Air Magazine - Nasjet - October'17 by Hot Media

ISSUE SEVENTY SEVEN OCTOBER 2017

Bryan Cranston

Luxury • Culture • People • Style • Heritage

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Contents oCtobEr 2017 : ISSUE 77

Editorial Editorial director

John Thatcher Managing Editor

Faye Bartle Editor

Chris Ujma

air

christopher@hotmediapublishing.com

art art director

Kerri Bennett designer

Jamie Pudsey illustrations

Vanessa Arnaud

CoMMErCial Managing director

Victoria Thatcher Group Commercial director

David Wade

david@hotmediapublishing.com Commercial director

Rawan Chehab

rawan@hotmediapublishing.com

ProduCtion Production Manager

Muthu Kumar Forty Four

Fifty

Made to Perfection

Marilyn

Fifty Four

Sixty

How Bryan Cranston used anger and adversity from a messy childhood to fuel his greatest on-screen portrayal

Karl Lagerfeld affords an exclusive peek into the intricate process behind Chanel haute couture

How a routine magazine assignment saw Marilyn Monroe become a houseguest of Milton H Greene

Elsa Schiaparelli had an affinity with art (and the artists themselves) â&#x20AC;&#x201C; the passion influenced her oeuvre

Breaking Through

Pride of Place

Contents

AIR

OCTOBER 2017 : ISSUE 77

Eighteen

Sixty Six

To appreciate the hidden message of Chanelâ&#x20AC;&#x2122;s newest timepiece, youâ&#x20AC;&#x2122;ll first need to break its code

The R8 may be its supercar king, but Audi has turned its attention to tuning road cars with track-honed abilities

Twenty Eight

Seventy

Medusa coils her inspiration around a Parisian exhibition that explores the taboos and misconceptions of jewellery

With a new restaurant in City Walk, the Galvin brothers bring a fresh approach to Dubai dining

From Thirty Four

Seventy Four

Auction pulses race over a Paul Newman Rolex, and Only Watch gets bespoked for a charitable cause

Retreat to whisper-quiet Amanpulo in breathtaking Palawan, for a luxurious Philippine island break

Radar

Jewellery

Timepieces

Motoring

Gastronomy

Travel

Forty

Art & Design Acclaimed photographer Sheila Metzner has delved into her archives to select for new book From Life

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. HOT Media Publishing does not accept liability for omissions or errors in AIR.

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NASJET is the first private charter company in Saudi Arabia, providing bespoke aviation services for the most discerning clients and institutions in the world since 1999. Currently, the Group operates more than 24 corporate aircraft, making us the largest and most experienced private jet operator in the region with a managed fleet value exceeding USD1.5 billion. NASJET, which is part of NAS Holding, employs over 1,700 industry experts, operating 24/7 from our state-of-the-art flight centre in Riyadh and across the world delivering a superior level of safety, service and value. At NASJET we have the expertise and international experience to operate corporate aircraft worldwide. Every hour of every day, we are moving planes, crews and inventory across continents. We give you peace of mind when it comes to our commercial operations. As a Saudi company we are backed by some of the most prominent shareholders in the world. We are established. On our Air Operator Certificate (AOC), NASJET currently operate the following aircraft types: • Hawker 750 Aircraft, which can seat up to eight passengers and fly for up to four hours non-stop. • Cessna Citation Excel, which can seat six passengers and fly for up to three

Welcome Onboard OCTOBER 2017

hours non-stop. • Embraer Legacy 600, which can seat 13-15 passengers and fly for up to five hours non-stop. • Gulfstream GIV-SP and G450 Aircraft, which can seat 13-14 passengers and fly for up to eight hours non-stop. • Gulfstream GV, which can seat 16 passengers and fly for up to 12 hours non-stop. • Airbus 318ACJ, which can seat 19-22 passengers and fly for up to eight hours non-stop. NASJET is pleased to offer the following services: • Aircraft Purchase and Sales. We have aircraft available for sale and management, or we can manage the purchase or sale of other aircraft. • Aircraft Acquisition, Acceptance, Completion and Delivery. We can find you the new aircraft that suits your needs, customise it to your liking, monitor the build of the aircraft at the manufacturer, and supervise the final delivery process to ensure a smooth and rewarding private aircraft experience. • Aircraft Management, where we are responsible for your aircraft from all aspects to provide you the highest safety standards, the best service and the most economical management solutions. • Block Charter, where we provide you with charter solutions sold in bulk at discounted rates. • Ad-Hoc Charter, where we can serve your charter needs where and when you need us on demand. With the new GACA Rules and Regulations having come into effect as of 1 March 2016, NASJET has established itself as the first to market our Private and Commercial AOC Services. We welcome the opportunity to serve you and look forward to seeing you on one of our private jets.

Captain Mohammed Al Gabbas Vice President

Contact Details: sales@nasjet.com.sa nasjet.com.sa T. +966 11 261 1199 13

NasJet OCTOBER 2017 : ISSUE 77

‫ناس جت توقع‬ ‫جديدا‬ ‫عقدا‬ ً ً ‫للوصول إلى الربع‬ ‫الخالي‬

New Contract Provides Air Access to the Empty Quarter

‫ الشركة الرائدة في‬،‫أعلنت شــركة ناس جت‬ ‫ في مطلع هذا العام‬،‫حلــول الطيران الخاص‬ ‫الجديــد عن توقيعها عقدً ا جديدً ا مع دائرة‬ ‫حكومية ســعودية وذلك لنقل منسوبيها بين‬ ،‫مدن المملكة ومحطات صحراء الربع الخالي‬ ‫حيث يقتضي هذا العقد نقل منســوبيها على‬ .Twin Otter DHC6 ‫طائرات من طراز‬

NasJet has announced the signing of a new contract with a KSA government entity, to facilitate the transfer of their personnel between remote airports in Saudi Arabia and the Empty Quarter desert. Conducted using a DHC-6 Twin Otter aircraft, this new type of service from the private aviation leader will facilitate the work of industrial companies that are remotely located in hard-to-reach areas. The service will be a key element in the growth of the national economy, by providing ease of access to these isolated yet important areas. In addition to the transport of passengers, an additional element to the contract is providing medical evacuation services when required in cases of medical emergency; a requirement being that the aircraft must be airborne within 30 minutes of call-to-action. NasJet is honoured to have been selected for the role, as it has over nine years experience working with DHC-6 Twin Otter aircraft, and previously provided similar logistical support to Shell Global. 14

‫وستساهم ناس جت من خالل تقديم هذه‬ ‫الخدمة إلى تيســير أعمال الشركات الصناعية‬ ‫في المناطق النائية والمشاركة في نمو‬ ‫ عبر تعزيز سهولة الوصول‬،‫االقتصاد الوطني‬ ‫حتــى ال تكون المناطق النائية صعبة الوصول‬ ً .‫عقبة في سرعة إنجاز األعمال‬ NasJet Vice President Capt. Mohammed Al-Gabbas said of the deal, “We are very delighted to have signed this new contract and we are proud of this partnership, which will provide ease of access between the remote Saudi Airports and the Empty Quarter. We look forward to extending this partnership and cooperation for many years, to support our common goals and interests, and for the betterment of the nation”. NASJET Sales Team +966 11 261 1199 sales@nasjet.com.sa nasjet.com.sa

