh 28

returned to painting at the Yellow House. Alone and depressed, he soon admitted himself to a psychiatric KRVSLWDO LQ 6DLQW 5pP\ 2QFH KH ZDV strong enough, he began working again, completing around 150 paintings over a 12 month period. The following year started more positively for van Gogh. Following a favourable article about his work by art critic Albert Aurier, six of van Gogh’s paintings were exhibited at a group show in Brussels, resulting in the sale of The Red Vineyard. In March, ten of his works were selected for inclusion in the annual Salon des IndÊpendants in Paris. Finally, his art was beginning to be appreciated. In May 1890, van Gogh left the

Opening Page: At Eternity’s Gate, 1890. (Corbis Images). Far Left: The Café Terrace on the Place du Forum, Arles, at night, 1888. Dallas Art Museum (courtesy of Taschen). This Page: Self Portrait with Straw Hat, 1887. (Corbis Images).

asylum in Saint-Rémy and moved to Auvers-sur-Oise, about 40km north of Paris, under the care of Dr. Paul Gachet. Gachet advised van Gogh to devote himself completely to his art, which he did, painting the gardens and ZKHDW¿HOGV DURXQG WKH YLOODJH After visiting Theo in Paris in early July 1890, van Gogh learned that his brother was leaving Goupil & Cie to set up on his own. Returning to Auvers, Van Gogh became distressed, believing Theo was no longer interested in selling his art. On 27 July, van Gogh shot himself in the chest, succumbing to his injuries two days later, and leaving a legacy of over 850 paintings, most of them masterpieces. 29

Art & Design JULY 2015 : ISSUE 50

The Art Of Tradition AIR

Edith Devaney, head of The Royal Academy of Arts’ Summer Exhibition, talks to AIR about the upcoming edition WORDS : RICHARD JENKINS

U

sing Empires as an example, 247 years is a very long time. Whole dominions have sprung up and fallen in shorter periods – The Mongols under the brutal leadership of Genghis Khan, for example, lasted just 162 years, even though they stretched from Eastern Europe to the sea of Japan. In 1768, eight years before America signed its Declaration of Independence, an artistic Empire was formed – The Royal Academy of Arts’ Summer Exhibition, which has taken place every summer, without fail, for the last 247 years. Edith Devaney is the head of the Summer Exhibition, with the daunting task of maintaining the integrity of the VKRZ LQ WKH IDFH RI ÀDVK LQ WKH SDQ $UW Fairs, changing tides of artistic styles, and, for her predecessors, the tricky act

of running the exhibition while World Wars raged outside the front doors. The weight of 247 years of history must be something that’s a constant consideration. Exhaling, Devaney says: “Very much. In particular it’s the fact that those years have run unbroken, even through the two World Wars it continued to happen, and there is that anxiety every year when we have this mass of work and have to make sense of it – this feeling of ‘Don’t let us be the team to break the tradition.’ But you do feel the weight of history and it’s an interesting point, because one of the things we are very aware of is that the landscape of the show and of contemporary art has changed VLJQLÂżFDQWO\ RYHU WKH ODVW \HDUV ZLWK the proliferation of art fairs that have become really well established. Because 30

we are showing contemporary art, there is a sales element as well – do we follow that model, or continue to recognise our history? To be honest we’ve gone for a bit of both. We’d be foolish not to learn important lessons from the art fairs, but our history is so important to us.â€? The amount of work involved is staggering. Devaney explains the selection process, saying: “We get about 12,000 entries in total. The committee QRZ ORRN DW GLJLWDO VXEPLVVLRQV ÂżUVW before looking at the physical works. During the digital submissions it’s a broad sweep, asking for any work they ÂżQG YLVXDOO\ LQWHUHVWLQJ WR FRPH LQ WR VHH LW LQ WKH Ă€HVK 7KH\ÂśUH ORRNLQJ IRU something different, taking genres and subjects and dealing with them in different ways, and techniques. It’s

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Opening Page: XXXX This Page: XXXX

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really not one thing they’re looking for, it really is just quality. In a way, what you end up with is this group of work the committee is committed to, but there’s no common language there, which makes it a real challenge to display.â€? )RU ÂśV H[KLELWLRQ WKH 5$ KDV DQ ace up its sleeve in the form of Michael &UDLJ 0DUWLQ RSHQLQJ SDJH D OHDGLQJ artist of his generation and the teacher that nurtured the talents of Gary Hume, Sarah Lucas and Damien Hirst, among countless others. Devaney is WKULOOHG WR EH ZHOFRPLQJ &UDLJ 0DUWLQ to the team, and says: “One of the things that happens when you’ve got someone like Michael involved is the international reputation. All of the artists that would put in work anyway, would possibly think about putting in something even better than normal. He encouraged some of our very eminent members who maybe don’t send every year, to send work. People like Antony Gormley, Anish Kapoor and Jasper Johns have all got work, which is fantastic.â€? For visitors that are new to the Summer Exhibition, Devaney says there is so much work packed into the galleries, you must examine every space with care. She says: “One of the things that Michael has tried to do is to work with and against the architecture of the EXLOGLQJ :H KDYH WKH EHQHÂżW RI KDYLQJ this wonderful building and the most beautiful galleries in Europe, and for the summer exhibition we can go a bit wild. When you enter the courtyard under the arch, there’s this wonderful installation piece by Conrad Shawcross, and once you move around and underneath that and enter the building WKH ÂżUVW WKLQJ \RX VHH LV WKLV LQFUHGLEOH installation on our main staircase by Jim Lambie that runs up into the main 33

The Royal Academy has an ace up its sleeve in Michael CraigMartin galleries. It’s covered in stripy vinyl and it’s absolutely wonderful – the most photographed thing I can remember. And then as you progress we use the architecture to make you look up, to see installations suspended from the ceiling, to look around at the walls, it’s a very different take on space. In terms of work there are pieces by Antony Gormley, Richard Long, a real variety of pieces.� When asked about emerging artists LQ 'HYDQH\ KDV DQ LQWHUHVWLQJ response that sums up the RA’s approach to judging art by its quality, not trends. She says: “One of the focuses that Michael has had this year is to invite a group of artists – not young artists, but the artists of his JHQHUDWLRQ SHRSOH ZKR DUH RYHU who should be better known because of the quality of their work but they aren’t. They missed that point, that age at which artists usually get taken up by commercial galleries. And a lot of them are dedicated teachers, which overshadowed their own work. So there are some very well established but not very well known artists this year. People like Keith Milow, John Thomson, John Simpson and Andrew Lord. We tend to keep looking for emerging artists all the time, but we’re not terribly good at looking at a different place below the radar.� Summer Exhibition 2015 runs at The Royal Academy of Arts, London until August 16.

Style

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JULY 2015 : ISSUE 50

Style is Eternal The UK’s first exhibition dedicated to a comprehensive display of Yves Saint Laurent’s life opens this month. AIR speaks with Joanna Hashagen, Fashion Curator at The Bowes Museum, about the display and the French couturier’s enduring influence WORDS : RICHARD JENKINS

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JULY 2015 : ISSUE 50

This Page: Short cocktail dress Fall-Winter 1965 Tribute to Piet Mondrian. 36

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he world of fashion is littered with pithy, occasionally meaningful and often-repeated quotes. “Dress shabbily and they remember the dress; dress impeccably and they remember the woman,â€? said Coco Chanel. “Fashion is instant language,â€? said Miuccia Prada. But Yves Saint Laurent summed up a century’s worth of haute couture in the simplest of phrases: “Fashion fades, style is eternal.â€? It’s an elegant reminder that true beauty and style often come from within, and cannot be achieved just by wearing designer gowns. 2Q SDSHU DQG LQ WKH Ă€HVK &RXQW\ Durham’s Bowes Museum makes perfect sense for this retrospective, rather than a space in London. Joanna Hashagen, the museum’s Fashion curator, tells AIR: “At the end of 2014 the Fondation Pierre BergĂŠ -Yves 6DLQW /DXUHQW FHOHEUDWHG LWV ÂżUVW years. Pierre BergĂŠ felt that this was very much the perfect time for a major retrospective in the UK. Where better to present it than in a French Chateau, ZLWK PDJQLÂżFHQW DUW FROOHFWLRQV" :H had been thinking for a while that for fashion, we wanted to go in a ‘French Direction’ and feature a French couturier. We have strong links with France, especially Paris. Our founders lived there; John Bowes married -RVpSKLQH &RIÂżQ &KHYDOLHU who was a fashionable Parisian, buying

