Meet Leo Woodall, the ‘boy’ of the moment who tried to quit drama school in the first week and is now dubbed the new DiCaprio.
Forty The Emperor
How, at 90 years of age, Giorgio Armani still reigns supreme, overseeing all aspects of an empire that spans fashion, hotels and even flowers.
Forty Eight Bags of Talent
Not only CEO of her own brand, Marina Raphael is now heading up handbag design at Elie Saab. First up, a dazzling haute couture collection.
Credit: backstage, Giorgio Armani SS25
The Emory Like
No Other
Brought to you by Maybourne, The Emory is a modern masterwork by Richard Rogers and Ivan Harbour.
REGULARS
Fourteen Radar
Sixteen Objects of Desire
Eighteen Art & Design
Thirty Timepieces
Fifty Four Motoring
Fifty Eight Gastronomy
Sixty Two Travel
Sixty Four What I Know Now
Twenty Six Jewellery
Step inside the enchanting world of Cece Fein Hughes, a jewellery designer steeped in the magic of storytelling.
EDITORIAL
Editor-in-Chief & Co-owner John Thatcher john@hotmedia.me
COMMERCIAL
Managing Director & Co-owner Victoria Thatcher
PRODUCTION
Digital Media Manager Muthu Kumar
Welcome Onboard
MARCH 2025
At ExecuJet, we redefine the experience of private travel into an art of unparalleled luxury. From the moment you arrive, we are dedicated to perfecting every detail, anticipating every need, and elevating every moment from takeoff to touchdown, ensuring a journey as effortless as it is extraordinary.
Since we established ourselves in the Middle East in 1999, we’ve had the privilege of seeing travel redefined –one journey, one client, and one tailored experience at a time. Now part of the prestigious Luxaviation Group, we’ve earned a reputation for innovation, precision, and the kind of personal care that truly sets us apart.
Stepping into our world-class facilities is an experience that speaks for itself, with every element carefully designed to enrich your journey. It’s in the discreet checkins and the ease of immigration. It’s the luxurious private suites, where every element has been curated with your comfort in mind. It’s the rejuvenating wellness spaces and the bespoke cocktail and cigar lounge that invite you to unwind. These aren’t amenities –they are reflections of detail and care, designed with you in mind.
Our services – whether bespoke charter flights, meticulous aircraft management, or state-of-the-art hangarage – reflect our commitment to connection. To your time, your needs, and your expectations.
We don’t just deliver luxury. We live and breathe it.
Dumani Ndebele
Regional
FBO Director, Middle East
Cover : Leo Woodall by Zoe McConnell/AUGUST
Beyond The Skies, Beyond Expectations
‘ It’s a space where time slows and luxury feels effortlessly timeless ’
Your journey with ExecuJet begins long before your jet takes to the skies. From the moment you arrive at our private jet terminal, you step into a world where the ordinary is left behind – where quiet exclusivity meets refined luxury. It’s not just about travelling, it’s about experiencing a seamless, tailored transition that makes every journey feel extraordinary. Step into your private sanctuary –our suites are meticulously curated to cater to your every need. More than a place to rest, these extraordinary suites are tranquil havens crafted for your ultimate comfort and peace of mind. Whether you wish to unwind or simply prepare for the next leg of your journey, every element has been considered to ensure your privacy and relaxation.
Need a moment of pause? Our spa and wellness experiences are an oasis of calm and rejuvenation. Indulge in a therapeutic massage that melts away tension after a long flight or centre yourself with a meditation against the soothing salt wall. Recharge further with invigorating wellness treatments, designed to restore balance and energy. And for those last-minute touch-ups, our expert grooming services will ensure you step off the tarmac polished and ready. Indulge by retreating to our bespoke cocktail and cigar lounge at any time of day. Here, in an intimate and warmly lit space, our expert mixologists are ready to craft a drink perfectly suited to your tastes. Pair your cocktail with a selection from our curated collection of the world’s finest cigars, offering
a rare moment of quiet indulgence. It’s a space where time slows and luxury feels effortlessly timeless. But the experience doesn’t end there. Enriching every corner of our terminal is a thoughtfully curated private art collection in partnership with Opera Gallery. Transforming the space into a gallery-like environment, these world-class masterpieces reflect the sophistication and culture of our discerning clientele.
Whether you want to admire award-winning art or quietly reflect on the journey ahead, the terminal becomes more than just a stopover – it’s a celebration of creativity, elegance, and culture. This is private travel as it should be: an experience above all else.
The runway for Chanel’s SS25 haute couture show was modelled to provide an aerial view of the brand’s double-C logo entwined with the infinity symbol, a nod to its now 110-year history of crafting couture but also a neat way to say that with Matthieu Blazy due to take over the reins as creative director, the show must go on. To celebrate, Chanel was in a colourful mood, mixing up the hues to move from the lightness of day to the darkness of night in pieces that were, as always, beautifully handcrafted.
Master craftsmanship, effortless style and timeless appeal; this month’s must-haves and collectibles
OBJECTS OF DESIRE
EXCLUSIVE COLLECTION 2025
Inspired by the warmth of Ramadan and the allure of nature, Dolce&Gabbana’s
Exclusive Collection draws on the brand’s heritage for a choice cut of clothes (both women’s and men’s) and accessories categorised by a clearly defined sense of style. Elegant are the beautifully patterned and block-coloured caftans and dresses – signature florals in bloom and striking shades of emerald green and garnet red, alongside the sand and terracotta hues of the desert – while the Sicily and Marlene bags come with added sparkle in the form of multicoloured crystals.
DOLCE&GABBANA
HERMÈS
MEN’S RTW AW25
There was a real warmth to Véronique Nichanian’s latest men’s collection. Not only was it present in generouslysized coats and the fabrics used –alpaca and wool, teddy mohair and velvet – but in a colour palette that worked its way through dark and
autumnal hues to introduce moodlifting pops of lighter shades, most notably in knits designed to resemble the playful patterns on jockeys’ racing silks, though best used when highlighting what is masterful tailoring, the collection’s real highlight.
“I’m so tired of everyone constantly equating modernity with simplicity: Can’t the new also be worked, be baroque, be extravagant?” It was a question Daniel Roseberry posed in his pre-show notes, then subsequently answered in the affirmative – and his own inimitable
style. To do so, Roseberry retreated to the past, plucking references from his encyclopaedic knowledge of the great couturiers, among them, as always, Schiaparelli herself, some of whose gowns Roseberry paid homage to by modernising their weight and feel.
SCHIAPARELLI SPRING-SUMMER 2025 HAUTE COUTURE
LOUIS VUITTON
AWAKENED HANDS, AWAKENED MINDS CHAPTER II
A designer operating at the very top of her game, Francesca Amfitheatrof’s second chapter of her remarkable high jewellery collection is every bit as compelling as the first, drawing on her meticulous study –and unique interpretation – of innovations in craftsmanship during 19th-century
France. Composed of seven themes and 50 spectacular pieces, our eyes were immediately drawn to the aptly titled theme of Phénoménal, which features this incredibly constructed necklace, at the heart of which is a stunning 7.44ct Colombian emerald.
OBJECTS OF DESIRE
For the first time in the brand’s long history, Roger Vivier has produced a Ramadan Capsule Collection, for which a selection of its signature designs –including the Viv’ Canard slingback, distinguished by its tapered squared toe, a design that takes its cues from
the brand’s archives – that have been reimagined in shimmering gold, a look created from handcrafting crinkled metallic leather. Also prominent in the limited-edition drop are the label’s crystal-encrusted buckles, which add sparkle to every occasion.