‫كما يشــمل هذا العقد خدمات اإلخالء الطبي‬ ‫ حيث‬،‫التــي قد تحتاجها خالل مدة العقد‬ ‫تضمــن ناس جت تجهيز الطائرة في مدةٍ ال‬ .‫ دقيقة‬30 ‫تتجاوز‬ ً ‫خبرة طويلة وواسعة‬ ‫وتمتلك شــركة ناس جت‬ ‫في النقل الجوي على طائرات‬ ‫عقد امتد‬ ‫ وذلك بعد‬،Twin Otter DHC6 ٍ .‫لتسع سنوات مع شركة شل العالمية‬ ‫وفي تعليق لنائب الرئيس لشــركة ناس جت‬ ‫» سعيدون‬:‫ قال فيه‬،‫الكابتن محمد القباس‬ ‫ وفخورون‬،‫جدً ا بتوقيع هذا العقد الجديد‬ ‫بهذه الشراكة التي ستنعكس بإذن اهلل‬ ‫ والتنقل‬،‫على سهولة الوصول للربع الخالي‬ ‫ ونتطلع ألن تمتد هذه‬.‫بكل أريحية وسالســة‬ ‫لسنوات طويلة‬ ‫الشــراكة لتكون تعاو ًنا يمتد‬ ٍ .»‫لتتحقق األهداف المشتركة‬

NasJet OCTOBER 2017 : ISSUE 77

NasJet Obtains EASA TCO Approval NasJet has successfully obtained a Third Country Operators (TCO) authorisation from the European Aviation Safety Agency (EASA), in order to apply for individual operating permits â&#x20AC;&#x201C; related to traffic rights for aircraft under the NasJet Air Operator Certificate (AOC) for Commercial Air Transport (CAT). Recently, EASA has made a requirement for all third-country (non-EU) operators who perform commercial air transport operations into the EU. These operators must comply with safety standards that meet International Civil Aviation Organization (ICAO) international safety requirements. NasJet is proud to have successfully met all the requirements of the TCO, and is considered one of the leading Saudi operators in the region to provide this value-added service to our aircraft, which are under the management of NasJet Commercial AOC. The news further emphasises how NasJet values the safety of its clients and aircraft above all, and will continue to maintain a leading edge in the region. One of the added benefits NasJet offers its under-management aircraft is the ability to automatically be added under the EASA TCO approval rating, once the vessel is added to the NasJet Commercial AOC. This gives the benefit of applying for exemptions on fuel VAT (plus other services), when performing a Commercial flight within the EU. NasJet has been the leading provider of aircraft management services in the Middle East since 1999 and currently operates 24 corporate aircraft based in Saudi Arabia and the United Arab Emirates. NasJet also has 10 aircraft available for charter, ranging from Airbus A318ACJ and Gulfstream G450/GIV-SP, to a Legacy 600 and a Citation Excel.

Welcome to NASJET

Radar OCTOBER 2017 : ISSUE 77

AIR

The beauty of Chanel exists in its nuances: tasteful nods to a storied history, design accents from the archives and delicious ideas to ignite the imagination. A new timepiece, Code Coco, combines all three. On first glance, the quartz-powered watch bears the Maison’s historic quilted pattern on its bracelet, a black laquer dial and princess-cut diamond frosting. But there’s a deeper meaning; a code to decipher. Its centre clasp is reminiscent of that from the 2.55 bag created by Mademoiselle Chanel in 1955, and here it discreetly conceals or unveils the time – turning with a satisfying click. This is symbolic watchmaking with a distinct twist. chanel.com

Deniz Gamze Erguven wearing Code Coco 18

Critique OCTOBER 2017 : ISSUE 77

Film The Mountain Between Us Dir: Hany Abu-Assad A plane crash dumps two strangers into unforgiving conditions At Best: “An easily digestible love story-cumsurvival tale that tosses two excellent actors in the snow and lets them do their thing.” Hollywood Reporter At WoRst: “Neither the subzero temperature nor the romantic heat penetrates more than skin deep.” Variety

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Dir: Peter Landesman A biopic based on ‘Deepthroat’ Mark Felt – the former FBI agent and Watergate scandal insider At Best: “The solid ticking-clock biopic should perform respectably among serious-minded moviegoers.” Hollywood Reporter At WoRst: “But for its faults as a movie, the story is still compelling as a bit of history.” Vox

Breathe Dir: Andy Serkis An inspiring love story about a couple who seize the day when one is faced with a life threatening disease At Best: “Classic Sunday afternoon matinee fare, replete with an Oscar-baiting central performance and a life-affirming, decadespanning narrative.” CineVue At WoRst: “The performances and the inherent power of the true story keep it from being a complete disaster.” RogerEbert.com

78/52: Hitchcock’s Shower Scene Dir: Alexandre O Philippe An examination of the Psycho shower scene – a cinematic game changer At Best: “[No] film has stared so deeply into the long shadow cast by onscreen violence as [this] often-mesmerising study.” Screen-Space At WoRst: “Still feels more general than it needs to be [but encourages] viewers to more closely examine films with this type of passion and acumen.” POV 20

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Critique OCTOBER 2017 : ISSUE 77

Theatre

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“T

here isn’t a feel-bad bone in Five Guys Named Moe,” writes Tim Auld in The Telegraph. It showcases the songs of the jazz and R&B pioneer Louis Jordan, and is back in a new production directed by its creator Clarke Peters, modishly situated in a pop-up tent at Marble Arch, London, until 25 November. Auld explains, “Jordan, born in Arkansas, lived a colourful life, marrying five times and taking swing to the brink of rock ’n’ roll. Where would Chuck Berry, Bill Haley, Little Richard and Jerry Lee Lewis have been without him?” The production is, “A welcome blast of jazz-hot fun as autumn draws in,” says Marianka Swain for Broadway World. “That’s not to say it’s a perfect piece of theatre, but it’s hard to dislike a show that so amiably pre-empts criticism. Plot wise, this quintessential jukebox musical makes Mamma Mia! look like Hamlet, but there’s dialogue to that effect: ‘Oh no, that sounds like a cue for another song!’” Sam Marlowe at The Stage enthused, “The cast wraps gorgeous vocals around Jordan’s melodies – sweet as molasses, or tender and blue as a bruise – while Andrew Wright’s athletic choreography footstomps, shoulder-shimmies, spins and leaps from one sizzling moment to the next.” At The Olivier Theatre, London, Dominic Cooke’s revival of Stephen Sondheim’s Follies is, “Set at a Broadway reunion… with the theatre marked for demolition,” writes Matt Trueman in Variety. “The stars and chorines of the pre-war era revisit their old haunt. It’s 1971; New York is run down… and as the cast reminisce and trot through old routines, their younger selves – shimmering in silvery, sequined ballgowns – hover on the edges of 22