her clothes from Charles Frederick :RUWK WKH IDWKHU RI Haute Couture. Together they built this French Chateau in the north of England, to house their European FROOHFWLRQ RI ÂżQH DQG GHFRUDWLYH DUW JosĂŠphine Bowes was the inspiration, and we feel she would have welcomed it.â€? <YHV 6DLQW /DXUHQWÂśV LQĂ€XHQFH RQ fashion is immeasurable. Hashagen says: “The exhibition proposes a thematic exploration of more than forty highly creative years during which the couturier built what stands as a fundamental body of work in the KLVWRU\ RI IDVKLRQ ,W H[DPLQHV ÂżYH VSHFLÂżF WKHPHV WKDW FUHDWH D XQLTXH dialogue with The Bowes Museum’s collection of historic textiles, beginning with Saint Laurent’s at once traditional and revolutionary approach to Haute Couture, followed by his play on Masculin-FĂŠminin, Transparence, Art, and ending with the lavish display of 6SHFWDFXODLUH 2YHU ÂżIW\ JDUPHQWV plus accessories, embroideries and an examination of his craft, in a section called ‘The Alchemy of Style’. They are supported by his sketches and collection boards and original fashion photographs, iconic images by famous photographers like Helmut Newton, *X\ %RXUGLQ $QG D VHOHFWLRQ RI ÂżOP clips. A beautiful book has been designed to accompany the show, too.â€? 37

Laurent found that he understood women better than most couturiers Laurent, whose personal life was often so turbulent, found that he understood women better than most couturiers before or since. Hashagen says: “The exhibition explores how KH HPSRZHUHG ZRPHQ E\ ÂżQGLQJ D VW\OH ZKLFK GHÂżQHG WKH PRGHUQ woman. Young women were becoming increasingly self possessed and wanted their own style. He provided them with a basic wardrobe, practical but chic, using inspiration of both menswear and work wear, like the pea jacket and safari suit which are both featured. His

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ÂżUVW 7URXVHU VXLW Âľ3DQW VXLWÂś RI is in the exhibition. He remodelled the man’s suit to give women a tailored trouser suit. He chose a masculine fabric, a chalk - striped wool cloth worn with a white cotton shirt and black silk WLH 7KLV ZDV WKH ÂżUVW HOHJDQW YHUVLRQ of trousers for women; he wanted to give them the same freedom and self FRQÂżGHQFH WKDW PHQ IHOW ZKHQ ZHDULQJ a suit. He empowered women, yet with a style that always retained their beauty and feminity.“ :RUNLQJ DV KH GLG LQ WKH V when the world was undergoing such dramatic changes like the civil rights movement, the ongoing empowerment of women, and the evolution of the VWDLG V WR WKH VZLQJLQJ IUHH ORYH V <YHV 6DLQW /DXUHQWÂśV VW\OH is remarkably enduring - especially considering how much the world has changed in the decades since. Hashagen believes the reason is his boundless creativity. She says: “Yves Saint Laurent’s creative talent has continued to remain the foundation for many contemporary fashion trends. 6DLQW /DXUHQWÂśV LQĂ€XHQFH FDQ VWLOO EH seen on any high street, he has endured as one of the best-known and most LQĂ€XHQWLDO FRXWXULHUV 7KDW LV ZK\ we are giving the exhibition the title, ‘Style is Eternal’. Yves Saint Laurent’s creations are still an essential part of the 21st century women’s wardrobe. All contemporary women enjoy his style, sometimes without knowing it. This exhibition presents the timeless modernity of Yves Saint Laurent’s style. ,W DOVR IHDWXUHV KLV 7X[HGR RI WKH ÂżUVW HYHQLQJ VXLW IRU ZRPHQ ,W revolutionised women’s evening wear, known simply as ‘Le Smoking’ and was hugely successful for his Rive Gauche ready to wear label. It was Yves Saint Laurent who recognised the changes KDSSHQLQJ LQ WKH V +H WDSSHG into to the emerging youth culture, creating a new, easy to wear wardrobe for modern women, very different from the strict dress codes their mothers had to live by.â€? Saint Laurent was also a pioneer not just of shape, form and texture - his opinions on the world of high fashion turned a few heads as well. The aforementioned Rive Gauche label DUULYHG LQ PDNLQJ 6DLQW /DXUHQW WKH ÂżUVW FRXWXULHU WR SRSXODULVH UHDG\ 38

Left Page: Yves Saint Laurent’s pantsuit. Right Page: Evening outďŹ t Spring-Summer 1988 Tribute to Georges Braque. Cocktail dress Fall-Winter 1966 Inspired by Pop Art.

Yves Saint Laurent’s creations are still an essential part of the 21st century woman’s wardrobe to-wear fashion. Hashagen says: “Saint Laurent felt couture was too elitist and LQ ODXQFKHG 5LYH *DXFKH LQ RUGHU to offer his style to the woman in the street. Hugely successful in Paris, the /RQGRQ VWRUH RSHQHG LQ ´ ,Q IDFW the line’s original name was “Saint Laurent Rive Gaucheâ€?, which is of note especially recently as the fashion house has decided to drop the “Yvesâ€? from its name, much to the chagrin of fashionistas who are unusually resistant to change. How do you begin to catalogue someone whose work has been so HQGXULQJ IRU \HDUV" )URP ZKHUH GR \RX GUDZ LQVSLUDWLRQ" +DVKDJHQ VD\V “Obviously all the fashion shows at The V&A are beautifully presented and always very well curated. I am going to see Savage Beauty in a couple of weeks. I did enjoy the quirkiness of the Jean Paul Gaultier show too.â€? That quirkiness is evident across the Style is Eternal exhibition, a labour of love for one of fashion’s, and feminism’s, most important proponents. Yves Saint Laurent : Style is Eternal runs at The Bowes Museum from July 11 – October 25 39

Jewellery JULY 2015 : ISSUE 50

AIR

Diamonds are Forever As Garrard celebrates 280 years, AIR chats to CEO Eric Deardorff about balancing heritage and modernity at the world’s oldest jewellery house WORDS : LARA BRUNT

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or 280 years, British jeweller Garrard has designed and handcrafted exquisite jewellery, regalia and silverware for Kings and Queens, Sheikhs and Sheikhas, Maharajas and Maharanis, and (PSHURUV DQG (PSUHVVHV Âł2XU ÂżUVW Royal commission was in 1735 for Frederick, Prince of Wales, and we still serve the current Prince of Wales to this day,â€? says CEO Eric Deardorff. The house famously served as Crown -HZHOOHU IRU PRUH WKDQ \HDUV ÂżUVW appointed by Queen Victoria in 1843, before going on to create pieces for six successive monarchs. “We’ve covered the whole gamut, from engagement rings and incredible tiaras to the crowns that you see in the Tower of London,â€? Deardorff says. And there’s one Royal ring created by Garrard that has delighted jewellery

connoisseurs around the world for decades. Originally commissioned by Prince Charles in 1981 for Lady Diana, Prince William presented the sapphire and diamond cluster engagement ring WR KLV ÂżDQFpH &DWKHULQH LQ “Now worn by the Duchess of Cambridge, the source of the ring was a brooch that Garrard made in 1840 for Queen Victoria, which was a wedding present from her husband, Prince Albert,â€? Deardorff explains. “So we are constantly looking back at our archives to see if there is a motif or a theme that we can modernise.â€? Harnessing Garrard’s unique heritage while also creating contemporary pieces is a challenge, admits Deardorff, EXW RQH KH IHHOV WKH 0D\IDLU ÂżUP KDV mastered. “When a company has survived and thrived for 280 years, obviously it has to be changing with the 40

times,â€? he says. “We are always trying to, not only stay current, but be leading [trends].â€? And while the brand might be cloaked in history, head designer Sara Prentice – former creative directors include Jade Jagger and Stephen Webster – is creating collections that have catapulted the brand into the 21st century: wings sculptured into hoop earrings, diamond-encrusted bows knotted into a ring, Tudor roses HOHJDQWO\ ÂżWWHG WR D QHFNODFH The Entanglement Collection, inspired by the undulating design of the Cambridge Lovers’ Knot tiara created for Queen Mary in 1914, and later presented to Diana, Princess of Wales, is just one recent example where Garrard has referenced the past to dramatic effect. The collection sees the intricate diamond and gold knot motif

Garrard served as Crown Jeweller to the British Royal family for more than 160 years 41