ROGER VIVIER
RAMADAN CAPSULE COLLECTION
OBJECTS OF DESIRE
Against the backdrop of sun-kissed sand, Balqees Fathi dazzles in a selection of Messika So Move pieces, the Emirati singer shot as part of the brand’s Ramadan celebrations, entitled Connecting Light and Sound. Additionally – and thrillingly for lovers of diamonds and Valérie Messika’s eye for innovative designs – Messika has also revealed exclusive pieces, including a new Imperial Move choker and, best of all, a fully paved version of the stunning Imperial Move tie necklace.
MESSIKA CONNECTING LIGHT AND SOUND
Likening the artistry involved in the creation of a couture collection to that of composing a symphony, Tamara Ralph adopts the role of conductor – and takes another giant stride forward with her eponymous label – to create a collection big on next-level
craftsmanship and masterful structure. Pearls and ribbons are used to striking effect, hugging the body but conveying movement, while a wealth of perfectly proportioned fabrics create beautiful silhouettes. This is a collection that hits all the right notes.
TAMARA RALPH SPRING-SUMMER 2025 HAUTE COUTURE
OBJECTS OF DESIRE
Art & Design
Atta Boy
Photographer and entrepreneur Bill Hannigan has devoted his working life to photography. His latest venture offers the chance to secure never-seen-before shots by some of the industry’s finest
WORDS: JOHN THATCHER
Sometimes a simple gift can have a profound effect. For Bill Hannigan, that gift was a subscription to Andy Warhol’s cult magazine, Interview, given to him as a parting present by his university-bound sister. “Growing up in a small town in Canada, it just blew me away,” remembers Bill. “This was in the mid-80s and it not only opened my mind to photography but art in general, design, and New York City. The bigger world. The next year my parents bought me a solid SLR camera and things started to develop from there.”
Develop they did. Through his work as a photographer – capturing bitterly cold, stark nights in Montreal to progress his own aesthetic – writer, editor, publisher, agent and curator, Bill has spent the past three decades living in New York City and fully immersed in the world of photography, reviewing literally millions of pictures. It means he has more than just a keen eye for a great shot, and he’s used it to launch ATTA, a platform comprising an exclusive collection of fine art photography prints from the archives of the most renowned photographers in the world, all of whom Bill has built strong relationships with through years of representation. “I see a wonderful opportunity to make their fine artwork available while they are still at the height of their careers. We curated from their editorial and personal work to make the prints at ATTA available for the first time. It is this opportunity that makes ATTA unique – to be able to draw from the collections of such great photographers exclusively.”
Such photographers include leading fashion snappers such as Gregory Harris, Ben Hassett and Matthew Sprout, who routinely photograph elite models and A-list celebrities for titles like Vogue but who through ATTA also showcase personal projects that exemplify their unique visions as photographers. “One example of this I particularly like is by Joe Pugliese. Joe is a top portrait photographer working routinely with
‘ If a client has a special request, we’ll search far and wide to find them something special’
subjects ranging from Oprah Winfrey to Jennifer Lopez and Steven Spielberg and he made the most striking, ethereal landscape image while on a job on La Isla, Patagonia. It’s incredible,” enthuses Bill. Also incredible are Andrew Caulfield’s portraits of Madonna, captured during the making of her video for 1984’s Borderline – then stuffed in a box unseen for the
Opening pages: Amanda TWA II, by Victor Demarchelier
This page, clockwise from top: White Sand, by Williams + Hirakawa; La Isla, by Joe Pugliese; Seagram Building Plaza, by Michael Moran; Amanda TWA I, by Victor Demarchelier
Opposite page: Amy Whitehouse, by Brooke Nipar
next forty years. Caulfield takes up the story: “The still photo portrait session was pulled together quickly and took place on February 9, 1984, over an afternoon in a borrowed photo studio on Sunset Blvd in Hollywood.
“On set, Madonna was a fashion model, diva, ingenue, vamp, cut-up and tease all rolled into one. She was captivating, coy, serious, sensual, funny and sometimes bored with me and the process. What more could you want from your subject?
“I filed the photographs away in my archive and life moved on. Over the years I moved studios and homes, as well as onto other clients, assignments, and creative projects. Thirty-eight years later during a deep dive into my past work I found the pictures again. It struck me that now is the time for this collection to finally be seen.”
Another set of portraits that have never been released feature Amy Winehouse. Shot by Brooke Nipar, they capture the late Winehouse at a time when she was practically unknown in the US. “Brooke was making a magazine with some friends called Missbehave and Amy agreed to be photographed by Brooke for it,” tells Bill. “According to Brooke, Amy didn’t want anyone to touch her hair or makeup; she arrived on set with both done already. Brooke decided on a simple studio portrait setup and shot entirely on film. I think these portraits are remarkable.”
Each of ATTA’s limited-edition fine art prints is signed and numbered, made from the artists’ original prints, negatives, or digital files and remastered and printed on fine art paper, before being – should the client wish –placed in a custom frame handcrafted from premium Italian hardwood.
‘ Madonna was captivating, coy, serious, sensual, funny and sometimes bored with me and the process. What more could you want? ’
All images are exclusive to ATTA. “Once our editions sell out, they are gone,” says Bill.
As well as selling its editioned prints, ATTA also offers an art advisory service, bringing to bear Bill’s wealth of industry experience. “We represent 150 preeminent photographers, all of whom are working at the highest level of the industry in their respective genres, whether it’s fashion, portrait, interiors, or architecture. That is the first resource,” outlines Bill. “Beyond that, we have a network of photographers we’ve worked with over the years. I was also very fortunate early in my career to work for another large agency. One of my roles was to travel all over the world and assess archives and collections for representation or acquisition. All of this combined allows us to find imagery that is unique. If a client has a special request, we’ll search far and wide to find them something special.”
You don’t have to follow suit to find something special on ATTA. It’s there in one click. attacurated.com
This page, from top to bottom: New York Story, by Matthew Sprout; Music Chair, by Dima Hohlov; Monument Valley II, by Ty Cole
Opposite page: Madonna, by Andrew Caulfield
THE
A SENSE OF PURITY PERVADES LORO PIANA’S REFINED RAMADAN 2025 CAPSULE, AN ELEGANT, ESSENTIAL WARDROBE OF SENSORIAL FABRICS, EXQUISITE DETAILING AND TIME-HONOURED SAVOIR-FAIRE
Step inside the enchanting world of Cece Jewellery
WORDS: JOHN THATCHER
This page: Cece Fein Hughes
Once upon a time, in the fading light of day, a father sat at the foot of his young daughter’s bed, regaling her with wondrous tales of his life as a deep-sea diver. She would listen intently as his words painted vivid pictures in her mind, of magical creatures and submerged treasures, before closing her eyes and drifting off into her own land of make-believe.
That ingrained memory of her childhood is what led Cece Fein Hughes to become a storyteller herself, though rather than weave her tales with spoken words, Hughes does so with beautifully made bespoke jewellery.
“Distilling an entire fairytale into a piece of jewellery is a challenge – but one I revel in. It’s about capturing a moment, a feeling, an essence. I try to focus on the details that stay with you: the glint of a dragon’s eye, the flutter of a butterfly, hidden symbolism in the client's life journey. Every line, colour, and engraving is intentional, drawing the wearer into the narrative without overwhelming the piece.
“I feel that stories have always been a gateway to magic – whispered myths, childhood tales, and the kind of folklore that lingers long after the book is closed. What fascinates me most is their ability to transcend time, carrying the same wonder from generation to generation. In many ways, that’s what I try to do with jewellery – crafting pieces that tell a story of their own that can be passed down to the next generation.”
To do so, Cece begins by sketching her ideas using pencils and watercolour paints – her inspirations drawn from the likes of mythology, art and traditional tattoos – before a final version is rendered and handenamelled by a master craftsperson on 18ct recycled gold. “Champlevé enamel is an ancient technique that involves carving recesses into metal and filling them with layers of enamel, fired repeatedly until they glow with depth and intensity,” explains Cece. “It’s a painstaking process, but it’s this dedication to craft that makes it so special. In an age of mass production, I find something profoundly meaningful in preserving such a historic art form that only a few are able to do, and we are lucky that we are able to work with the best in the world.”