Five Guys Named Moe. Photo: Marilyn Kingwill

this ruined auditorium like ghosts in the wings.” Paul Taylor was suitably thrilled, saying in the Independent, “Time present and time past perform a painful, yearning pas de deux – and get up to some less decorous tricks, too – it is piercingly acute about the regrets of middle age, tarnished dreams and the distortions of nostalgia… The hairs on the back of my neck were begging for mercy, for they got barely a moment’s peace.” Follies can, says The Guardian’s Kate Kellaway, “Be performed as a camp extravaganza, but as I watched Cooke’s stupendous revival I was reflecting that… Sondheim has his cake and eats it: his lyrics are sad and entertaining, sentimental and truthful. His music is as nuanced as the lives it describes.” “In Oh My Sweet Land, dinner is served. Don’t come hungry,” cautions Alexis Soloski in The New York Times. Amir Nizar Zuabi’s solo play about Syria, which will

be performed at various locations across New York City until Oct 22, is, “Full of heavy-handed food metaphors, spoken and unspoken,” says Zachary Stewart for Theater Mania. “This novel production enlists kitchens in private homes across the city, spaces as foreign to us as they are for the lone performer, the very capable Nadine Malouf. She’s chef and storyteller for 65 minutes, cooking as she tells us about her incredible journey.” Solsoki adds, “As Malouf tells her own story, the woman prepares more kibbe... The food is a doughy lifeline between her and her lover, between her and the country of her parents. It closes distance, fills loss. She barely looks at her hands as they knead bulgur, cube meat, but the stories she tells affect the way she holds the knife and pulses the food processor... Zuabi has structured this cooking demonstration as a love story, an adventure, and a mystery.”

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Critique OCTOBER 2017 : ISSUE 77

Art

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n historic battle cry rings out at the British Museum thanks to Scythians – Warriors of Ancient Siberia, showing until 14 January. “As you enter the gallery, you could almost swear you hear the wind whistling through the steppeland grasses. This isn’t a show that makes or needs much recourse to gimmicks [though]. [It tells] how little we know about the Scythians – virtually nothing of their religion, or language or even the structures they lived in,” says Mark Hudson for The Telegraph. “Suspicions that this will be one of those shows that is more about the difficulties of understanding the subject than the subject itself are soon assuaged by an array of truly astounding gold jewellery… It takes us inside the totemic mind of the original ‘threat from the east.’” Writes an enchanted Ben Luke in Evening Standard, “In this remarkable exhibition… there’s much that glisters. But this being a show of an essentially Siberian people, it features exhibits… which have been preserved in the permafrosts of a famously inhospitable region…. Some objects are remarkable for the fact that they survived at all. I gasped when I realised that two chalkylooking lumps, next to a leather bag decorated with elegantly coiling vegetal or animal forms that once contained them, were in fact 2,300-year-old chunks of cheese.” Basquiat: Boom for Real – at the Barbican Art Gallery in London until 28 January – is, “A dazzling retrospective [that] reveals the savage sweep of Jean-Michel Basquiat, whose blood-spattered mouths and grinning human skulls captured the tragic arc of American history”, writes Jonathan Jones for The Guardian. “All the exhilaration of his life and times can be savoured in a perfectly judged account of his rise, from spraypainting jokes and gnomic remarks in the streets of New York with his collaborator Al Diaz, to dancing at the Mudd Club and being photographed by 24

Gold plaque of a mounted Scythian, Black Sea region, c. 400–350BC. © The State Hermitage Museum, St Petersburg, 2017. Photo: V Terebenin

Warhol.” Analyses Matthew Collings for Evening Standard, “Boom for Real is great if you like paintings. It’s also informative about its subject’s life but perhaps too much so… He became a celebrated artist when he was barely 20. Within a couple of years he regularly earned hundreds of thousands of dollars from work believed by collectors to be startlingly original. They were right. He had a facility for making marks dramatic, and whether sloshed, scrawled, stabbed or whacked, weaving from them a dramatic image. It would be hard to say if the results were really either pictures or abstracts. Maybe they were a new form of picture writing.” “Delirious proposes a new version of art history, one short on blue-chip names but with a terrific soundtrack,” writes Roberta Smith of Delirious: Art At The Limits Of Reason, 1950–1980, at the Met Breuer, New York, until 14 January. “Big thematic exhibitions are almost always by definition

flawed propositions. A curator comes up with a concept… untethered by style, medium or geography, such ventures can seem both arbitrary and amorphous. But if they give art history a different spin or shape, they can also be valuable, warts and all. This is the case with this nervy multimedia survey of postwar art.” Explains Time Out New York, “The survey tackles this sense of postwar anomie, which fostered a general sense of alienation and disenchantment that was reflected by artists whose efforts were defined by qualities such as incongruity, irrationality and a sense of the absurd.” Jinny Choi at The Knockturnal writes, “What is delirium? [This show] attempts to answer, or rather show, the essence of such an ambiguous state of human emotion. The collection of works illuminates the artists’ different interpretations. Visceral works which border insanity; and they are tearfully beautiful.”

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Critique OCTOBER 2017 : ISSUE 77

AIR

Books

“O

ne of the lesser enigmas of life is why so many people order tomato juice on planes. Like Pavlov’s dog, I often start craving it myself the minute I do my seatbelt up,” confesses Bee Wilson, in her review of Gastrophysics: The New Science of Eating for The Guardian. “Few of us sip tomato juice for breakfast or as an aperitif, yet this savoury beverage forms 27 per cent of all drinks orders on planes… This is exactly the kind of puzzle that interests Charles Spence, a professor of experimental psychology.” Asks Kirkus Reviews, “We taste sweet at the front of the tongue and bitter at the back, right? Wrong. Thanks to what Spence characterises as ‘the general neglect of the lower senses by research scientists,’ we’re brought up on all kinds of misinformation about food and the way our bodies respond to it. His is new blend of various sciences with cultural and psychological elements

of food preparation and presentation, which, in Spence’s hands, yields all sorts of ‘aha’ moments.” Says the South China Morning Post review, “The book argues that eating is a far more multisensory experience than we usually recognise. He proposes a ‘new science of eating’ to systematically observe the ways our behaviour around food is affected by all of our senses… A detail as tiny as changing the latte art on a cappuccino, from an angular star to a rounded design, can make the drink appear less bitter to consumers.” Street Warrior: The True Story of the NYPD’s Most Decorated Detective and the Era That Created Him, is, “A swashbuckling book that is likely to elicit extreme reactions of applause or disapproval depending on the reader’s personal opinions about law enforcement,” say the editors at Kirkus. Ralph Friedman, who famously made 2,000 arrests, 100 off-duty

arrests and 6,000 assists, “Recounts the harrowing trials and tribulations he experienced while wearing his uniform. The memoir is filled with war stories and anecdotes about the bygone era of policing, a time when cops didn’t have to wear body-cams or worry about being politically correct,” says Seth Ferranti for Merry Jane. Actor Gianni Russo weighed into the book review game, saying, “If I knew about Detective Ralph Friedman when I was raising hell in New York during the 1970s/80s I may have dialled back my lifestyle. Friedman’s memoir is a rapidfire page-turner, told with compassion and gut-wrenching reality. It’s a walk through the South Bronx in an era that some people would like to forget.” Lost, Almost begins with a young Adam Brooks hearing news of the atomic bomb being dropped on Hiroshima in the last days of World War II. “It’s an event that will change the path of his life, as he embarks on a career immersed in science, mathematics, and the potentially catastrophic consequences of both,” says Kirkus Reviews of the Amy P Knight book. “At its best, it demonstrates the multifaceted way in which people occupy different roles in the course of the same life: to some members of his family, Adam is a revered figure, capable of solving a host of problems with the resources at his disposal; to others, he can be cold, holding the people around him to impossibly high standards.” Publisher’s Weekly critiques, “Through spare and precise language, Knight’s debut novel follows three generations of the Brooks family as they are both nurtured and impeded by their physicist patriarch… She balances this intergenerational story with levity, honesty, and just the right measure of heartbreak.”