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Opening Pages: Pieces from the Entanglement Collection featuring pear-shaped emeralds and brilliant-cut diamonds. These Pages: Pieces from the Bow Collection, with brilliant-cut diamonds set in 18-carat white gold.

coupled with elegant tassels of rubies, sapphires, emeralds and pearls across earrings, pendants, and necklaces. Meanwhile, at this year’s Baselworld, the jeweller unveiled the new 14-piece Bow Collection. It centres on a muchloved Royal motif that has been associated with Garrard since 1958 when the house created diamond bow brooches for Queen Victoria. “More

The new Bow Collection is a thoroughly modern reinterpretation of the traditional motif recently, we made three beautiful diamond bow brooches for Her Majesty [Queen Elizabeth II],â€? he says. Crafted in white and rose gold with diamonds, the thoroughly modern reinterpretation of the traditional motif includes an on-trend ear cuff DQG GRXEOH ÂżQJHU ULQJ DORQJ ZLWK D spectacular High Jewellery necklace with ruby beads. “The bow is beautiful and represents gifting,â€? adds the CEO. Another success story is the patented Eternal Cut, designed by master cutter Gabi Tolkowsky. “The Eternal Cut has 81 facets, whereas most diamonds have 57 or 58,â€? says Deardorff. The unique petal design that appears in its centre LQWHQVLÂżHV WKH TXDOLW\ RI OLJKW UHĂ€HFWHG from the stone. “If you compare a one-

carat Eternal Cut diamond to another one-carat diamond [cut differently], we feel the Eternal Cut has that extra sparkle.â€? Of course, the jeweller continues to embrace timeless design, creating bespoke treasures using only the ÂżQHVW JHPV WKDW DUH GHVWLQHG WR EH passed down through generations. Handcrafted in London, each one-ofa-kind piece is accompanied by the original hand-painted design. And while Garrard remains proudly British, the jeweller has expanded into new markets including China and Azerbaijan, while partners such as Damas Jewellery in Dubai have made the Middle East its top market. “By far, our number one region in the world 42

is the Middle East. It is a critical and powerful group that loves jewellery. And our customers in the region not only buy in country but when they travel, so it’s obviously a very important market for us. “We’re fortunate that the purchases made throughout the Middle East cover a broad gamut of our product offerings,� he continues. “So there are our traditional collections – Wings is very popular, for instance – through to one-of-a-kind sets that might be emeralds or rubies, sapphires or diamonds. It’s hard to narrow it down and I actually like that because it means more and more people are wearing unique and beautiful Garrard pieces.�

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Standing The Test of Time TARIQ MALIK

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ince ancient times, man has observed the skies, the movements of celestial bodies, and the passing seasons, and slowly become aware of his place in the grand horological ‘machine’ that is the universe. Here, everything is relative, including time itself. When we eventually learned the trick of recording time, noting the important anniversaries that naturally occur (and those that we created ourselves) new doors opened in our minds. In the last two centuries our obsession with timekeeping has moved from being purely functional, and has become an expression of our true artistic natures. For me, as an enthusiast of classic watches, the art of fine watchmaking captures something unique about the human race. The precision of design is matched by the artistic appeal; art and science co-exist. This article takes a look at three anniversary edition timepieces that express this notion perfectly.

PATEK PHILIPPE GRANDMASTER CHIME When Thierry Stern, the President of Patek Philippe, stood up to address more than 600 retailers at the Baselworld gala for the company’s 175th Anniversary, he said something quite extraordinary: “This is about passion, I mean it really — it is a dream. Nobody needs a Patek.” Perhaps not what one would

expect to hear about a product from a company’s president, but then, Patek is no ordinary company, and there are already 175 good reasons why he could get away with such an audacious statement. Along with the anniversary came the introduction of a very special timepiece – the Grandmaster Chime. This is the most expensive and complicated watch that Patek has made so far, with a unique doubleface enhancement, allowing you to flip the case. One side focuses on the time and the sonnerie, the other on the perpetual calendar. Only seven of these were made, and one remains in the museum in Geneva. Besides the $2.6 million price tag, you will also need to personally apply to the Sterns to own one.

OMEGA SPEEDMASTER THE MOONWATCH Recently Omega launched the Speedmaster 57 – the re-invention of their famous ‘Moonwatch’, to celebrate its 50th Anniversary. I find the story of the original NASA testing during the early 1960’s, and the eventual use of these watches on the space missions quite interesting. What stands out for me, though, is the fact that Omega only found out about their involvement with space exploration after the fact, when pictures of the first space-walk were released, showing their special watch on an astronaut’s wrist. Of course, after that, Omega lost no time in making the most of the 45

situation. Their watch was the one chosen as most suitable for the extreme conditions of space flight, and, naturally, there are very good reasons for that. The new Speedmaster is solidly based on the original design, although it features a slightly bigger case (42mm) and one or two design enhancements. The legendary 321 movement was upgraded to the caliber 1861, and the ‘more embellished’ 1863, and includes a high-grade rhodium-plated finish. The tachymeter bezel scale is still part of the iconic design.

ROLEX DAY DATE40 2015 sees the rejuvenation of the most famous Rolex model, with the launch of their new range – the Oyster perpetual Day-Date 40. All the original Rolex trademarks are present, and a few new elements have appeared too. Although the aesthetic of the latest version of this classic watch remains essentially Rolex, in every way, there are a few enhancements, which I particularly enjoy. There is a new range of elaborate dials, laser-etched with motifs on the familiar sunray finish, and also the new stylized Roman numerals. The designs retain the unmistakable feel of Rolex – luxurious, masculine and refined, but they have been updated with something new and special. Tariq Malik is co-founder of the UAE’s only vintage watch boutique, Momentum. momentum-dubai.com

Timepieces JULY 2015 : ISSUE 50

Father Time

On the anniversary of A. Lange & SÜhne’s 170th year, and what would have been founder Ferdinand Adolph Lange’s 200th birthday, AIR revisits the roots of luxury Swiss watchmaking

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WORDS : RICHARD JENKINS

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ome men are destined to change the world. Henry Ford, Thomas Edison, Albert Einstein: each of these men was born with something innate inside of them that allowed them to see the world differently, and how it could be improved. In February 2015, the man who would do for ¿QH ZDWFKPDNLQJ ZKDW )RUG GLG IRU personal transport, or Einstein did for science, was born in Dresden. His name was Ferdinand Adolph Lange, and he was a pioneer of horology. The son of gunsmith Samuel Lange, Ferdinand did not have his career laid out for him, but perhaps inherited VRPH RI KLV IDWKHUœV NQRZOHGJH RI the mechanical. Displaying an early DSWLWXGH IRU ZDWFKPDNLQJ /DQJHœV then-separated parents arranged for the boy to be given a new home with a family that encouraged his talent, and put him in contact with famed FRXUW FORFNPDNHU -RKDQQ &KULVWLDQ )ULHGULFK *XWNDHV 7KH PHQWRU VRRQ EHFDPH DZHG E\ KLV SURWpJpœV VNLOOV and drive to excel and push timepieces in fascinating new directions. Soon, Dresden was not big enough for his ambition. Lange attended the city’s technical college and learned English and French in the evening hours, before

The mentor soon became awed by his protÊgÊ’s skills and drive to excel concluding that in order to be where the real action lay, he would have to KRQH KLV VNLOOV LQ WKH KXEV RI KRURORJ\ France, Switzerland and England. At the same time, ever-more precise WLPHNHHSLQJ LQVWUXPHQWV ZHUH QHHGHG aboard naval and merchant ships, and horology was extremely well supported by Royal courts and international VRYHUHLJQV ZKR ZHUH ¿QDQFLQJ exciting new developments. And so, in 1837, three years after completing his apprenticeship in Dresden, Ferdinand $GROSK /DQJH SDFNHG KLV EHORQJLQJV – with a letter of recommendation IURP *XWNDHV ¹ DQG PRYHG WR 3DULV WR VWXG\ ZLWK IDPRXV FKURQRPHWHU PDNHU -RVHSK 7KDGGlXV :LQQHUO ZKR ZDV 46