‘ True artistry will always come from the hands of skilled makers ’
To find such artisans to bring her stories to life, Cece looks for particular attributes. “It’s all about shared passion and respect for the craft. I work with artisans who have spent decades perfecting their skills – whether that’s hand-engraving, enamelling, or stone-setting. Many of them have trained in the traditional ateliers of Hatton Garden, and there’s something incredible about knowing that the techniques we use today are the same ones that have been passed down for centuries. I also believe in nurturing the next generation of enamellers, which is why we’re investing in training and apprenticeships to keep this art alive.”
It was while visiting London’s V&A museum that Cece’s love of jewellery was fostered, her eyes magically drawn to a centuries-old gold band, crafted in France and enamelled with pink-andwhite flowers. “The fusion of beauty and meaning took my breath away.”
She then studied goldsmithing at the British Academy of Jewellery. “I knew then that I wanted to build a world of jewellery that wasn’t just beautiful but full of meaning, craftsmanship, and storytelling. Jewellery has always felt like a kind of alchemy to me, a transformation of raw materials into something deeply personal and symbolic.”
It’s Cece’s Masterpieces – her high jewellery – and bespoke commissions that do this best. “This is where imagination and artistry know no bounds. With larger canvases to work on, we push the limits of design, creating intricate, heirloom-worthy treasures. Each piece is the result of hundreds of hours of meticulous craftsmanship.”
Such pieces include the Insignia Pendant, which features a diamondencrusted arrow that can be spun to land on one of seven hand-engraved symbols to determine the course of
your day – whether you’ll need to show the courage of a lion, require the watchful eye of the protector, or follow your heart to love. And the strikingly beautiful Window to the Soul Ring, a miniature work of art that depicts hand-enamelled paintings of doves carrying a secret message of love under lock and key, either side of a sparkling 3ct emerald-cut diamond.
Then there are the stories others bring to Cece’s workshop.
“One of the most unforgettable bespoke commissions we’ve ever created was a Rococo-inspired horse, its magical wings unfolding and dancing over three sections of a bracelet. Designing it felt like stepping into a fairy tale, each brushstroke of enamel, every engraved detail, carried me into a world where anything was possible,” remembers Cece.
“When the piece was finally complete, it felt almost alive, as if it held the power to transport its wearer anywhere
they wished to go. This enchanting creation was a deeply personal gift from a daughter to her mother, capturing a cherished childhood memory in gold, enamel and diamonds. The colours danced with life, the intricate artistry giving the horse a sense of movement, as if it might take flight at any moment. Playful, poetic and utterly dreamlike, it was a true testament to the magic of bespoke jewellery, where imagination knows no bounds and sentiment is woven into every detail.”
With plans afoot to grow her high jewellery collections, Cece hopes to bring many others under the spell of her magical creations, “while keeping our bespoke, deeply personal approach at the heart of everything we do. The dream is to build not just a jewellery brand, but a legacy – one that honours craftsmanship, creativity, and the timeless beauty of a well-told story.” And one that guarantees her clients a happy ever after.
To Dare Is To Do
How MB&F and Bvlgari combined to defy convention
WORDS: JOHN THATCHER
Theirs is a friendship born, in part, from a love of something others loathed. “When I first met Fabrizio he told me how much he loved the HM5,” remembers Maximillian Büsser, owner and creative director of MB&F. “I said, ‘Nobody loves the HM5 except me!” The futuristic-looking timepiece was, in Maximillian’s words, the biggest flop in his company’s history, but in Fabrizio Buonamassa Stigliani, executive director of watch design at Bvlgari, Maximillian found a kindred spirit. “We sat down for a coffee and Fabrizio started sketching what an HM5 by Bvlgari might look like. And we still have those drawings.”
The year was 2017, and though the idea for that particular watch never left the sketchpad, a seed was planted in the mind of both creatives which came to fruition four years later in the seductive form of the FlyingT Allegra, a woman’s watch that married Bvlgari’s high jewellery craft – and penchant for coloured stones – to MB&F’s dare-to-be-different design.
Now their bromance has blossomed once more.
So iconic is the Serpenti in Bvlgari’s design lexicon – it slithered into place way back in 1948 – that you’d expect it to be strictly off limits for experimentation. But a commonality between MB&F and Bvlgari is courage; that desire to break new ground, to say yes when the obvious answer is no, to fly in the face of convention.
“For almost 10 years I was thinking about a Serpenti that was not dedicated to ladies, but it was difficult for me to visualise this object. It was impossible for me to see the face of this watch,” remembers Fabrizio.
“But after many discussions I told my team that we have to do this watch. We have to do it in a certain way. And I immediately thought of Max. “I started to make sketches. The first day it was completely wrong. The second day it was better. And by the third day we had the watch, and so I messaged Max and told him that I had an idea and needed to talk.’
“I said ‘let’s do it!’” says Max, picking up the story. “And I hadn’t even seen the watch he had sketched. But when he said we were going to rework the Serpenti I said, ‘wow.’ Let’s create this incredible mechanical sculpture which embodies both our worlds.”
And so the Bvlgari x MB&F Serpenti was born.
It’s unconventional, of course. Look at it from multiple angles and you see it as something different each time – a car, a bug, some sort of alien spacecraft.
“You cannot see a Serpenti in the same way after this watch,” says Fabrizio. “But we are fun. We talk about science fiction, we talk about cars, we talk about manga, we talk about many, many things. And you see all these things in this product.”
What is clear and obvious, however, is that this was a complex watch to make.
“At MB&F we specialise in ‘kinetic sculptures which give time’ so it was definitely our calling,” says Max.
“Nevertheless, the biomorphic design of this watch created enormous
‘You cannot see a Serpenti in the same way after this watch ’
challenges in terms of the case – which is arguably the most complex we’ve ever created –but also the movement. The intricate case is entirely machined with 5-axis 3D mills and holds five sapphire crystals which were not only extremely complicated to make but equally challenging to fit due to the curved nature of the case and the desire for a water resistance of 30 metres.”
Inside that case is an equally complex movement, conceived and developed in-house by MB&F. To realise Fabrizio’s ambition of animating the serpent’s eyes, revolving hour and minute paper-thin aluminium domes are adorned with hand-applied SuperLumiNova, so that the luminous gaze of the snake penetrates the dark.
“This piece was a pleasure to design, but technically very challenging to produce,” says Fabrizio. “The aim was to have a totally different vision. The snake is a magnificent object that appeals to many collectors. I think we succeeded in giving the Bvlgari serpent a new horizon. It is
not just a feminine object linked to the brand’s DNA but, for the first time, a technical object that speaks to the Bvlgari aesthetic and showcases MB&F’s expertise. Like all good collaborations, it’s a win-win project.”
The Bvlgari x MB&F Serpenti comes in three guises. One in a grade 5 titanium case with blue hour and minute domes; another with an 18ct rose gold case and green snake eyes; and a third that’s fashioned from black PVD-coated stainless steel, the eyes of the serpent a vibrant red. Each is limited to 33 pieces and will take a year to deliver, such is the time required to craft and assemble the complex movement.
“Fabrizio will agree that, as creators, we are adrenaline junkies and, as such, you only get your spike of adrenaline when you take a risk,” says Max. “So when you put yourself in danger you are alive. That’s what we’ve been doing for 20 years at MB&F and I know that’s why Fabrizio and I get along so well.”
Let’s hope they continue to live dangerously.