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Jewellery

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OCTOBER 2017 : ISSUE 77

Guilty Pleasures Using the polarising traits of Medusa as a muse, this Paris-based exhibition investigates the concealed secrets, tantalising taboos and unspoken power of jewellery

hen is a piece of jewellery not a piece of jewellery? When it’s a cultural expression; a token of affection (or apology); a misunderstood piece of art; an indication of social standing; a tactical chess piece in the game of seduction – or jealousy. Subplots have swirled around precious adornments throughout the ages, and they’re crystallised at Medusa – a Parisian exhibition at the city’s National Museum of Modern Art. The showcase demonstrates jewellery’s complex role throughout history, as well as its misunderstood prejudices. The name of the Greek anti-heroine Medusa was selected for the showcase as, “Just like her role in mythology, a piece of jewellery attracts and troubles the person who designs it, looks at it or wears it,” says curator Anne Dressen. “While it is one of the most ancient and universal forms of human expression, it has an ambiguous status, mid-way between fashion and sculpture, and is rarely considered to be a work of art. Indeed, it is often perceived as too close to the body, too feminine, precious, ornamental or primitive,” she adds, during her precursor to the exhibit. The medium should be recognised not only for its contribution to style, but for its semantics, and be “as highly regarded as art,” Dressen says. “It’s thanks to avant-garde artists and contemporary designers that jewellery has been reinvented, transformed and detached from its own traditions.” Such allegories are spotlighted within the 400 pieces assembled for Medusa, that range from well-regarded and rare haute pieces to those honed by goldsmiths and paruriers, even encompassing futuristic, computermade and little-know unique examples. Dressen was the driver of the exhibition’s concept: “Medusa is one of the perfect series of exhibits she has initiated and organised at the Musée d’Art Moderne,” explains its director Fabrice Hergott. “Her sharp sense of ‘marginal genres’, which has taken up a central position in the artistic landscape, is in part connected to her close and often complicit relationships with the artists.”

It all depends on the way it is worn. The wearer is at once an exhibitionist and a voyeur

Clockwise from left: Ruby Lips Brooch, reproduction of a Salvador Dalí work by Henryk Kaston. © Photo: Robin Hill; Evelyn Hofer, Anjelica Huston wearing The Jealous Husband (vers 1940) d’Alexander Calder, 1976. Photographie © Estate of Evelyn Hofer © 2017 Calder Foundation New York / ADAGP, Paris 2017; Collier Serpent by Cartier Paris. © Collection Cartier 29

Left: Bracelet Ruban, 1959, © Van Cleef & Arpels; Bitten Crystal pendant, © Courtesy of Ooga Booga / Danny McDonald (Mended Veil) © Studio Sébert Photography Right: False nails in palladium and diamonds, by Mellerio in 1953, © Mellerio

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Key names will entice the curious through the museum’s doors: Buccellati, Cartier, and Van Cleef & Arpels are among the marquee maisons, while Pablo Picasso, Man Ray, Salvador Dalí, Jeff Koons, René Lalique, and Stella McCartney are a handful of the artistic minds who turned their attention to the jewellery domain. But, truly, it is the narratives unspooled by the exhibition’s core themes of ‘Identity’, ‘Value’, ‘Body’ and ‘Instruments’ that provoke; collectors who relish deep consideration of their invaluable trinkets will adopt a ruby-lipped grin at this exhibit. Its connotations have often impeded jewellery being recognised as an art form, but the taboos that stifle its recognition are explored intelligently – brazenly, even – in this corner of Paris. Nuances are spotlighted: jewellery’s identity and subversion (through “codified expression of society’s main roles” for men and women), its disobedience (wearing a piece as insubordination), its domination (as an instrument of power in royal courts, and the weapon of choice for the femme fatale), and its sculpture (by proximity and co-dependence with the skin) are all among the topics explored in the context of jewels. “Mediocrity drives innovation: the ugliness or creative weakness of 19th century English industrial objects led a handful of artists to respond with more economical – but inventive – jewellery,” explains Michèle Heuzé in an essay of jewellery’s origins, written for Medusa. 30

Arts and craft jewellery was handmade in silver, embellished with semiprecious gemstones, mother-of-pearl or enamel and, Heuzé adds, “The added value was in the treatment, and the intentions served an intellectual elite and a utopia… However, the idea spread to northern Europe [and] fashion accelerated the trend. Having become more playful, jewels trumpet their extravagances; even high jewellery is entertaining. In this audacity, the fluorescent colours of the street, forbidden themes blossom.” “It is a surface, if not superficial, ornament,” concurs Dressen. “But like an artwork which is dependent on the context in which it is exhibited, the same piece of jewellery is different according to the body wearing it – a child or an adult; female; young or old; beautiful or ugly; rich or poor; or according to skin tone. It has no inherent or intrinsic meaning; it all depends on the way (conventional or subversive) it is worn. The wearer is at once an exhibitionist and a voyeur.” It was said that one glance at the cursed, coiled, snaked hair of the once-ravishing Medusa would turn her victims to stone. Thankfully, gazing upon these 400 assembled objects by artisans and high jewellery maisons won’t befall you the same fate. Once they’re placed upon the wearer, though? Be sure to keep your wits, as you just never know their true intentions... Medusa: Jewellery and Taboos shows at Musée d’Art moderne de la Ville de Paris until 5 November

OB JECTS OF DESIRE

OBJECTS OF DESIRE

Master craftsmanship, effortless style and timeless appeal; this monthâ&#x20AC;&#x2122;s must-haves and collectibles

OB JECTS OF DESIRE

H A R RY W I N S T O N

P E a R- S h a P E D C l u S T E R D I a m O n D R I n g

The House’s Winston Cluster motif dates back to the 1940s, and this reimagining balances seven pear-shaped diamonds – with a remarkable teardrop centre stone elegantly flanked by six smaller diamonds. The ring encapsulates the signature design technique and inspiring diamond-

led philosophy of Harry Winston. Says the jeweller, “By freeing diamonds from their heavy metal settings and arranging them at seemingly random angles, Mr Winston transformed precious gemstones into three-dimensional sculptures, full of movement and life.” 1