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once among Abraham Louis Breguet’s ¿QHVW VWXGHQWV /DQJH ZDV RQO\ GXH WR stay for three months, but ended up staying for three years as foreman of :LQQHUOœV FRPSDQ\ (YHQWXDOO\ HDJHU to continue his education through Switzerland and England, Lange moved on. 7KH \RXQJ ZDWFKPDNHU GLVDJUHHG with the common wisdom of the time which called for a trial-anderror principle that meant it was impossible to consistently produce reliable watches. Armed with a QRWHERRN ¿OOHG ZLWK GHWDLOHG VNHWFKHV and mathematically sound ratio calculations for wheels and pinions, Lange resolved to change this attitude. +H UHWXUQHG WR KLV PHQWRU *XWNDHVœ ZRUNVKRS IRU IDQF\ FORFNV WRRN the hand of the owner’s daughter in marriage, and slowly began his revolution. One of the precision UHJXODWRUV SURGXFHG DW WKH ZRUNVKRS during Lange’s time in charge delivered the precise time in Switzerland for some 60 years. It was at this time that Lange began ZRUN RQ ZKDW ZRXOG EHFRPH KLV WUDGHPDUN WKH OHJHQGDU\ *ODVK WWH lever escapement that combined a long power reserve and extreme accuracy in D FRPSDFW F\OLQGHU 3LQQLQJ GRZQ WKH secret of accuracy on a small-scale was an incredible accomplishment for the ZDWFKPDNHU ZKR ZDV RQO\ MXVW JHWWLQJ VWDUWHG /DQJH VHW XS KLV RZQ ZRUNVKRS LQ *ODVK WWH ZKLFK DW WKH WLPH ZDV DQ 49

He began work on what would become his trademark: the Glashßtte lever escapement impoverished town that in 1845 showed only glimpses of its illustrious past as a silver-mining village long forgotten. 6RRQ *ODVK WWH FRQWDLQHG PDQ\ VPDOO ZRUNVKRSV HDFK SURGXFLQJ MHZHOV screws, hands, cases, and all the rest of WKH PLQXWLDH WKDW JR LQWR PDNLQJ D ¿QH timepiece. Lange’s company, despite rarely employing more than 100 people, became the centre around which *ODVK WWHœV ZDWFKPDNLQJ IUDWHUQLW\ ZDV built, and he encouraged and helped establish many small businesses in the area. Lange died unexpectedly at age 60, in 1875, but this did not diminish his FRPSDQ\œV LPSDFW RQ WKH ZDWFKPDNLQJ Lange’s precision calculated parts EHFDPH WKH EHQFKPDUN E\ ZKLFK all other models were gauged, and his techniques are still felt in the QHZHVW FROOHFWLRQV OLNH WKH 'DWRJUDSK 3HUSHWXDO RU WKH XSGDWHG /DQJH )URP IDQF\ FORFNV WR SRFNHW ZDWFKHV to the most stylish and accurate ZULVWZDWFKHV RQ WKH PDUNHW $ /DQJH & SÜhne will go down in history as one of horology’s most important success stories – with no end of the story in sight.

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GOOD AS

GOLD Jeremy Piven returned to the screen as abrasive Hollywood agent Ari Gold last month. But, as he turns 50, he tells AIR that he’s really a softie at heart WORDS : SUZY MALOY and LARA BRUNT

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eremy Piven wants to make one thing clear. He’s nothing like Ari Gold, the foul-mouthed, hyper-aggressive agent-turned-studio KHDG KH SOD\V LQ WKH QHZ ÂżOP YHUVLRQ RI Entourage. “When people meet me they are confused why I am not a rageaholic. This offensive, fast-talking, abrasive Hollywood agent,â€? he laughs. 7KH ÂżOP LV WKH FRQWLQXDWLRQ RI WKH 86 television series, which ran for eight years until 2011, about a foursome of actors and hangers-on forging their way through Hollywood, with Gold to guide them. “All the guys are very true to [their] characters. But Ari has evolved,â€? says Piven, who turns 50 on July 26. “For me, my character is a cautionary tale at this point in my life. What means the most in my life is a question I am asking myself, not just on screen these days, but in real life.â€? 7KH UROH ZDV D FDUHHU GHÂżQLQJ RQH for the American actor, who learnt his trade at the acclaimed Piven Theater Workshop, founded by his parents, Byrne and Joyce, in the northern Chicago suburb of Evanston, Illinois. After cutting his teeth in theatre in Chicago, Piven spent the next three decades appearing in small roles in ÂżOPV VXFK DV 6D\ $Q\WKLQJ +HDW DQG %ODFN +DZN 'RZQ and television series including The /DUU\ 6DQGHUV 6KRZ DQG (OOHQ Then, in 2004, came Entourage. Though he wasn’t the lead, he stole the show as the power-hungry, politically incorrect agent, and deservedly won a Golden Globe and three Emmys along the way. “I would blush when I read the lines in the script,â€? he confesses. “I would actually on the day of shooting go to my colleagues and ask them if it’s okay for me to say those lines to them.â€? His next television role couldn’t be PRUH GLIIHUHQW ÂżQDOO\ WDNLQJ WKH OHDG 53

in his own show in 2013, playing the HSRQ\PRXV 0U 6HOIULGJH LQ WKH %ULWLVK VHULHV DERXW WKH OLIH RI +DUU\ 6HOIULGJH the American entrepreneur behind the London department store. After three seasons, Piven is clearly looking forward to returning to the set of the period drama for a fourth outing. “It’s a very different character than $UL *ROG IURP (QWRXUDJH 6R , DP living a schizophrenic life right now. At home I am treated like a fast-talking, aggressive Hollywood agent, and overseas I am this turn-of-the-century gentleman. And, to be honest with you, I prefer to be the gentleman in real life,â€? he says. :KHQ VKRRWLQJ 0U 6HOIULGJH LQ England, the actor lives near the IDPRXV VWRUH RQ 2[IRUG 6WUHHW Âł7KH\ must think I am stalking them,â€? he laughs. “I didn’t grow up in London. When I get lost walking around, I just ORRN IRU WKH Ă€DJV RI 6HOIULGJHV DQG ÂżQG my way home. It’s kind of pathetic and heart-warming at the same time.â€? He enjoys the anonymity of the capital, too. “In my real life I wear a hat and glasses [so I don’t get recognised in London].

When people meet me they are confused why I am not a rageaholic The British are very gentle and very respectful. They respect your space and they work, so they don’t have that much time to harass you,� he says. The character of Ari Gold is largely based on executive producer Mark Wahlberg’s agent, Ari Emanuel. $FFRUGLQJ WR VHULHV FUHDWRU 'RXJ (OOLQ the real-life agent was adamant that Piven should play the role, even calling

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up the television network from a plane in China demanding: “Jeremy Piven plays me, or take my name off it.â€? Has he ever worked with an agent like Gold? “I couldn’t, and I didn’t. I am from a theater family and acting was always framed that we were [a] community. And I am just a softie,â€? he admits. “But it is true, there are yellers and screamers in our business. And folks that are not loyal and true to their word. But I didn’t know how to handle it, and I moved away from the Ari Golds of this world. We all need a shark in our life, but I am too sensitive.â€? 'LG WKH UROH KHOS KLP QDYLJDWH WKH treacherous waters of Hollywood? “I think life has taught me how to deal with sharks. We are this beautiful G\VIXQFWLRQDO IDPLO\ ´ KH UHĂ€HFWV Âł7R go from eight years [in] Entourage, I was told by one of the producers, ‘whatever you did in England it helped make Ari Gold a better character for this movie’. And I loved that. Actors love two things, compliments and free food. We will take it all.â€? 7KH VHDVRQ ÂżQDOH RI (QWRXUDJH saw Gold quit Tinseltown to save his marriage. While relaxing on holiday, the closing credits show him receiving a phone call with a job offer as CEO RI D ÂżOP VWXGLR PDNLQJ WKH PRYLH D

I moved away from the Ari Golds of this world. We all need a shark in our life, but I am too sensitive possibility for fans. “In the movie we are picking up six months later. He is in Italy with the wife, he [has] salvaged his life. But at this point he is no longer a part of this community, and we are asking how does he deal with that? “If you are in Italy and you don’t have WiFi, how can Ari Gold survive? As expected, he is starting to go insane. And his wife realises that he needs KLV ZRUN 6R $UL WDNHV D QHZ MRE DQG goes back to his world,â€? Piven explains. Now in charge of an entire studio and a billion-dollar slate, “Ari is hitting on all fronts. He’s trying to hold it together.â€? Part of Gold’s new persona is a tenuous commitment, at the behest of KLV ZLIH WR ÂżQGLQJ LQQHU SHDFH ,Q RQH memorable therapy session, he punches a framed photo of a kitten. “The therapy scenes are so classic, and we wanted to put one in the movie,â€? says Piven. “Ari is a bull in a china shop. And I feel 54

lucky to navigate through that space. We know he has an anger issue, how do we show that – what can be better than punching a glass picture of a kitten in the middle of a therapy session. I mean, come on, who does that?â€? Piven puts his all into such scenes. “I’ll try everything I can so it looks real RQ ÂżOP 7KDWÂśV ZK\ SURS JX\V KDWH PH I’ve broken more computers and phones than anyone.â€? How much of Gold’s cutting dialogue and epic tantrums ZHUH XQVFULSWHG" Âł'RXJ (OOLQ LV D JUHDW writer, and it’s our job to get everything on the page the best we can be. But my background is improv,â€? he says. “I want to make sure everybody likes the script, but then I work on the language a little ELW 6RPHWLPHV WKLQJV MXVW SRS RXW RI me, and then they stick. If you are in character and nobody yells cut, you just keep going.â€? Like Ari Gold, Piven is on a roll that shows no sign of stopping.