Opposite page, from top to bottom: Maximilian Büsser, making of Bvlgari x MB&F Serpenti; Fabrizio Buonamassa Stigliani
Meet Leo Woodall, the ‘boy’ dubbed the new DiCaprio
WORDS: CELIA WALDEN
It’s 9.42am on a wet Monday morning and Leo Woodall is silently pondering my question. He stares longingly at his untouched Iced Venti Americano and scratches his jaw, the thought bubble above his head reading: “It’s way too early to be discussing male objectification. How did I get myself into this?”
Blithely, I push on. Rephrasing may help. Does he think it’s reductive or belittling in any way for a man to be reduced to a sexualised object on screen? Or can it actually be empowering – even fun – to be objectified by women? The 28-yearold One Day star looks up at this, a slow smile spreading across his face: “Yeah, you know, it was kind of fun.”
My question wasn’t gratuitous. In the fourth Bridget Jones film, Mad About the Boy, Hammersmith-born Woodall is ‘the boy’ Helen Fielding’s now 51-year-old, widowed heroine is mad about, and there’s a scene – inspired by the famous 1992 Levi’s ad – in which Woodall dives into a swimming pool at a party to rescue a dog, emerging in glorious, transparent white-shirted slo-mo before the assembled guests. Women’s mouths fall open, their pupils swelling to the size of saucers, men’s jaws seize up with jealousy as he rips off the sodden shirt: the whole sequence a joyous reminder of how fun life was before we all became so earnest.
“I did feel some pressure beforehand, though, over that whole scene,” Woodall admits after another pause, looking even younger than he is today in grey Zara tracksuit bottoms, gleaming white Adidas and a brown Ralph Lauren ribbed cardigan that was his Christmas present to himself. “Because there’s nothing more embarrassing than having to be objectified… but not being objectified, you know? Trying to be objectified and failing.” We both burst out laughing – much of mine prompted by relief: Woodall has a sense of humour.
You never know with the under 30s. You never know with actors. And poor Woodall hasn’t had the best start to the day. He’s got a streaming cold, for one thing, and earlier that morning had a panic he’d locked himself out of
‘ I think they saw someone who maybe had some talent but wasn’t confident enough in owning it ’
his Camden flat. As we make our way up to a private room above the studio where our interview is to take place, it also quickly becomes clear that he’s shy – and still a little uncomfortable, perhaps, with the interview dynamic. So that first proper laugh relaxes us both. It’s probably easier to enjoy a bit of objectification, I reason, when your “body of work” has been as highly praised as Woodall’s. It feels like a long time since both the critics and Hollywood have been this excited by a young male British export. A long time since we’ve seen an actor – like Ewan McGregor or Idris Elba – with that indefinable extra quality that doesn’t so much light up the screen as break through it, whether as Jack, the tattooed Essex boy in the second season of Mike White’s The White Lotus, One Day’s floppy-haired and tormented Dexter, or Edward the mathematics genius in his new Apple TV series, Prime Target
It’s been said that Woodall is “the new DiCaprio”, that his appeal has the rare ability to “span generations” and that as “the natural heir” to Hugh Grant, he’s the next “romcom king”. Certainly, he steals the show from both Grant and Firth (admittedly now a ghost) in Bridget Jones: Mad About the Boy Woodall hadn’t read the books (but had repeatedly seen the films) when he was asked, in December 2023, to audition for the role of Roxster: a 29-year-old park ranger who tracks down Bridget on a dating app after a chance meeting on Hampstead Heath.
“It was a slightly longer audition than I usually do,” he explains, patting down his pockets in search of a tissue.
“They’re usually about 15 minutes but this one went on for 40, so I thought that might be a good sign.” Less of a good sign was the fact that “the part was originally written as Scottish, so I went in and did it in Scottish, and they then had me try it in English”. He laughs. “Read into that what you will.”
Fielding has her own version of events. She was sure she wanted Woodall to “tread the incredibly fine line” that the part of Roxster demanded the moment she first saw him on screen in The White Lotus. “Even though he was playing a rogue and it was a small part,” she tells me, “I thought: ‘That guy is going to be a star.’ There’s a sort of emotional maturity to him, but a kindness too. It’s all in the eyes. And you can tell he really likes women.”
Four years after Mark Darcy’s death during a humanitarian mission in Sudan, Roxster is a much-needed reminder that Bridget doesn’t have to be confined to singledom for the rest of her life – that it’s time to move on. With the age difference inevitably the focus, however, and every headline in the build-up to the film’s release describing his character as a “toyboy”, I’m curious to know how Woodall feels about a word I’d assumed was on the banned list.
“It doesn’t feel banned!” he exclaims, eyes wide. “It’s being used a lot. And look: I’m someone who typically leans into wanting to find the humour in things, and not taking things too seriously, particularly when it pertains to myself,” he assures me. “So it’s not the phrase that bothers me, really. It’s more that in the story, Roxster is actually more than just a toyboy. They do have a real relationship and find a real connection. They’re very fond of each other – and he does ultimately show his maturity later in the story. So maybe there’s a slight hesitancy to accept the toyboy label for this character, just because it’s about more than that.”
Why does he think that, in life, the age difference happens less often this way around? From his side smile it’s clear Woodall knows my question is a little disingenuous. He’s been dating 34-year-old American actress
‘ Being followed by the paparazzi really made me question what I was doing ’
Meghann Fahy for two years, but both have always avoided talking publicly about their relationship.
“I don’t actually think that the younger man and older woman dynamic is that unusual,” he says, still with that small smile. “It’s just that we’re not used to seeing it on screen. We’ve seen it countless times with older men and younger women and people don’t bat an eyelid, do they? But there are films and series that have come out recently where they are showing it the other way around, and maybe over time, if we keep doing that, it’ll become something people don’t notice as much. Something people don’t need a label for.”
He and Fahy met in Sicily, on the set of the second season of The White Lotus, where she played Daphne, the shallow wife of ghastly businessman Cameron Sullivan. He’s not about to open up about their relationship today, but he will say that he’s “very, very happy” with her and that “everything would be a bit too crazy without her there”.
It may be an app that ultimately brings Roxster and Bridget together, but Woodall is “grateful” that his own dating app years are behind him. “I know lots of people who have found love that way, and there’s nothing unusual about it any more,” he starts, breaking off to blow his nose, “but online dating is like online everything, and there is a worry that some people are stopping themselves from finding
it in real life purely because they’re able to sit at home and choose what they want like a pizza topping. And maybe that really narrows [down the possibilities].” He shrugs. “I think falling in love is about being as open as you can be. There’s a kinetic energy you only get when you’re in a room with someone. You also wouldn’t necessarily judge a person [by certain basic facts] in the same way that you might in a job interview – or you shouldn’t, anyway.”
For someone who grew up in an acting family, Woodall got the bug pretty late. His father, Andrew, is a character actor known for parts in Belle and The Riot Club, and his stepfather, the Scottish actor Alexander Morton, has appeared in Luther. “It was something we always felt was there,” he explains – referring to his sibling, brother Gabriel, 32, and sister Connie, 33 – “but it wasn’t like it coloured every cushion in the house.”
For him, the realisation that he wanted to act “was more of a gradual thing that built up over the years”. He’d originally wanted to be a stuntman, then a PE teacher, he says. The only bit of acting he’d done at school was “in Year Two when we did a Christmas production of Goggles the Penguin.” He grins: “There’s apparently footage of it somewhere out there, so I’m going to have to find it before someone else does.” Then, in 2007, Woodall saw Jack O’Connell in the TV series Skins and everything changed. “He
was electrifying and that sort of sparked something in me. After that I got really into Peaky Blinders, and I found myself constantly doing the Tommy Shelby thing in the mirror.”
He wasn’t a great student, he confesses. “Although I didn’t go to a very good school [the now-defunct Shene School in west London, which was two bus rides away from his Shepherd’s Bush home], so... It was quite rough,” he goes on, “violent. And there were a couple of good teachers, but in general I don’t think anyone really wanted to be there, teachers included.”