OB JECTS OF DESIRE

vA N C l e e f & A R p e l S

PERlÉE – yEllOw gOlD Yellow gold makes its way into the joyful Van Cleef & Arpels Perlée collection, and adorns this bracelet/ring pairing with warm droplets of pure sunshine. The motif is multiplied across curved rows, where each bead is individually polished – testament to the maison’s meticulous

savoir faire expertise. The beaded look dates back to the 1920s, when Van Cleef artisans evoked a playfulness by using this delicate, smooth shape, allowing light to shimmer. Handcrafted with technical excellence and imbued with whimsy, Perlée is a collection to happily cherish. 2

OB JECTS OF DESIRE

U lY S S e N A R D I N

JaDE ‘lIOnFISh’ An 18kt rose gold case (set with diamonds) serves as the perfect frame for this dial, where a resplendent work of art is achieved using Grand Feu enamel Cloisonné. The feminine Jade collection harbours a jellyfish among its sea-dwelling-inspired treasures, but the satin-strap lionfish has

the bolder colour palette of the line-up. Its UN-310 calibre was purpose built for this ladies’ piece, and the unique crown concept is effortless: simply rotate to set the date and time. Moreover, the timepiece uses silicium technology to halt magnetic interference and preserve precision. 3

OB JECTS OF DESIRE

NOBl e AU T OmO T I v e

m600 CaRBOn SPORT

If low-production numbers weren’t already exclusive enough, add meticulously handbuilt and British to the résumé of this rare motoring gem. The M600 reckons on offering serious drivers ‘an alternative philosophy’, and it’s one of the fastest supercars ever built for the road. Noble

crafts three versions of this 662hp rocket: Coupé, Carbon Sport and an open-top Speedster. Pace is swathed in comfort – each car is entirely bespoke, capturing the exact tastes of its owner right down to the hue of that final, needle-stitched thread in a leather- or suede-finished cabin. 5

OB JECTS OF DESIRE

vA l e N T I N O

Pa n T hE R B RIE FC a S E One of the wildest men’s bags of the season is made in Italy; this tan, double handle leather briefcase has visual bite. A stitched black leather panther dominates the design, and the roaring wildcat is especially symbolic for the brand: it’s a reinterpretation of the panther pattern

found in Valentino’s Haute Couture archives, from a 1967 Valentino couture evening dress that now resides at Chicago History Museum. Antique platinum-finish studs are a classy accent detail, like cats eyes when catching the light; ferocious and fashionable. 6

OB JECTS OF DESIRE

T I f fA N Y & C O .

CIT y haRDwE aR This Big Apple born jeweller has always had an element of class – and in this newest collection, it has woven edginess and New York spirit into its hallmark elegance. Tiffany & Co. wants this look to be as seamlessly worn with a leather jacket as with couture – at the video unveiling,

Zoë Kravitz modelled the new collection to perfection. Inspired by the company’s own 1971 unisex bracelet, the new range is a final flourish from previous design director Francesca Amfitheatrof; she’s injected this collection with attitude, for a new generation of Tiffany owner. 7

OB JECTS OF DESIRE

A R m IN STROm

mIRRORED FORCE RESOnanCE (‘FIRE’)

The most complicated watch in the Armin Strom arsenal is an impressive piece, well worth acquiring. In pursuit of precision, the brand created a watch that relies on resonance, where oscillators beat in sync with each other to achieve greater stability and accuracy within

the sensitive movement. A difficult technique to execute won the brand a Red Dot innovation award, and a zeroreset function allows the wearer to see the accomplishment at play. Don’t hold fire on buying though; this mirror polished, 18k rose gold version is a limited edition of 50. 8

Timepieces OCTOBER 2017 : ISSUE 77

Crystal Clear TarIq MalIk

hen it comes to the word ‘quartz’, taste among serious watch collectors is changing. Vintage quartz watches are on the rise, and so are the prices they command. Diehards and the traditionalists used to be allergic to the subject – which is a pity, since there are a number of coveted quartz watches certainly worthy of aquisition. The split between ‘mechanical’ and ‘electronic’ came in the early 1970s. The advancing quartz technology primarily came from Seiko in Japan, and it was incredibly affordable to produce while remarkably accurate, compared to the mechanical watches of the past. Suddenly, mass produced electronic watches were available everywhere, and the mechanical watches were almost forgotten – except by the select few who prized craftsmanship over price. In haste, the Swiss manufacturers created the Centre Electronique Horloger (CEH) in Neuchâtel to develop a true Swiss-made quartz – and the Beta 21 quartz watch was invented. When watch collecting became hugely popular around the 1990s, watch collectors wanted only the finest mechanical movements, and would hear nothing of quartz watches – which means they are overlooking some valuable timepiece gems. Omega Quartz Omega was the first to take up the quartz challenge for

hunt unearths a treasure, it’s well worth it. The Nautilus ref. 3900 was made back in the 1980s, using the same Beta 21 technology employed in the orginal Swiss quartz watches. Rolex Quartz One year after the Beta 21 was completed, rolex’s first quartz powerhouse, the rolex ref. 5100, was first released in 1970. Today, these watches are becoming extremely popular, reaching up to USD125,000 at auctions. Soon afterwards, rolex debuted the Oysterquartz, one of the finest quartz movements of its era. Swiss watchmakers. at the Basel fair in 1970, Omega proudly displayed its 2.4Mhz high frequency quartz watch, the Megaquartz Marine Chronometer, and it hit retail in 1974. It was by far the most accurate wristwatch of its time, losing barely one second per month – around 10 times more accurate than the quartz watches of its day. after a few years, however, its popularity started to decline, and eventually Omega felt there was little practical need for a watch with such high accuracy. The line was discontinued in the late 1970s, though since it represents such an important milestone in watchmaking, its value as a collectible vintage watch is cemented.

The tastes of the vintage watch market are always interesting to follow. While there will always be a demand for the craftsmanship and elitism of mechanical watches, for collectors there is a place for these prestigious fine quartz watches, too. Momentum – Tariq’s co-founded vintage watch boutique – can be found in Dubai’s DIFC. momentum-dubai.com

Patek Philippe Quartz The premier Swiss watchmaker is perhaps best known for its supercomplicated mechanical watches – and for its pieces maintaining their high investment values. It’s possibly a little harder to find a quartz Patek Philippe vintage timepiece – but when your 33