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WORDS : LARA BRUNT

This year marks a century since the birth of Frank Sinatra, while this month sees his music return to the London Palladium where he made his UK debut 65 years ago. AIR looks at how the entertainer staged the most spectacular comeback in cultural history

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Images courtesy of sinatraonstage.com

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top a stranger in the street and ask him to sing a Frank Sinatra number and he’ll most likely be able to warble a few lines of “New York, New Yorkâ€? or “My Wayâ€?. In a career that spanned more than half a century, 6LQDWUD VFRUHG KLV ÂżUVW QXPEHU RQH in 1940 and was still making millionselling recordings in 1994. He sold over 150 million albums and won 11 Grammy Awards, sealing his place in music history along such legends as Bing Crosby and Elvis Presley. Yet, the post-WWII years proved GLIÂżFXOW IRU WKH HQWHUWDLQHU $IWHU KLV unstoppable ascent in the 1940s – regularly topping the charts, scoring his own radio show, and signing a ÂżYH \HDU FRQWUDFW ZLWK ÂżOP VWXGLR MGM – Sinatra’s career hit the skids. By the end of 1952, a decade after launching his solo career, the 37-yearROG ZDV ZLWKRXW D UHFRUG ÂżOP UDGLR RU television contract. So where did it all go wrong and how did he claw his way back to the top of the showbiz tree? Francis Albert Sinatra was born December 12, 1915, in Hoboken, New Jersey. The only child of Sicilian immigrants, Sinatra dropped out of high school in his senior year to pursue a career in music. “At one point,â€? he recalled, “I said I wanted to be an engineer‌ because I love the idea of bridges, tunnels and highways. It was my great desire until I got mixed up in vocalising.â€? Shortly after marrying his childhood sweetheart, Nancy, in February 1939, he caught the attention of Big Band leader Harry James. After making his ÂżUVW UHFRUGLQJV ZLWK -DPHV LQ Sinatra accepted an offer from the far more successful bandleader and trombonist, Tommy Dorsey, to join his RXWÂżW According to biographer James Kaplan, author of Frank: The Voice, Sinatra idolised Dorsey. “He idolised HYHU\WKLQJ DERXW KLP 7KH ÂżUVW WKLQJ , think that amazed him was [Dorsey’s] incredible ability to play these long, song-like solos that really spoke to you. It translated directly to the kind of singing Sinatra wanted to do,â€? he told Irish broadcaster Frank Delaney in a recent interview. After two-and-a-half years of charttopping success with Dorsey, Sinatra decided to strike out on his own. His

By the end of 1952, Sinatra was without a record, ďŹ lm, radio, or television contract breakthrough came in December 1942 when he supported Benny Goodman, the reigning “King of Swingâ€?, at New York’s Paramount Theatre. With teenage girls swooning in the aisles for Sinatra, his original two-week booking was extended for another eight weeks, shattering Bing Crosby’s 15-year-old record at the theatre. Within a month, the young singer was being hailed a phenomenon. According to Kaplan, Sinatra was head and shoulders above the popular crooners of the day. “Crooner is a derogatory term and it doesn’t really apply to Sinatra,â€? he told Delaney. “Sinatra was somebody who brought, IRU WKH ÂżUVW WLPH VLQFH %LQJ &URVE\ an absolute naturalism to the act of singing.â€? Between 1943 and 1946, Sinatra’s solo career blossomed as the singer racked up 17 Top 10 singles and earned the sobriquets “The Voiceâ€? and “The Sultan of Swoonâ€?. He also made his acting debut in 1943, playing himself in WKH ÂżOP +LJKHU DQG +LJKHU ,Q KLV ÂżUVW scene, a maid opens the door to a grand house and faints as he says, “Good 59

morning. My name is Frank Sinatra.� In 1945, he won a special Academy Award for The House I Live In, a PLQXWH VKRUW ¿OP PDGH WR SURPRWH racial and religious tolerance on the KRPH IURQW 6LQDWUD KLPVHOI ZDV XQ¿W for military service due to a punctured eardrum). He also befriended an evergrowing circle of stars, including Bing Crosby, Lauren Bacall and Humphrey Bogart. Soon, rumours circulated that he was seeing young starlets. Sinatra’s popularity began to slide in the postwar years, thanks to shifting musical tastes and disenchantment over his reported ties to the Mob. He reputation was also sullied by extramarital affairs and his divorce from Nancy, which followed a widely publicised affair with Ava Gardner. The SDLU PDUULHG LQ DOWKRXJK WKH ¿HU\ union would last just under two years. By 1952, he was all but washed up. The following year, he made a triumphant comeback, winning an Oscar for his harrowing portrayal of the Italian-American soldier Maggio in From Here to Eternity. He also signed with Capitol Records and, with

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ex-Dorsey trombonist and arranger Nelson Riddle, moved into the next phase of his recording career with a new emphasis: saloon ballads and sophisticated swing tunes with jazzier LQĂ€HFWLRQV It was this period in the mid-1950s when he was recording with Riddle that the singer was at his peak, says Kaplan. “The voice had become this oaken baritone, this cello tone. He was absolutely at the top of his game in 1956, ’57, ’58. That’s when I like to think of Sinatra,â€? he says. Having regained stardom, Sinatra enjoyed continued success for decades to come. His complicated relationships with women also endured. After marrying actress Mia Farrow in 1966 – a union that ended in divorce in 1968 – Sinatra married for a fourth and ÂżQDO WLPH LQ WR %DUEDUD %ODNHO\ Marx, the widow of comedian Zeppo Marx. The two remained together until Sinatra’s death in 1998.

The voice had become this oaken baritone. He was at the top of his game This summer, in the centenary year of Sinatra’s birth, his music returns to London Palladium, 65 years after he SOD\HG KLV ÂżUVW (XURSHDQ FRQFHUW DW WKH venue in July 1950. Sinatra: The Man & His Music is a multi-media concert that features rare footage of the singer himself, accompanied by a 24-piece orchestra and live dancing. The show provides a unique treat for those who didn’t get the opportunity to witness WKH 6LQDWUD PDJLF ÂżUVW WLPH DURXQG Kaplan, meanwhile, saw the entertainer perform at New York’s Carnegie Hall in 1981. “I went with my tongue somewhat in cheek – I was a very young man at the time, Sinatra was in his mid-60s, and I was someone who grew up watching and loving The Beatles,â€? the biographer said. “And I sat there with my mouth open for a solid two hours. The force of his personality, and of his art, was volcanic. He absolutely knew what a genius he was.â€? Sinatra: The Man & His Music runs from July 10 to October 10, sinatraonstage.com 60

SHOPPERS’

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PARADISE

Printemps, the luxury department store in Paris, this month celebrates 150 years of success. Richard Jenkins looks at how it has gone from setting the standards of 20th century retail to redeďŹ ning luxury in the modern world

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aris isn’t short of beautiful buildings, of course. The cathedral of Notre-Dame stands alone, the Palais du Louvre combines sleek modernity with Renaissance architecture, and the opulent OpÊra Garnier, with its gold embellishments and ridged roof, is as striking today as ZKHQ LW ZDV ¿QLVKHG LQ $ VWUROO down the city’s 9th arrondissement will lead you to another of Paris’ gems – the ÀDJVKLS 3ULQWHPSV VWRUH RQ %RXOHYDUG Haussmann. -XOHV -DOX]RW DQG -HDQ $OIUHG 'XFORV IRXQGHG WKH FRPSDQ\ LQ DQG famed architects Jules and Paul SÊdille designed the building. Following the

success of the store, it was expanded LQ DQG LQ EHFDPH WKH ¿UVW store in Paris to use electric lighting. In WKH 3DULV 0HWUR V\VWHP DOORZHG Printemps direct subway access, making it even better for customers to visit. It wasn’t just the convenience and splendour of the Printemps store that led to its remarkable success, either. The policies of Printemps modernised DQG UH¿QHG WKH VKRSSLQJ H[SHULHQFH by marking items with set prices and doing away with the haggling model that had previously been the usual method of dealing with price. It’s easy today to forget how momentous an 62