I bring up an interview he gave to The Guardian last year, in which he describes how, reacting to the bullying and – on one occasion –being threatened with a knife, he went through “a dark period”. “I started shaving my eyebrows [...] I shaved my head. I wore a hood all the time, changed the way I talked. It was a kind of survival instinct, I think. To fit in. But I wasn’t nice. I lashed out.”
“It was a scary place,” he confirms today. “It definitely crushed me as a person for a time. I would act out. I got into trouble. And then naturally, I guess you start growing up a bit.”
Drama school – the Arts Educational School in Chiswick – wasn’t, at first, the safe haven he’d craved. “My first week was definitely not a ‘this is amazing’ moment. Quite the opposite.” He pulls a face. “I just suddenly felt incredibly out of my depth and unprepared.” So much so that Woodall went to speak to the then principal, Jane Harrison, and the head of acting, Gareth Farr, and told them: “This isn’t for me. I don’t know anything about theatre and everyone else just seems so confident.” Obviously, he was told to stick it out and remains grateful to both today. “I think they saw someone who maybe had some talent but wasn’t confident enough in owning it.”
His first role was a small part in BBC’s Holby City (joining the likes of Kit Harington, Olivia Colman, Nicholas
Hoult and Jodie Comer). Then, “whilst doing a two-week money job to pay for Christmas presents”, Woodall landed the White Lotus role that would change his life. “I was wildly out of shape,” he shudders, “and I didn’t really mind at the time, but then when I got the Lotus call…” Three weeks of gruelling workouts and clean eating followed. A frenzied regimen only topped by the one he found himself doing a year later, in preparation for that swimming pool scene. “It’s so boring!” he groans when I ask what, exactly, the Mad About the Boy “glow up” regime entailed. “It’s boring for me to tell you but also so boring to do. You can’t drink, you can’t eat anything but clean foods. You have to do all this cardio and lift all these weights, and it does work – but I wouldn’t recommend it.”
Woodall’s still getting used to the change that happened, not so much after The White Lotus, as One Day, which was one of Netflix’s mostwatched series globally upon its release last February. “It really was from one day to the next, because it was big in America too,” he says, reaching for another tissue. Why does he think that was? “Honestly, I think that unless you didn’t have a heart you probably would have been moved by it. So many people that I meet now come up and tell me how touched they were by the show, and it’s wonderful to be a part of something that has had that kind of impact.”
The downside, for him, is the loss of anonymity, and he tells me about the times he and Fahy have been followed by the paparazzi in New York. “It does feel weird. Horrible. And I can’t even imagine what it’s like for someone so famous, like Harry Styles, because it really made me question what I was doing.” He pauses.
“I love what I do, and I want to be as successful as I can be, but if I get that and my life is… that – all the time? I don’t think I could handle it.”
Whether or not that has muted the appeal of the US, I’m not sure. He’s been working on his American accent –
“it’s getting better” – and cites Robert Pattinson as the actor whose career path he’d most like to follow – “because he’s had this wonderful journey from big franchises to the things he found really interesting” – but Woodall doesn’t seem as desperate as many of his counterparts to move there.
“When I see these people who have grown up here and then just moved everything over to the States, I do always wonder: ‘How have you done that?’” He loves New York, “and if I could split my time between there and London, I would do that. But it’s difficult because there is so much going on over here for me, including just family stuff. I mean, my nephew’s growing up and my niece is about to be born…”
We’re out of time – and Woodall is out of tissues, so I hand him a baby
pink Tom and Jerry-themed pack from my bag. He’s so surprised (“These are cute!”); so sweetly grateful when I tell him to keep them, and it reminds me of an anecdote Fielding told me about the day they filmed the Hampstead Heath scene in which he meets Bridget for the first time. “Leo was so friendly, but when I asked how he was, he just said: ‘I’m hungry.’ It hadn’t occurred to him that there was food and drink there, that he could ask for whatever he wanted, and I thought that was lovely.”
It’s been clear, over the past hour, that the confidence he so lacked at drama school has grown alongside his success. But how, I ask, do you keep becoming more confident without becoming a t--t? “Just keep calling yourself a t--t,” he says, pocketing the Tom and Jerry tissues.
“I find that helps.”
These pages, from left to right: still from Bridget Jones: Mad About the Boy (2025); still from One Day (2024)
How, at 90 years of age, Giorgio Armani still reigns supreme
INTERVIEW: PETER HOWARTH
There are many remarkable things about Giorgio Armani. One is that at 90 years of age he is still working hard, overseeing all aspects of his large fashion empire. Another, perhaps even more astonishing, is that he still owns 100 per cent of the business he founded almost 50 years ago. In today’s fashion landscape, which is dominated by corporate conglomerates like LVMH, Kering and Richemont, who between them own many of the world’s luxury fashion brands, this independence speaks of commendable singlemindedness. And, finally, his menswear is never really out of fashion.
This is because the Italian designer is no longer simply in the fashion business. The name Armani has joined an exclusive list that includes Rolex and Rolls-Royce, where brands have transcended product categories to become symbolic of a certain attitude and status.
Armani man is all about minimalism, elegance and connoisseurship. He is a global citizen whose preference for timeless style over passing fads marks him out as a knowledgeable adult. Just as when you think of Ferrari you think of red-blooded (and red-coloured), sexy Italian design, so Armani symbolises an alternative Italy — one of confident and relaxed style, linear and textured interiors, and dark or neutral-coloured tailoring worn for aperitivos. And the famous figures who grace the red carpet in his tuxedos.
“I do not deal in passing trends,” the designer says. We meet backstage before the big show he staged in New York in October. In uncharacteristic black tie — his trademark outfit is a navy blue long-sleeved knit, navy blue trousers, white trainers and (very Armani) round sunglasses — he looks the picture of elegance. “I seek the timeless, the elegant. Trends go out of style, that is their nature. But elegance does not date.”
This elegance was on show in New York, where Giorgio Armani came to town after an 11-year absence to open his new project at 760 Madison Avenue, like a returning emperor. This undertaking speaks volumes about what the boy who was born in Piacenza in 1934 has achieved. Housing not only his women’s and men’s collections, but also accessories, his interiors collection
‘ Clothes should bring out the character of the wearer. They should not disguise or overwhelm’
(Armani/Casa), a forthcoming Armani restaurant and ten Armani-designed apartments (all of which have sold), this ‘store’ is a hybrid space spanning clothing, hospitality and residential. “I always dreamt of creating an entire Armani lifestyle,” the designer says. “Interiors were an obvious area to explore as they allow you to dress the space. And food, too, is an essential part of life. It was a short step to hotels and residences.” There are Armani hotels in Milan and Dubai, and Armani restaurants and cafés round the word. Add to that Armani cakes and sweets (Armani/Dolci), flowers (Armani/Fiori) and a bookseller (Armani/Libri), as well as the fragrances, skincare and beauty ranges, and you start to see what an ‘Armani lifestyle’ really means.
The new store at 760 Madison Avenue sits on the same street as the designer’s first in New York. “In the 1980s, when I opened my first Giorgio
Opening page: Giorgio Armani with models at the Prive Spring/ Summer 2025 show These pages: Giorgio Armani SS25 Men & Women
Armani boutique in Manhattan, I chose Madison Avenue because I felt it was an exclusive and refined area,” he says. “Ideal for the contemporary elegance I wanted to communicate. Today, more than 30 years later, I still believe this place reflects my philosophy and my aesthetic vision.” To mark the occasion, the designer staged a fashion show in the city, taking over the Park Avenue Armory and rigging the space to look like a version of Grand Central railway station, but with a huge nightclub. Using more than 90 models, the show presented the Giorgio Armani Spring/ Summer 2025 collections for women and men.