Timepieces OCTOBER 2017 : ISSUE 77

Watch This Space AIR

Paul Newman’s own ‘Paul Newman’ Daytona Rolex is revered among watch collectors as one of the world’s most sought-after timepieces and arguably its most famous. This month it’s to be auctioned in New York, and all eyes will be on it to see how much it makes WORDS : CHRIS ANDERSON

f all the vintage Rolex watches, one of the most sought after is the ‘Paul Newman’ Cosmograph Daytona. This was a very specific model from the first wave of Cosmograph Daytonas, made in small quantities from 1963 until the 1980s, with four-digit serial numbers and a manual-wind movement. To be classed as a ‘Paul Newman’, and therefore the most valuable, the watch must have one of six possible serial numbers: 6239, 6241, 6262, 6263, 6264 or 6265. It will also differ aesthetically from the regular Cosmograph Daytona, featuring an ‘exotic’ dial design, which means an Art Deco font for the trio of registers,

crosshairs in each, plus a square tip on the indexes lining the inside of the circles; the seconds sub-dial at 9 o’clock is also marked 15, 30, 45 and 60, rather than 20, 40, 60. Stumble across one of these and it could fetch over USD3.7 million at auction – as one did earlier this year. But how does Paul Newman, the late actor, himself play a part? The Daytona association is clear, as the watch was released to celebrate Rolex’s timekeeping at the annual 24-hour endurance race in Daytona Beach, Florida, which began in 1962, with a tachymeter scale engraved into the bezel, designed to measure speed. Newman was a keen driver, but not

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until the 1970s, and he was never paid to endorse the brand. The association is entirely unofficial – a marketing tool used by auctioneers in the 1980s as watch collecting became popular. They had simply observed that Newman had been an owner of a Cosmograph Daytona with this particular dial design, and could often be seen wearing it in photoshoots and at film premieres. As one of the most popular actors of his day, a tough guy and a maverick – and then a racing driver in real life – the link was priceless, making this rare watch even more desirable. So how might Paul Newman’s Paul Newman fare when it comes up for auction? That is a question to be answered later this month, as the actor’s own watch – the one he wore for years, which helped to make every other model like it so popular – goes under the hammer. The auction will take place in New York as the first in a series of events celebrating the most iconic watches of the last century. Newman was given the watch by his actress wife, Joanne Woodward. In 1969, the two were cast in the movie Winning, set against the backdrop of the Indianapolis 500. For his role as a racing driver, Newman trained at a high performance driving school. He was so enthusiastic that he continued to race for years afterwards – in 1979, he came second at Le Mans, and in 1995 raced in the 24 Hours of Daytona, aged 70. Woodward could see early on how passionate her husband was about motorsport, and either during the filming of Winning or just afterwards, purchased the Cosmograph Daytona, having it engraved with the words ‘Drive Carefully Me’ on the back. She chose a 6239 featuring a white face with black sub-dials, sometimes called the ‘panda’ version. During the 1980s, Newman gave the Rolex to his son-in-law, James Cox. A handwritten note by Newman’s daughter, Nell, accompanying the watch at auction explains why. It reads, “Pop asked James if he knew the time. Apparently Pop forgot to wind his wristwatch that morning. James responded that he didn’t own a watch. Pop handed James his Rolex and said, 36

‘If you can remember to wind this each day, it tells pretty good time.’” Being a huge fan of the actor since childhood, Cox preserved the watch and hardly ever wore it, and now, with Nell, has decided to auction it, with proceeds donated to various charitable foundations, including Newman’s own. How much could it fetch? Some experts estimate bids reaching USD10 million, considering the popularity of similar Paul Newman Cosmograph Daytonas, and the fact that this is the only example owned by Newman himself. We will know for sure after 26 October. Synchronise watches. Phillips, in association with Bacs & Russo, hosts the Winning Icons – Legendary Watches of the 20 th Century auction on Thursday, 26 October at its New York headquarters. More info at phillips.com

Newman handed his Rolex to his son-inlaw and said, â&#x20AC;&#x2DC;If you can remember to wind this each day, it tells pretty good timeâ&#x20AC;&#x2122;

Timepieces OCTOBER 2017 : ISSUE 77

Helping Hands At Only Watch, fifty of the world’s best watchmakers create a bespoke must-have to be auctioned for charity. The presale world tour hits Dubai this month, where collectors are at the ready

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ith its copper-oxide-rich dial (an homage to Mars), the Grand Seconde Off-Centred Cupite by Jaquet Droz has a fiery red hue, that ‘embodies all the passion dedicated to both the timepiece and the Only Watch project’. It is the only of its kind in the world. In fact, so is every timepiece featured at Only Watch – a hotly contested biennial horology auction, overseen by Christie’s and hosted in Geneva. Dreamt up by former Monaco Yacht Show head Luc Pettavino, the premise is for high-end watchmakers to use their expertise for a particular charitable cause. Eventual proceeds from Only Watch aid scientific research at the Monaco Association against Duchenne Muscular Dystrophy (under the patronage of Prince Albert II of Monaco) and, since 2005, USD29million has been raised. The 50 contributing horology houses include the likes of Hublot, Audemars Piguet, Patek Philippe, Piaget and H.Moser & Cie, and each brand creates a new timepiece for the event – or uniquely modifies an existing icon. So long as it’s rare, it’s there. And as one would expect, the creations command astronomical sums. The 2017 lineup is replete with rare treats for collectors to clamour for. Bovet has produced an innovative, ornate decorative art piece, of a pretty 38

Geisha upon a mother-of-pearl dial. Audemars Piguet has donated the only perpetual calendar to feature a black ceramic caseback – a version of its popular Royal Oak Perpetual Calendar. MB&F, meanwhile, collaborated with young artist Cassandra Legendre for Horological Machine N°8. The 18k white gold and grade 5 titanium Pièce Unique has a special sapphire crystal pane, engraved with a whimsical drawing by the talented 15-year-old. In short, Only Watch gets designers excited to push the boundaries for an eye-catching one-off project. An added element this year is certain manufacturers complementing the purchase with a brand ambassador experience, inviting the highest bidder to attend a special event that accords to its cultural heritage – Formula 1, a film festival, a fashion show and such. Ahead of the 11 November sale (at The Four Seasons Hôtel des Bergues), a world tour allows enthusiasts a sneak peek. Stops in Istanbul, Hong Kong, New York and LA are planned, with the exclusives showcased in Dubai from 9-11 October at The Ritz-Carlton DIFC. While Only Watch raises money for charity, the uniqueness of its lots guarantees to elevate the heart rate of aficionados, too. For the full tour schedule and details of the auction, visit onlywatch.com

Art & Design oCToBEr 2017 : issUE 77

From Life The photography portfolio of Sheila Metzner is so acclaimed that publishing a career retrospective is a natural (and much anticipated) step. But with such a diverse archive of landscape, fashion and fine art images to sift through, how on earth did she decide which were ripe for inclusion?