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The policies of Printemps modernised the shopping experience

idea that would have been, centuries ago. Printemps was also ahead of the curve when it came to marketing and managing its brand, handing out ERXTXHWV RI YLROHWV RQ WKH ÂżUVW GD\ RI spring (“Printempsâ€? is the French word for the season) and bringing a nature-inspired motif to its interiors. In another revolutionary move, Printemps pioneered the notion of discount sales to clear out stock in order to bring in the new season’s fashions. ,Q WKH EXVLQHVV VXIIHUHG JUHDWO\ due to recession, and Jules Jaluzot was succeeded by Gustave Languionie, who immediately took action by constructing a second store, designed E\ DUFKLWHFW 5HQH %LQHW ,WV JODVV domed hall was famous for stretching XS WR PHWUHV LQ KHLJKW )XUWKHU stores have been opened in countries DURXQG WKH ZRUOG EXW WKH Ă€DJVKLS RQ %RXOHYDUG +DXVVPDQQ LV VWLOO WKH PRVW iconic place to experience the famed Printemps service. Today, Printemps is still a landmark in Paris and an absolute blueprint for how luxury department stores can GR EXVLQHVV 7R FHOHEUDWH WKHLU WK anniversary the store asked renowed %ULWLVK SKRWRJUDSKHU 6WHYH +LHWW WR XVH window displays to capture the essence 65

of four luxury Parisian hotels: Le %ULVWRO 3DULV /H 0HXULFH +{WHO 3OD]D $WKpQpH DQG /H 5R\DO 0RQFHDX 5DIĂ€HV Paris. These images were enhanced by the input of nine prestigious brands LQFOXGLQJ 7KLHUU\ 0XJOHU 7KH 5RZ Lanvin and Elie Saab. Hiett’s colour saturated images have made him famous and known as “The Director of Colour,â€? and his stunning displays are the perfect anniversary gift to Printemps. The celebrations continue inside the VWRUH ZKHUH /H 0DLVRQ GX &KRFRODWÂśV Gourmet Escapes invade the atrium ZLWK VFHQWV DQG VZHHWV ÂżOOLQJ HYHU\ space available in a dreamland of chocolate. The shopping experience throughout Printemps is truly exceptional, with multi-lingual store maps, a Guest Relations team with ODQJXDJHV DQG VWXQQLQJ PĂ° private lounges for detailed fashion consultations in total seclusion, with a team of personal shoppers, each with expert eyes for tailoring, at the beck and call of customers looking to update their wardrobes. For any traveller with summer plans to visit Paris, Printemps is the department store with the history EHÂżWWLQJ LWV EHDXWLIXO ORFDWLRQ DQG D bright future ahead.

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TO SAVE A

LEGACY Harper Lee’s powerful first novel, To Kill a Mockingbird, was also her only novel – until now. This month, the 89-year-old releases the most anticipated book of the year, titled Go Set a Watchman. WORDS : RICHARD JENKINS

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Harper Lee in 1962 67

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This page: Lee with Gregory Peck, who played Atticus Finch in the acclaimed ďŹ lm version of To Kill a Mockingbird. Opposite page: Lee in 2007.

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arperCollins has published D ORW RI KLJK SURÂżOH ERRNV ,W was behind Hilary Mantel’s 2009 Wolf Hall, and Paolo Coelho’s VPDVK KLW 7KH $OFKHPLVW ,W SXEOLVKHG Michael Crichton’s Micro, the eagerly anticipated posthumous novel released DIWHU WKH VFLHQFH ÂżFWLRQ PDVWHUÂśV XQWLPHO\ GHDWK 7KLV \HDU RQH ERRN has become the most pre-ordered in Harper Collins’ illustrious history: +DUSHU /HHÂśV *R 6HW D :DWFKPDQ Robert Thomson, chief executive of HarperCollins’ parent company News &RUS WROG WKH *XDUGLDQ WKDW /HHÂśV ERRN is a “fascinating, captivating, important ERRN ,W ZRQÂśW QHHG D KXJH DPRXQW RI PDUNHWLQJÂŤ PRVW SHRSOH LQ $PHULFD KDYH UHDG 7R .LOO D 0RFNLQJELUG ´ Thomson is understating matters VOLJKWO\ 7R .LOO D 0RFNLQJELUG LV RQH RI WKH PRVW LPSRUWDQW ZRUNV RI OLWHUDWXUH HYHU SURGXFHG DQ\ZKHUH ,WV VWRU\ of racism in 1930s America and the innocence of youth has sold over 40 million copies since its publication in

1960, and its author become something of a recluse following its success – never releasing another novel, XQWLO QRZ Lee was born in April 1926 in 0RQURHYLOOH $ODEDPD 6KH ZDV JLYHQ the name Nelle, and used Harper (her middle name) as her nom de plume when she began writing – for fear of KDYLQJ KHU UHDO QDPH PLVSURQRXQFHG While studying at Monroe County High School, Lee found a taste for English literature, and she went on to write for her university newspaper while studying law at the University of $ODEDPD LQ 7XVFDORRVD ,Q /HH PRYHG WR 1HZ <RUN &LW\ and began writing short stories in KHU VSDUH WLPH ZKLOH VKH ZRUNHG DV DQ DLUOLQH UHVHUYDWLRQ DJHQW 6KH SXW together a portfolio of long stories, DQG LQ IRXQG DQ DJHQW /HHœV ELJ EUHDN KRZHYHU FDPH IURP D JHQHURXV group of friends that recognised her talent and strove to give her the EHVW RSSRUWXQLW\ WR PD[LPLVH LW )RU 68

Christmas of 1956 she opened a note, ZKLFK UHDG ³<RX KDYH RQH \HDU RII IURP \RXU MRE WR ZULWH ZKDWHYHU \RX SOHDVH 0HUU\ &KULVWPDV ´ Over the next several months, Lee, with the help of her agent, revised a collection of stories she had written into a coherent novel which would EHFRPH 7R .LOO D 0RFNLQJELUG D masterful study of the small-town $PHULFD LQ ZKLFK /HH KDG JURZQ XS ,W WHOOV WKH VWRU\ RI D OLWWOH JLUO DQG KHU brother, and the trials they endure as their attorney father represents an LQQRFHQW EODFN PDQ DW DQ XQMXVW WULDO 7KH ERRN LV ¿FWLRQ EXW WRRN LQVSLUDWLRQ IURP /HHœV SHUVRQDO OLIH 7KH ERRNœV narrator, Scout, is the daughter of a respected small-town Alabama DWWRUQH\ DV /HH ZDV /HHœV FKLOGKRRG friend Truman Capote inspired the FKDUDFWHU RI 'LOO 7KH ERRN ZDV D UXQDZD\ VXFFHVV IURP WKH PRPHQW RI LWV SXEOLFDWLRQ ,WV WKHPHV RI VRXWKHUQ OLIH DQG UDFLDO injustice, disparity in class, gender

The book has never been out of print in hardcover or paperback roles and the importance of courage VWUXFN D FKRUG ZLWK V $PHULFD ZKLFK ZDV EHJLQQLQJ WR VKDNH ORRVH WKH restrictions of the 1950s and embrace GLYHUVLW\ 7KH 1HZ <RUNHU GHFODUHG WKH ERRN ³6NLOOHG XQSUHWHQWLRXV DQG WRWDOO\ LQJHQLRXV ´ DQG 7LPH PDJD]LQH VDLG ³,W WHDFKHV WKH UHDGHU DQG DVWRQLVKLQJ number of useful truths about little JLUOV DQG 6RXWKHUQ OLIH ´ -XVW D \HDU after it was published, the novel had already been translated into ten ODQJXDJHV 7RGD\ WKH ERRN LV VWDQGDUG curriculum learning at schools around the world, and it has never been out of SULQW LQ KDUGFRYHU RU SDSHUEDFN With the world at her feet, Harper Lee SXW GRZQ KHU SHQ 6KH QHYHU SXEOLVKHG DQRWKHU ZRUN DQG ZDV RQO\ LQWHUYLHZHG