Attended by 650 guests — the great and the good of the city with a healthy gaggle of celebrities — the parade of typically Armani dark and neutralcoloured garments looked at home in Manhattan, and the designer explains that the metropolis holds a special place
‘ By not chasing fashion you are not its victim ’
for him: “New York, for me, has always been linked to the many films that have deeply shaped my imagination.” The event also featured the launch of New York Exclusive, a capsule collection created for the new store that will be exclusively on sale there and at Bergdorf Goodman. The pieces consciously echo the designer’s 1980s tailoring style.
Back then, New York arguably acted as a bridge between Milan and the rest of the world for Armani. After the label came to the attention of the American public through dressing Richard Gere for the 1980 film American Gigolo, it was the men and women of Manhattan who took-up the Armani tailored look — the women as a way to achieve wardrobe equality in the workplace with their male colleagues, the men because they saw Armani as a way of softening their sartorial silhouette to make it more modern and less old-
school corporate. And at the time the decade of The Bonfire of the Vanities, Grandmaster Flash, Bright Lights Big City, Run-DMC, Fatal Attraction, Jean-Michel Basquiat, Talking Heads, Keith Haring, Beastie Boys, Do the Right Thing, Jeff Koons, Raging Bull, Madonna, When Harry Met Sally and, of course, Wall Street, New York seemed to be the popular-cultural engine for the world. By being big in New York, Armani inevitably became big globally.
At that time, although he didn’t court it, the Armani look was fashionable. It defined a look — bourgeois, you might call it in Europe, but in a sensual, Italian way — that suited the aspirations of the times. Since then, with the advent of grunge and street style and maximalism and all the rest, Armani’s restrained smartness has been more or less of the moment depending on the times. But his popularity among
These pages: Giorgio Armani Men’s FW25/26
‘ I do not deal in passing trends ’
consumers has not wavered. Because, as he says, “By not chasing fashion you are not its victim.” It speaks volumes that he became the go-to designer for Hollywood red-carpet events where (some) movie stars look to a safe pair of hands to make sure they look their best. Today, however, the designer who eschews trends finds himself in the peculiar position of being, once again, in vogue. The Armani wide-trousered and fluid jacket look for men, which
he has been essentially true to for five decades, again looks fresh and exciting. It marking a shift away from skinny strides and tight-fitting jackets and the pursuit of streetwear style by luxury brands. Suddenly, the neutral, natural coloured palette and the relaxed silhouettes that Richard Gere rocked in American Gigolo feel right again. What does the man who created this look think of this revival of interest?
“It’s interesting because you see things go around and come around. The whole discussion at the moment about gender in clothing is an example. From the very first I was producing clothes for women based on my menswear and using womenswear fabrics for my menswear. People talked of my style as being androgynous, whereas I simply looked at it as an aesthetic choice.”
And now that the style of his menswear is again seen as contemporary, what would he say to those who are just discovering it? “What can I say? Enjoy it. Enjoy the comfort. Clothes should always be comfortable as comfort brings confidence. Clothes should bring out the character of the wearer. They should not disguise or overwhelm. My menswear should make you look good, so you feel good. And as elegance does not date, you can wear it for years. Which is good for your bank balance and good for the planet too.”
These pages: Giorgio Armani SS25
Not only CEO and Creative Director of her eponymous brand, Marina Raphael is now heading up handbag design at Elie Saab. Her first task? To produce a dazzling haute couture collection
WORDS: CHRIS ANDERSON
WORDS: JOHN THATCHER
Marina Raphael was destined to dazzle. Born and raised in Athens to a Greek father and Swiss-Austrian mother, her family tree is rooted in the Swarovski crystal dynasty. It is, however, her own name that now shines brightest. Since launching her eponymous handbag label a little over six years ago, Raphael has grown in stature with each new collection. Many have caught the eye – from the bold, angular Riviera bag beloved by celebrities to the historic handbag line she designed in collaboration with Swarovski, the first in the jeweller’s century-plus history. But it was the admiration of one person in particular that has led to her most spectacular collection to date – Elie Saab.
“Our initial conversations about expanding the [Elie Saab] handbag category began last year,” says Raphael. “Then, in February 2024, when I was at the Elie Saab atelier in Paris, I was deeply honoured when Elie Jr., the CEO, entrusted me with this extraordinary opportunity.”
That opportunity saw Raphael appointed as Artistic & Design Director of Handbags at Elie Saab. Her first task? To produce an haute couture collection, an artistry for which Elie Saab is legendary. No pressure, then. “Embarking on a new journey, particularly with a prestigious label renowned for its quality and craftsmanship, naturally brings a mix of pressure and excitement,” says Raphael. “However, I would say the excitement prevails. There’s always a desire to give your utmost and rise to the high expectations that come with such an opportunity. I have long followed his career and have always admired his meticulous attention to detail and enchanting creations, while at the same time being inspired by his approach to detail and design. There are pieces that will live in fashion history and the work was very informative to my early career, so being able to dive into this with a true master was a dream come true.”
Couture is defined by its detail, intricacy and the devotion of ample time required to reach perfection. In this case, each of Raphael’s dazzling handbags – thanks in part to the application of thousands of Swarovski crystals – took over
‘ A handbag is a window to someone’s life and has always been a fascination of mine ’
200 hours to assemble. “The embellishment is all done by hand, so it really is a masterpiece and shows our dedication to human skill.”
Central to their design is a wave motif, representing the letter S in a nod to Saab, while colours were chosen to reflect what Raphael refers to as the many moods of the Elie Saab woman: “Delicate and vulnerable in soft lilac, irresistibly seductive in emerald, and a radiant embodiment of warmth in golden bronze.
“My starting point was to create pieces that embodied the opulence and intricate detail for which Elie Saab is renowned,” says Raphael. “I envisioned designs that radiate elegance, transforming bold silhouettes into dazzling expressions of craftsmanship. Each handbag, intricately adorned with thousands of Swarovski crystals, merges timeless forms with a modern sensibility. These refined pieces are canvases for crystallised opulence, where classical lines meet daring embellishments, capturing the delicate beauty of Elie Saab’s signature while offering a glimpse
into a visionary future of couture.”
Raphael’s own future was mapped out early on. “Growing up as part of the Swarovski family gave me an early glimpse into the world of fashion. I had the chance to attend exquisite events with my mother and experience several fashion shows. I also loved playing with the crystals, using them for arts and crafts, embellishing denim jackets and experimenting in creative ways. From an early age, I discovered my natural affinity for creativity and self-expression.”
There was also her innate understanding of business. “I have always wanted to merge my love of fashion and creativity with the business
Previous page: Marina Raphael
world. I find equal fulfilment in designing and leading as the CEO of my company, as both aspects are integral to running a successful fashion brand. While I didn’t know exactly what path I wanted to pursue as a young girl, my vision became clearer as I grew older and studied business management at King’s College London. I knew I had to combine the business side of my brain with my need for creative expression.
“Bags have always been a focus point for me as I love how personal they are to women. They have to fit into your lifestyle, speak to your style and hold your most personal belongings. A handbag is a window to someone’s life and has always been a fascination of mine.”
Raphael combines her new role at Elie Saab with that of CEO of her own brand. That must be challenging?
“It’s certainly a much busier schedule, but I’ve found that maintaining structure is key to staying focused. I make a conscious effort to separate the days dedicated to designing for each brand, ensuring that my mind is clear and fully immersed in the
‘ I have always wanted to merge my love of fashion and creativity with the business world ’
unique vision and direction of each project. This balance allows me to give my undivided attention to the distinct creative processes, delivering designs that truly reflect the identity and essence of both brands.”