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WordS: Chris Ujma

heila Metzner strode into MoMA (the Metropolitan Museum of Art) and knocked on the door of director John Szarkowski: she had some photographs to show him and, by the time she was done, his attention was suitably grabbed. Thus, “that portion of my life began”. It lead to her inclusion in a 1978 MoMA exhibit, and the controversial portrait of her stepdaughter caught industry attention. The ‘portion’, as she puts it, is more of a banquet: Metzner emerging from obscurity to eventually become one of the pre-eminent fine art and fashion photographers in the world,

working with the likes of Vogue. This pathway – encountering commercial art. fashion shoots, exotic wonders of nature, native soaring skylines and more – is compiled in Sheila Metzner: From Life by Rizzoli. Her road to recognition started, though, with that initial MoMA ambush – and while her action may seem confidence-fuelled and strident, it belies the ‘process’ that Metzner went through. She’s an artist who paid her dues, and hers was no overnight ascension. Having stepped away from an advertising agency directorship to

raise her first child, Metzner found herself creatively bereft. Master photographer Aaron Rose advised Sheila to try her hand at camerawork, and her mentor had another slice of guidance: “He never showed his work until very late in his life,” shares Metzner, “and his advice to me was, ‘Don’t show your work. First, create a body of work.’” Which is how, for a decade, Metzner merely photographed her family in candid New York surroundings: in the back garden, in the home, in nearby parks. Her adept eye and studious photography approach went

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undiscovered for nine years, the lone audience critiquing the outcome being family and close friends. “We had a pool table in our apartment, and I would just lay my photographs there – the only people who saw the works were my husband, my children and any friends who would visit the apartment,” she recalls of her deliberate secrecy. “I didn’t go out with my work until I had 22 pictures that I felt were ‘mine’, not anybody else’s, and were incomparable, in a sense.” A partial aspect of her career incomparability was Metzner adopting Fresson development – a carbon printing method from the 1890s that imbues a soft patina onto the print, and that is closely guarded by Fresson’s descendants. “I had to write a letter – in French – pleading with his grandson for him to print my work,” she revealed, imbued with her ‘go get it’ spirit. While Metzner has published works before – Inherit the Earth, her natureinspired book, for example – From Life is the most comprehensive yet. “It’s very different in that it’s more storytelling (or mistelling) than just a series of photographs, and it has no one subject. It starts in 1964 and follows right through to 2016. I’ve written an introduction to each chapter, to set up what’s about to be seen, and the backstory,” she explains. “Combing through the archives is always interesting because it evokes the actual experience – and more often than not, continual disbelief that the given picture arrived under the circumstances that surrounded it.” Family plays a huge part in her life: eight children (five of her own, three from her husband’s previous relationship) and 13 grandchildren attests to that. “Most of them have travelled to every place I’ve been, and they have all worked with me – they’re creative people. They never acted as sons or daughters when they worked with me, they were part of the team,” she admits. When you understand her nature as caring rather than clinical, it’s apparent that for each photograph, the selection process for the book must have been a challenge. It was. “There really is a story behind every picture, and the hardest thing of all was editing, because it’s a vast body of 42

work; a lifetime,” she agonises, before admitting she found peace, of sorts. “The images that found their way into the book are somehow fortunate, and the most difficult part was making those choices and eliminating pictures and finding reasons not to include them. Hopefully, in the book, one person in a photograph represents other people who did not make it; the choice of celebrities, for example, was monumental because I have photographed so many – but there weren’t that many necessary to tell the story of my life.” How did she find the beauty in matter as diverse as a skyline, the face of a famous person, and an orchid? “I’m just a photographer, and it’s all about how these people, places and objects reveal themselves to me. One aspect is that I don’t show the scale of a thing. Some monumental landscape could appear to be something that is sitting on top of a table and something on a table could appear to be monumental. It is basically about transformation,” Metzner imparts.

“It’s little recognised that photography is from life as no other art is. A painting may have a subject but the photograph is the subject.” Metzner conducts workshops to develop a new generation of photographers, and is doing so in an era far removed from walking into a museum and laying out a decade of unseen work, or securing a commission by writing a letter to Ralph Lauren. Social media showcasing, digital imaging and scant pause for reflection are now expected to result in art acclaim – so the organic success of a Metzner (who seismically affected photography) is inspiring. “My aim was never to be famous,” she admits of her journey. “It was to be an artist and to one day be able to hang my pictures next to a Steichen, Julia Margaret Cameron or a Vincent van Gogh and be able to say, ‘Oh I like that.’ And to be honest, it took me many, many years to hang any of my pictures on the walls of where I live.” Sheila Metzner: From Life is out now, published by Rizzoli. rizzoliusa.com

opening pages: Lapland, for Comme des Garรงons Clockwise from left: Uma Thurman pictured for Vogue Germany; Brooklyn Bridge, from the 2007 Hokusai Series; Campidoglio for Fendi in 1986

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American national treasure Bryan Cranston makes his UK stage-debut this month in Network, yet few are aware of the darker tint to this late-bloomerâ&#x20AC;&#x2122;s success. By combatting a harrowing childhood and seeing off mid-career uncertainty, heâ&#x20AC;&#x2122;s equally inspiring off-script WORDS: Josh Glancy

ive minutes after I’m due to meet Bryan Cranston for lunch, I receive a missed call from him and a voice message, reassuring me that he’s on his way. Most of my friends wouldn’t bother to do this, never mind a Hollywood star. But Cranston isn’t your average A-lister. Fame came to him late in life – too late for him to enter the entitled mindset of the lifelong celebrity. Until the age of 52, Cranston had a respectable if unremarkable career. He had steady work, which no actor can dismiss lightly. He played regular character roles on the sitcoms Seinfeld and Malcolm in the Middle. For a guy from a tough background, it felt like success. But then he landed the lead role in a show called Breaking Bad, and everything changed. The character was Walter White, a much put-upon high-school chemistry teacher who discovers he has cancer, starts cooking and selling substances to make some money for his family, and slowly turns into a monstrous gangster. It brought him three consecutive Emmys (four in total) for Best Actor in a drama. He had made it. Everyone you talk to says Cranston is charming and unpretentious. They are right. When we meet at Jinky’s, a local cafe in his Los Angeles neighbourhood of Sherman Oaks, he arrives in a cap and dark glasses, pouring with sweat from the baking Californian heat. His trim, lithe movements betray a lifetime of stage work; his face is handsome and craggy. I find him a seat facing away from the room, so we can eat our huevos

rancheros in peace. When you’re as famous as he is, it’s just easier that way. It means that only two people interrupt us to ask for selfies, not 10. He deals with them kindly but firmly: after the interview. “You have to disappoint people sometimes,” he says. “Otherwise I’m always bending to someone else’s expectations.” Breaking Bad was extraordinary, one of the brightest and best – perhaps the best – of the ‘box set’ shows such as The Wire and Mad Men that are part of a golden age of television. In it, Cranston found transcendence. He was transformed from a bit-part figure, a footnote in American television history, into the man responsible for arguably its greatest ever performance. White is up there with Rodion Raskolnikov in Dostoevsky’s Crime and Punishment, Michael Corleone in Mario Puzo’s The Godfather and Jack Torrance in Stephen King’s The Shining as one of the great good-turned-to-evil characters. Cranston played him with deep, chilling conviction and immense power. White’s personality slowly rotted on screen, yet he remained the antihero throughout. A part of you couldn’t stop yourself secretly rooting for him. After Breaking Bad, Cranston became a star. Now 61, he’s starred in big Hollywood productions such as Trumbo, which told the story of the blacklisted screenwriter Dalton Trumbo and won him an Oscar nomination, and The Infiltrator, a film about Robert Mazur, a US customs agent who went undercover to help bust Pablo Escobar’s cartel in the 1980s. He also played President