RQ UDUH RFFDVLRQV $QG WKHQ LQ DQ DQQRXQFHPHQW FDPH WKDW URFNHG WKH SXEOLVKLQJ ZRUOG ¹ /HH ZDV EDFN Go Set a Watchman was scheduled for UHOHDVH LQ -XO\ DQG ZRXOG UHYLVLW 6FRXW )LQFK DV D \RXQJ ZRPDQ \HDUV DIWHU WKH HYHQWV RI WKH RULJLQDO ,QWULJXLQJO\ :DWFKPDQ LV QRW D WUXH VHTXHO $Q ROGHU 6FRXW ZDV WKH SODQ IRU /HHœV ¿UVW QRYHO EXW HGLWRUV DW WKH WLPH FRQYLQFHG KHU WR ZULWH WKH ERRN IURP a youngster’s point of view, and Lee’s plans for the older protagonist were VKHOYHG LQGH¿QLWHO\ HYHQ DIWHU VHYHUDO FKDSWHUV KDG EHHQ ZULWWHQ ,Q IDFW Watchman was one of two early drafts, the other one titled Atticus, which spent more time with the patriarch of WKH IDPLO\ $WWLFXV )LQFK Controversy surrounds the new novel – Lee is 89 years old, and her most trusted advisor, older sister Alice, passed away in 2013, leading some speculators to assert that Lee, who is now almost totally blind and deaf, has been coerced into releasing 69

material almost half a century old IRU WKH ÂżQDQFLDO UHZDUG RI RWKHUV The more positive story is that which +DUSHU&ROOLQV SXW DFURVV LQ WKH VKRFN SUHVV UHOHDVH DQQRXQFLQJ WKH ERRN “The original manuscript of the novel was considered to have been lost until fall 2014, when [Lee’s lawyer] Tonja Carter discovered it in a secure location ZKHUH LW KDG EHHQ DIÂż[HG WR DQ RULJLQDO W\SHVFULSW RI 7R .LOO D 0RFNLQJELUG ´ /HH KHUVHOI VDLG Âł, KDGQÂśW UHDOLVHG LW had survived, so was surprised and delighted when my dear friend and ODZ\HU 7RQMD &DUWHU GLVFRYHUHG LW $IWHU PXFK WKRXJKW DQG KHVLWDWLRQ , VKDUHG LW ZLWK D KDQGIXO RI SHRSOH , WUXVW DQG ZDV pleased to hear that they considered it ZRUWK\ RI SXEOLFDWLRQ , DP KXPEOHG DQG DPD]HG WKDW WKLV ZLOO QRZ EH SXEOLVKHG DIWHU DOO WKHVH \HDUV ´ However the manuscript was found, its publication is sure to have as longUHDFKLQJ DQ LPSDFW DV LWV SUHGHFHVVRU Harper Lee has done enough for OLWHUDWXUH WR QRZ ÂżQDOO\ UHWLUH

Motoring JULY 2015 : ISSUE 50

Back From The Future The DeLorean DMC-12 was supposed to be the independent supercar that broke the Detroit stranglehold held by Ford, Chrysler and General Motors. Today, its legacy remains in the form of one, very special, time-travelling example. WORDS : RICHARD JENKINS

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ome cars will stand the test of time. It’s impossible to imagine an era when the Jaguar E-Type or Ferrari 458 are looked at with derision, as anachronistic signposts of the era in which they were born. For one supercar of the 1980s, the test of time came to mean something very different indeed – literally. The DeLorean DMC-12 was the brainchild of John Z. DeLorean, former head of Chevrolet and General Motors, and its formation is a cautionary tale to any auto enthusiast with big ideas. DeLorean had risen through the ranks at GM from Pontiac’s chief engineer to head of GM’s car and truck group, and he had form when it came WR DXWRPRWLYH Ă€RSV ÂśV &KHY\ 9HJD which came during his time at the top of the company, was, according to his own autobiography, “an absolutely disastrous car.â€? That said, he’d had a few notable successes as well. The Pontiac GTO was his, as was the iconic Pontiac Firebird. DeLorean had a reputation for excess, wearing garish clothes and dating supermodels. His ways didn’t marry neatly with the staid corporate culture in Detroit at the time, and his relationship with GM became strained in the early 1970s, and by 1973 DeLorean had left the company to become a corporate consultant. But all of this was done with something in the back of his mind – the idea that he could do the same thing better than the corporate giants he’d left behind. In 1975, the DeLorean Motor Company was founded. DeLorean had the idea of building his dream car and taking on his former paymasters. All he said at the time was that the car should be “fun to drive, safe to operate and long-lasting.â€? Using vast sums of money totalling $175 million from investors DV KLJK SURÂżOH DV -RKQQ\ &DUVRQ DQG Sammy Davis Jr, DeLorean began work. He brought in an ace design team of Giorgetto Giugiaro of Ital Design and Colin Chapman from Lotus, to put together plans for the company’s calling card: the DMC-12. And from that point on, the name was pretty much the only thing DeLorean got right. He decided, after declining Puerto Rico and Ireland, to build his factory in Northern Ireland, at a time of intense trouble. The factory’s opening ceremony in 1981 attracted IRA

protesters, and at one point 143 Molotov cocktails were tossed over the factory’s fence, burning down the main RI¿FH DQG DOO RI LWV SDSHUZRUN 9HQGRUV and investors wouldn’t visit the site, and operations were shut down several WLPHV GXH WR VDIHW\ FRQFHUQV 7KH ¿UVW 80 cars to come off the production line were inoperable messes, and DeLorean had to prepare correction facilities in WKH 86 WR ¿[ FDUV EHIRUH GHOLYHU\ WR their anxious owners. DeLorean had also planned to sell each DMC-12 for just $12,000, and had orders for thousands of cars. Unfortunately, costs spiralled and the exchange rate between the pound and the dollar nosedived, meaning that his cars cost over double the initial estimate, thousands of dollars more than the DMC-12’s nearest rival, the Corvette. John DeLorean had planned WR VHOO FDUV GXULQJ WKH ¿UVW \HDU of production, but after six months only 3000 had been sold. The car itself was a disappointment to consumers. Despite FDUU\LQJ D OLWUH 9 ZLWK D KHDOWK\

DeLorean had a reputation for excess, wearing garish clothes and dating models 130bhp, the consumer options were limited at best. The car came in one colour – the naked stainless steel body it was born with – and only two options for the interior, black or grey. Engine performance and reliability were hit-and-miss. Luckily, the DMC-12’s gullwing doors were enough – despite their frivolity – to save the car from complete obscurity. And of course, one very famous movie role has given the car a taste of immortality. Back to the Future was released in July 1985, a family-friendly time travelling romp that saw high school student Marty McFly travel 30 years back in time to save his parents’ marriage, thanks to a time machine invented by his eccentric friend Dr Emmett Brown. When Robert Zemeckis DQG %RE *DOH ¿UVW ZURWH WKH ¿OPœV script in 1981, the time machine was originally set to be a refrigerator. However, fearing that kids would 72

try and imitate this and get trapped inside, they decided to give the role to a car. And which car was making the most noise in the auto industry at the time? Which was the most futuristic, downright cool vehicle soon to hit the market? That’s right, the DMC-12. By the time Back to the Future came out in 1985, the DeLorean Motor Company had long since gone bankrupt – John DeLorean was seized in a drug deal sting by the DEA as he frantically sought ways to keep his company DÀRDW ¹ DQG WKH '0& ZDV DOUHDG\ an unusual, anachronistic footnote to motoring history, which made its inclusion in one of the 80s’ most VXFFHVVIXO ¿OPV HYHQ PRUH PHPRUDEOH DMC-12s are still available, and fairly cheaply, too. They’re a lesson on the risks of cutting corners. But they’re also a symbol of the American dream. And thanks to a quirky time-travelling movie, John DeLorean’s legacy lives on.