There is also the likelihood of the dual role adding a fresh perspective to her work. “Absolutely. Every new experience enriches my design palette, and working with someone as meticulous as Mr Saab has undeniably influenced my perspective and approach. While my designs for each brand are distinct, there is always room to incorporate fresh ideas into my work.” And always time to design… “I’m just beginning to work on it now,” she says of the next haute couture collection. “It’s such an exciting and enjoyable experience. This is, without a doubt, my favourite part of being a designer – the boundless creativity and imagination that go into bringing creations to life. Diving into the rich history of Elie Saab means the possibilities are endless and I have so many ideas.”
Each one no doubt sparkling.
Power Up
A drive to the top of Jebel Jais gave the all-new BMW M5 a chance to flex its muscles
WORDS: JOHN THATCHER
If there’s one sure way to soften the blow of unwittingly timing your drive back to Dubai – via Sharjah – to coincide with one of the city’s now infamous traffic peaks, it’s knowing you’ll be at the wheel of BMW’s newest super saloon – and thrillingly fun – M5 for a very long time.
This is a car packed with muscular power, a hybrid housing both the latest version of the 4.4-litre V8 engine and an electric motor. The very thought of it may well have irked fuel-guzzling M aficionados when it was announced, but they’ll be won over with consummate ease the very second their foot engages the car’s accelerator and they feel the ‘sling shot’ effect, which feels a bit like being fired from a gun, one suspects.
That’s because the electric element elevates the typical M performance, adding more than 100hp to the previous V8 model for a total output of 717 horsepower – all of them racing thoroughbreds and at your service in an instant.
The other numbers are equally impressive: 0-100 km/h in 3.5 seconds; 0-200 km/h in 10.9 seconds; and a top speed of 250 km/h. That is unless you add the optional M Driver’s Package, which would see you sail comfortably past the 300 km/h mark. Such speed wasn’t called upon as I wound my way up and down the corkscrew turns of Jebel Jais –magnificent as it was against a cloudless, ice blue sky – but what was required was the M5’s unerring ability to hug the road tighter than a mother does her newborn child. In and out of corners it is impossibly agile, electronically controlled dampers taking note of the movements of the car’s body, the condition of the road and any steering
‘ It’s impressively ripped, as though it was fed on a strict diet of lean meat and protein shakes before its unveiling ’
adjustments you’ve made, and doing so in milliseconds as the adaptive M suspension hoovers up any bumps to keep the car at one with the road. It’s a glorious feeling at odds with the car’s weight (heftier than its predecessor on account of the battery) and gives you the confidence to push harder when the urge takes you – which was pretty much always on the mountain climb. It’s also rock solid when eating up long stretches of straight road, which is also when you can flick through multiple systems to mix up your driving experience, including a switch from 4WD to 2WD, where the rear wheels take over sans the aid of the car’s stability control system. Though that’s probably best left for the track. That said, all the familiar, thrusting M performance characteristics can be called upon at the touch of a button if you want the car to reveal its sporty persona on the road, as can a selection of more sedate, luxurious driving modes, including fully electric to a reported range of 69km.
And you’ll look good whatever way you choose to drive it. Options for external paint shades include one solid and nine metallic, a few of which, Isle of Man Green Metallic, Marina Bay Blue Metallic (the car I drove) and the matte finish Frozen Deep Grey are exclusive M colours. Then there are just the 150 individual paint finishes to choose from, should you wish for something a little more personal. They coat a car that looks impressively ripped, as though it was fed on a strict
diet of lean meat and protein shakes before its unveiling, all precisely sculpted to give it somewhat of a characterful menace, a look aided by the brooding black high gloss BMW M kidney grille and its signature glow.
The sides of the car’s body, the front and rear wheel arches included, have been completely redesigned specifically for this model, resulting in an increase in the car’s width – by 75mm at the front wheels and 48mm at the rear – in comparison to the standard BMW 5 Series. It’s not shy.
Inside, the M’s red markings are clear, including on the newly designed flat-bottom leather steering wheel. But it’s the seats that are most impressive, managing to strike the perfect balance between race car looks and sumptuous saloon comfort. Quite a feat.
You can tailor much of the interior, with myriad leather, wood and aluminium trim options available, while the huge arsenal of finely tuned technology lends five-star service to your everyday drives. All manner of brake and steering assistance comes as standard (though it can also be suspended), including a Parking Assistant who will control acceleration, braking, steering and gear-change tasks when entering and exiting spaces.
As an option you can purchase the Parking Assistant Professional, which allows you to trigger certain automated manoeuvrers (including parking) via your smartphone while stood outside of the car.
Alas, BMW hasn’t yet developed the means to teleport the car over Sharjah’s lengthy traffic jams, but you suspect with such wizardry at their fingertips it’s only a matter of time.
Firing On All Cylinders
Why his new hotspot, Strawfire, sees chef and restaurateur Ross Shonhan at the top of his game
WORDS: JOHN THATCHER
It’s not a rags-to-riches story by any means, but so starkly juxtaposed is the vision Ross Shonhan paints of his childhood home in Australia with that of the gilded corridors at the regal Emirates Palace Mandarin Oriental, Abu Dhabi, where he has recently opened his latest restaurant, Strawfire, that you can’t help but consider the huge change in circumstance.
That home, its roof fashioned from corrugated iron, which would make any rainfall sound like machine gun fire, was on a working cattle farm so deep in rural Queensland that before the school bus agreed to extend its route by an additional 10km solely to collect Ross and his brothers it was suggested that their schooling would have to be undertaken remotely, via two-way radio.
Much further still was the area’s only grocery store, which meant trips there were as infrequent as fortnightly. Food was homemade from scratch, cattle and chickens raised for their meat, for which Ross and his brothers had “pretty gruesome jobs” to do as part of their chores. “It was very real and very honest, and I have a very good understanding of where our food comes from.”
However, his love for cooking was born from his hatred of university, which led to Ross seeking an escape route. “I started calling restaurants and asking, ‘How do you become a chef?’ I was told I needed to get an apprenticeship.”
Having started that apprenticeship at a small restaurant
in Brisbane – during which time he would also work for free in a whole host of restaurants to learn of different cuisines and food cultures – Ross’ mind was opened by the sense of opportunity that lay ahead. “I just realised that once you learn how to cook, food delivers an almost endless career and you can be anywhere in the world for it. I bought a one-way ticket to England in 2001 and I haven’t lived in Australia since.”
In London, Ross would establish himself among the city’s most talked-about chefs, becoming head chef of Zuma and launching a trio of his own restaurant concepts which paved the way for his Middle East debut, Netsu, the excellent Michelin-rated Japanese steakhouse at Mandarin Oriental Dubai that’s famed for its Warayaki style of cooking, a visual treat for the Instagram age that sees high-flaming straw used to cook food.
Which brings us neatly to Strawfire, the reason for our chat. Ross describes typical western Japanese restaurants – though largely successful – as “cut and paste” formats. He wanted to do something different, something almost unique. As an engaging storyteller, he wanted his restaurant to be likewise, and he found those stories in Japan, a country to which he constantly travels to learn something new about its food and culture.
Warayaki – ‘wara’ meaning rice straw and ‘yaki’ burning – originates from Japan’s Kochi prefecture and the practice
dates to the 17th century, but it remains rare in restaurants across the country. When Ross met the Japanese ambassador to the UAE, he had to explain what it was.
“It was a USP to differentiate ourselves from other Japanese restaurants, first and foremost,” explains Ross. “But there’s also the theatre of it and the real campfire cooking taste it brings to the food.”
With the menu at Netsu being beefcentric, Ross wanted to offer something extra at Strawfire, to showcase the versatility of warayaki cooking. “We warayaki avocado, we warayaki lettuce for what’s almost a version of a Caesar salad, and we warayaki burrata cheese to impart some smokiness, warm it up, and make it more interesting.”