Opening Page : John DeLorean and wife Christina Ferrare This Page, left to right: Promotional poster from movie ‘Back To The Future II’; John DeLorean

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JULY 2015 : ISSUE 50

Nordic’s Next Wave Lebanese-born chef Wassim Hallal is shaking up Denmark’s fine-dining scene. Just don’t expect New Nordic cuisine in Copenhagen, writes Lara Brunt

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openhagen has been top of many gastronomes’ must-visit OLVW HYHU VLQFH 1RPD ZDV ¿UVW declared the world’s best restaurant back in 2010. Yet, the country’s secondlargest city, Aarhus, is slowly beginning to stake its claim in the world of Danish gastronomy. And leading the charge is Wassim Hallal. Earlier this year, the Lebanese-born FKHI ZDV DZDUGHG KLV ¿UVW 0LFKHOLQ star at Restaurant Frederikshøj in Aarhus, a dynamic city on the Jutland peninsula around 190km northwest RI &RSHQKDJHQ ,W¶V WKH ¿UVW WLPH the city has been included in the prestigious guide. And while most people expected Hallal to get the nod, it was encouraging to see two other 74

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Aarhus establishments – GastromĂŠ and Restaurant Substans – each receive a coveted star, too. As Copenhagen’s culinary reputation continues to grow, many in the industry have told Hallal that he should move to the capital if he wants recognition. “I told them that for me it has been important to stay in Aarhus, so that the day the Michelin guide want to see more than Copenhagen, we are ready. And when they showed up, we were,â€? he says. The chef admits he has been hungry for the accolade. “Michelin stars are something I have always dreamed about,â€? he says. “It has been a long struggle for me, but I have always believed that it would be possible one GD\ ,W PHDQV D ORW WR PH WKDW , ÂżQDOO\ can be assessed in the same way as other Danish and foreign colleagues.â€? While he may be unknown in these parts, Hallal is one of Denmark’s most recognisable chefs. The author of two cookbooks, his restaurants have twice been named Denmark’s EHVW E\ WKH LQĂ€XHQWLDO 'DQLVK 'LQLQJ Guide (Molskroen in 2006, followed by Frederikshøj in 2012). And in 2010 he appeared in the Danish version of Hell’s Kitchen, the reality television show created by the IDPRXVO\ ÂżHU\ %ULWLVK FKHI *RUGRQ Ramsay. As someone at the mercy of critics, did he relish the role of judge? Âł$ ÂżOP SURGXFWLRQ LV DQ H[SHULHQFH , ZLOO QRW EH ZLWKRXW WU\LQJ %XW LWÂśV QRW something I want to do again,â€? he says diplomatically. %RUQ LQ /HEDQRQ LQ +DOODO immigrated with his family to Thy in Denmark, around 400km northwest of Copenhagen, when he was four years old. At 14, he decided he wanted to be a chef. Although his father was a FRRN WKLV KDG QR LQĂ€XHQFH RQ +DOODOÂśV own career choice. Instead, it was the concept that “every day is different from the other. I like the idea that when I meet at work, I don´t know what the day will bring,â€? he muses. $QG ZKLOH KLV /HEDQHVH EDFNJURXQG KDV LQĂ€XHQFHG KLV SHUVRQDOLW\ Âą Âł, DP a person who does not give up and I ÂżJKW WR WKH HQG´ Âą KH VD\V LW KDV QR bearing on the food he creates. The Frederikshøj website describes Hallal’s cuisine as “a sophisticated union of the pure style of nouvelle cuisine and the

GL]]\LQJ DQG FRPSOH[ GHFRQVWUXFWLRQV of postmodern cuisineâ€?. His creations also draw upon “the raw primordial forces of New Nordic cuisine and the very advanced techniques and VXUSULVLQJ FRPSRVLWLRQV ´ %XW PDNH no mistake, Frederikshøj is not is an Aarhus version of Noma, nor is it like any other Nordic restaurant for that matter. “[New Nordic] is a wrong perception of my food. I don´t hope that anybody 76

New Nordic is a wrong perception of my food. My style is my own. Preferably with local seasonal ingredients, but also ingredients from the rest of the world

expects to get New Nordic food at )UHGHULNVKÂĄM ´ KH VD\V Âł0\ VW\OH LV P\ own. Preferably with local seasonal ingredients, but also ingredients from the rest of the world. I would describe my cuisine as advanced and eventful.â€? On the menu are chicken egg ‘nests’, potatoes that look like pebbles and edible eggshells. Lobster from Norway and foie gras from France sit alongside meat from Australia and sea urchins from Iceland. When I ask about his

signature dish, or the one he’s most proud of, Hallal declares, “I am very proud of my entire kitchen and all the dishes I make. If I´m not proud of a dish, it will never come to my guests.â€? When it comes to developing the menu at Frederikshøj, “I always think of food, new compositions and new GLVKHV ´ VD\V +DOODO Âł0\ LQVSLUDWLRQ comes from my daily life, whether it is at home with the family, in the kitchen at Frederikshøj or cycling on the road. 77

$Q\ZKHUH , FDQ ÂżQG LQVSLUDWLRQ ´ With Aarhus set to be the European Capital of Culture in 2017, we can look forward to hearing more about this emerging culinary destination. And at just 35, we’ll no doubt be seeing more from Hallal, too. Whose career would he most like to emulate? “The chef who has impressed me most throughout the ages is Alain Ducasse,â€? he says. “It’s amazing that you can be so many years at the top and still develop your food.â€?

Travel JULY 2015 : ISSUE 50

Man Vs Mountain Zermatt celebrates 150 years since the first ascent of the majestic Matterhorn

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n July 14, 1865, British climber Edward Whymper DQG KLV WHDP ZHUH WKH ¿UVW mountaineers to reach the summit of the 4,478-metre-high Matterhorn. After an hour on the top – “one crowded hour of glorious life” Whymper wrote, quoting the poet Mordaunt – their descent ended in tragedy, when four of the seven Alpinists fell to their death. Despite this, tourism in Zermatt was born, and the charming, car-free Swiss village has been luring visitors from around the world ever since. This resort is celebrating and commemorating the mountaineers’ feat from July 10 to 18. Events include a dramatic retelling of the story of the ¿UVW DVFHQW LQ DQ RSHQ DLU WKHDWUH IURP July 9-August 29); the illumination of the route Whymper and his team WRRN XS WKH PRXQWDLQ -XO\ DQG D glamorous gala celebration to mark the anniversary on July 14.

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© Robert Bösch, Mammut und erdmannpeisker

Where To Stay Chalet Aradia

Chalet Karya

Mont Cervin Palace

Originally built for sale, this five-bedroom chalet oozes style and elegance. There are uninterrupted views of the iconic mountain, a master suite covering an entire floor, and an impressive wellness centre with an indooroutdoor Jacuzzi, sauna and hammam. blackbookvillas. com

Located in the exclusive Petit Village area with outstanding views of the Matterhorn, this six-bedroom chalet features an open-plan layout and chic décor. The chalet is accessed by a private funicular railway through the mountains, offering total privacy. blackbookvillas.com

This five-star palace hotel in the centre of the village has a rich history and grand interior, along with a 1,700sqm wellness area with outdoor pool. Guests can dine at the Michelinstarred Ristorante Capri or choose from 13 local restaurants in the hotel group. montcervinpalace.ch

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What I Know Now

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JULY 2015 : ISSUE 50

Lorcan Mullany FASHION DESIGNER

I

was born on a farm in Ireland, with no brothers. I was really bad at school, so the choices didn’t seem great. My mother would take me buying and ask me what I thought. She’d say to the salesman, ‘He knows.’ , JUHZ XS ZLWK D FRQÂżGHQFH DERXW WKDW stuff. I wasn’t very good in school. Fashion seemed miles away from agricultural college in Ireland.In many ways fashion saved my life. It was something I could EH JRRG DW IRU WKH ÂżUVW WLPH LQ P\ OLIH When I went to fashion school, I was the best, and up until then I’d been the

worst in everything. It was a revelation to me. Because I’m so dedicated to it, it’s dragged me through some very GLI¿FXOW WLPHV When I collaborate with someone like Jacques Vert, they allow me to do what I do. They trust me now, and it works. I don’t feel any constraints at all. I was working for a company in London called Bellville Sassoon, and we were very well known for glamorous eveningwear; so the link is occasion wear. It’s a really good match; I approach it exactly the same way as with my own collections. 80

My proudest moment was a big show in Ireland and the Prime Minister came, and my parents came and that was the ¿UVW ELJ VKRZ WKH\ VDZ PH DW :D\ EDFN the Queen used to have people stay with her at Ascot, and three people turned up at the Queen’s event all in the same dress. That was a bit of a faux-pas. The thing that I apply to everything is to keep it simple. I do that in everything, I always go to that in the end. I’m always working, even if I’m out having fun I still draw tiny little sketches and keep them in my wallet. Often they’re my best designs.

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