What certainly piques interest is seeing spaghetti on the menu. “In Japanese food there is ‘washoku’, which refers to the cuisines that originated in Japan, the likes of sushi, and ‘yōshoku’, which refers to western foods that have become uniquely Japanese. One such dish we have at Strawfire is spaghetti mentaiko, a salty, spicy cod roe with spaghetti. This is a classic yōshoku dish that was created by Japanese chefs and now so common in Japan that it’s
‘ People just don’t expect to find spaghetti in a Japanese restaurant ’
on the menu at KFC. So I’ve created our version of it to tell that story, because people just don’t expect to find spaghetti in a Japanese restaurant.”
Looks wise this is not your standard sleek, cookie-cutter Japanese restaurant. Its interiors are stunning, lovingly – and painstakingly –conceived. Whereas Ross arrived at Netsu too late to influence its decor, at Strawfire he was heavily involved from the outset. In that respect, if Netsu was Ross’ adopted child, Strawfire is very much his baby.
Handmade artistry abounds, the theme of straw evoked in myriad creative ways. In the restaurant’s incredible private dining room is the world’s largest synthetic shimenawa, a ceremonial handcrafted twisted straw rope that normally hangs in front of shrines and temples to ward off evil spirits. “We approached this shimenawa manufacturer in Toyama, and initially I think they thought we were absolutely insane!” laughs Ross. “They thought this was never going to
happen, because we were asking them to make the largest shimenawa they’ve ever made. But it did and it makes for a magnificent centrepiece.”
Being a chef is a notoriously stressful occupation; running your own restaurant only adds to it. And while Ross is not immune to its impact, it’s something he’s had to deal with. When aged only 25 he took on his first head chef role at Nobu in Dallas, working for Nobu Matsuhisa. “Look, he absolutely kicked the s**t out of me, in a very Japanese way, to test whether I was good enough. And I’ve never been more stressed and more scared of losing my job than during those first six months working for Nobu. I was working 21 hours a day, drinking literally 30 espressos a day, and getting two hours sleep a night. They intentionally made me feel so insecure and uncomfortable, fundamentally to test whether I was worthy. Upon reflection I was probably completely out of my depth, and I’m just lucky I’ve got that stamina to be able to work hard. But it changed my life, so he was an incredible mentor.”
Having learnt from one of the best, Ross is now among them, Strawfire thrilling proof of a chef and restaurateur who’s very much on fire.
Red Sea Romance
For a honeymoon on the Red Sea, two resorts shine brighter than the rest. The St. Regis Red Sea Resort offers timeless luxury and soul-stirring moments, while Nujuma, a Ritz-Carlton Reserve, blends nature, culture and celestial serenity. Both promise an unforgettable start to forever
Whether you’re dreaming of sunset toasts on a secluded beach, stargazing under desert skies, or underwater adventures in vibrant coral reefs, these two exceptional retreats promise a honeymoon unlike any other – where love is celebrated in its most breathtaking form.
For couples seeking a honeymoon that blends luxury with intimacy, The St. Regis Red Sea Resort offers an experience that feels like a world of its own. Nestled on a private island, surrounded by crystal-clear waters and silk-soft shores, this sanctuary redefines romance with its exquisite design, personalised service and a deep connection to nature’s beauty.
The architecture is a masterpiece: sleek modernity meets the rich heritage of the Arabian Peninsula. Every space, from the beachfront villas to the ocean-view suites, is crafted for comfort and seclusion. From waking up to the rhythmic sound of waves or watching the sunset from a private terrace, every moment is imbued with a
sense of tranquility and togetherness.
At the heart of the experience is the renowned St. Regis Butler Service. From your first breath of ocean-kissed air, every detail is handled with precision and care. Be it an unpacked suitcase, a celebratory toast poured as the sun slips away, or a candlelit dinner where the waves compose a love song, the butlers weave romance into every moment.
The daily champagne sabering ritual, a nod to St. Regis’ proud legacy, marks each evening with a touch of celebratory elegance, setting the stage for an unforgettable night.
Beyond the luxuries within the resort, couples can immerse themselves in the magic of the sapphire depths of the Red Sea, unveiling coral gardens teeming with marine life, while private yacht excursions offer an intimate setting under a starlit sky. At the spa, nature-inspired treatments harmonise mind and body, creating a rejuvenating sanctuary that epitomises rest and refinement.
This page, from top to bottom: Nujuma, A Ritz-Carlton Reserve
Every detail at The St. Regis Red Sea Resort is curated to craft the perfect honeymoon in a destination where time slows, love deepens and memories are made to last a lifetime.
For those drawn to raw, natural beauty and quiet moments of wonder, Nujuma, A Ritz-Carlton Reserve, delivers a honeymoon experience that feels like a dream. Hidden away on an unspoiled island in the Red Sea, this retreat embraces the art of slow living, letting love unfold naturally, with every experience as rare and extraordinary as the setting itself.
Here, the night sky takes centre stage. Under a celestial dome untouched by city lights, couples can embark on a secluded stargazing experience, guided by an expert who reveals the secrets of the constellations. The vast desert sky becomes a symbol of infinite possibilities, a poetic reflection
of the journey ahead for starry-eyed newlyweds.
Cultural immersion is woven into the experience, connecting couples to the land’s rich traditions. A local heritage expert uncovers the rituals of love and hospitality that have been passed down through generations, offering a deeper understanding of the region’s warmth and generosity. Culinary explorations, led by a holistic nutritionist, celebrate the bounty of the sea and the timeless flavours of the Arabian Peninsula, crafting meals that nourish both body and soul.
For those who find romance in adventure, the Red Sea itself is your playground. Snorkelling and diving excursions showcase pristine coral gardens, while a marine biologist provides insight into the vibrant ecosystem that thrives beneath the waves. On land, yoga sessions on the shore or
‘ Love is honoured, connections are deepened and memories are written in the stars ’
meditative flows beneath the stars create moments of connection, grounding couples in the present while embracing the future. Throughout their stay, guests can expect the unexpected: an impromptu sunset toast on a secluded sandbank or a personalised candlelit dinner where the waves ripples beneath the night sky. Each experience at Nujuma is designed to celebrate love in its purest form, making it the perfect place for honeymooners to write the next chapter of their story. Because at Nujuma, love is honoured, connections are deepened and memories are written in the stars. stregisredsearesort.com; nujumareserve.com
This page, from top to bottom: The St. Regis Red Sea Resort
Jennifer Chamandi
SHOE DESIGNER
The best piece of advice I’ve ever received is to ‘dream big, start small, but most importantly, start.’ This advice has guided me through every stage of my journey, from leaving banking to pursuing my passion for shoes. It reminds me that taking the first step, no matter how small, is what truly matters.
Being surrounded by my family, watching my daughters grow into strong, confident young women, and knowing that my work is inspiring and empowering others to step into their power. That’s my idea of perfect happiness.
I consider building Jennifer Chamandi from a vision into a globally recognised brand that empowers women as my greatest achievement. Every time a woman steps into my shoes and feels confident, strong, and ready to take on the world, I know I’ve fulfilled my purpose.
If I could acquire another talent I would love to be a sculptor, to be able to shape and mould raw materials into something meaningful and timeless, much like I do with shoes, but in a different medium.
A lesson I learnt the hard way was that not everyone will see your vision the way you do. I’ve learnt that belief in yourself must come from within. External validation is fleeting, but self-belief, discipline, and perseverance are what turn dreams into reality.
I’d like to worry less and trust more. I’ve spent years fine-tuning my intuition, and whenever I trust it fully things align perfectly.
If I could give some advice to my younger self I’d tell her that you already have everything you need within you; trust yourself, embrace the journey, and never let fear stop you from dreaming big.
In the heart of nature, Nujuma, a Ritz-Carlton Reserve, offers the perfect setting for your most cherished celebrations. Each occasion is crafted with bespoke elegance against the serene backdrop of the Red Sea. Here, surrounded by history and breathtaking beauty, your special moments become unforgettable memories.