Lyndon B Johnson in a hit Broadway show, All the Way, which then became an HBO film, narrowly missing out on an Emmy for that, too. Cranston has started his own production company, Moon Shot, and wrote a book called A Life in Parts. It’s a memoir, honest and earthy like its author. Like so many others, I was a huge Breaking Bad fan. When the show’s final episodes were released on Netflix in 2013, I woke up early every Monday morning to watch the latest in bed. The plot concluded nigh on flawlessly, but I was always left wondering where that central role had come from. How did an actor that no one had really heard of, with no significant lead parts to his name, come up with a near perfect performance? Nobody was ever able to explain it properly. Having read the book, the missing clue has finally emerged: his childhood. Cranston’s early years in rural, poor California at times resembled something out of a John Steinbeck novel: loss, itinerance, poverty. It started well enough. His parents met in acting class and had three children: he has an older brother, Kim, and a younger sister, Amy. They set up home in the San Fernando Valley and had a golden few years. Hollywood was just a few miles from their home, but his father, Joe, a boxer turned aspiring actor, never made it there. “My dad wanted to be a star,” Cranston writes. “No doubt. No compromise. Nothing else would do. He wanted the home run.” As his father’s lack of acting success became more pronounced, things 45

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My mum and dad up through 10 years old were really wonderful. My mother was engaging and my dad was my coach. Then it all disappeared

deteriorated. When Cranston was just 11, his father left home and wasn’t seen again for a decade. His mother, Peggy, a “blue-eyed flirt”, never recovered, becoming bitter and resentful and taking to drink. Their house was repossessed and Cranston was sent to live on his grandparents’ dirt farm, where he was taught how to strangle chickens. He worked countless jobs to get by: hawking suntan lotion, waiting on tables, even loading cement trucks with a young Andy Garcia. Losing his parents hurts him even today. “There’s still a lot of pain I’m dealing with,” he says. “It’s worse than if they died in a car crash, because they were still there physically, somewhere. My mum and dad up through 10 years old were really wonderful, that’s what was so awful about it. My mother was engaging and my dad was my coach; we did things together and he brought home a donkey for us to play with. Then it all disappeared.” What particularly bothers Cranston is that these were all conscious choices. “He chose not to be with us or see us or be a father. My mother chose her sorrows and sadness and resentment. She was like a ghost of herself. And no one ever explained why he left.” Unsurprisingly, all this left Cranston with a “reservoir of anger and resentment and abandonment issues”. You can tell he has spent a fair amount of time in therapy not just because of the language he uses, but because of his frankness, his willingness to bare his soul to a stranger over eggs and orange juice. He can verge perilously close to thespy LA psychobabble at 46

times, but a healthy dose of blue-collar common sense keeps him anchored. Cranston struggled to concentrate in school, but excelled in the Police Explorers, a version of the Boy Scouts, and enjoyed the comradeship. Although he’d always been interested in acting, his father’s dream, he developed a plan to become a policeman. This changed when he took a motorcycle trip around America with his brother after leaving school. It was a long and rough journey, sleeping out in churchyards and dosshouses. One day, they became trapped in their tent during a long rainstorm. Cranston took to reading a book of plays he had brought, choosing Henrik Ibsen’s tragedy Hedda Gabler. There, inside a sleeping bag in a makeshift tent, by the Blue Ridge Parkway in Virginia, Cranston had his Damascene conversion. “I was so involved in the story that time meant nothing to me,” he says. “It just ran away. I’d never experienced that before. Of missing daytime to dusk to night. And it stopped me. How can that be? How unbelievably powerful this story is. I want to be a part of it.” After this epiphany his life as a jobbing actor began, starting as a stage assistant in local theatre, grafting, developing his talent and working his way up through roles such as Tim Whatley, “dentist to the stars” in Seinfeld, which he described as like “going on comedy camp”. Then there were seven seasons of Malcolm in the Middle, a show he “loved”. He played Hal, the diffident, inept but likeable father of the eponymous boy genius.

Cranston has been married twice along the way, in his early twenties to the writer Mickey Middleton and then, very happily, since the age of 33, to the actress Robin Dearden, his “partner in all things”. They are still together and have a daughter, Taylor, who, with seeming inevitability, is starting her own career in what he calls “the family business”. Cranston always took his acting craft very seriously, living by Gustave Flaubert’s maxim that an artist should “be regular and orderly in your life, so that you may be violent and original in your work”. But that violence and originality might never have found its perfect outlet had he not appeared in one episode of The X-Files in 1998. The episode was written by Vince Gilligan. Eight years later, Gilligan was casting for his own show, Breaking Bad. He remembered Cranston and told the network, AMC, that he wanted him to play Walter White. Their response was: “The goofy dad from Malcolm in the Middle? I don’t think that’s what we’re going for.” Executives favoured a more established name, but Gilligan insisted on Cranston, whose other stroke of good fortune was that Malcolm in the Middle’s eighth season had just been cancelled, leaving him free to work elsewhere. “That was a lucky break,” he says, shaking his head in amazement. “Luck, luck, luck. You have to be a good actor, a good painter, a good musician. But you also have to be ready for luck.” The role of White, the toiling everyman turned demon, was the perfect vehicle for Cranston to unleash his own emotions.

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Being famous is like constantly wearing a really nice pair of stiletto heels that look great and feel great but also kill your feet

All that anger and frustration he had inside him flowed out. White offered him catharsis, the opportunity to “experience every feeling” inside. He says he “never felt more alive” than when playing that part. “In the beginning, Walter was numb from missed opportunities, from looking into a sea of apathetic faces,” he says. “There was boredom. There was defeat. There was surrender. Then the cancer diagnosis came in and he was faced with a challenge: ‘You just gonna shrivel up and die or do something about this?’ He had a feeling of expansion, of manliness, of risk, of wonder. Then he gets involved in selling illegal goods and he’s fearful. Then he transcends past that to ‘I’m pretty goddamn good at this. I’m a badass. I’m going to go intimidate that guy. F*** yeah!’ ” Suddenly I realise this is no longer Cranston before me, but White. He’s in character. His face is transformed; it’s mean, scary. He starts radiating power and rage. People in the room begin to stare. I put down my cutlery and just watch. “Then his ego got the better of him. ‘Don’t you talk to me like that’ – bam – ‘because you clearly don’t know who you’re talking to. I am not in danger. I am the danger. I am the one who knocks ...’ In the end, he finds acceptance. ‘I did this for me. I liked it. I was good at it.’ The man’s whole being has changed.” He relaxes again, which is a relief. Breaking Bad, he says, taught him “even the meekest person in the room can become dangerous, if they’re desperate”. It reminded him of his own capacity for evil, which is explored in the book through a fascinating scene where a deranged ex-lover of his tries 48

to break down the door to his room, and he fantasises about murdering her by smashing her head against the wall. “We all have it in us,” he smiles. Like White, Cranston has been on his own journey towards acceptance, and he seems to have got there. But how has the sudden arrival of immense fame changed his life? “A lot of my difficulties have been alleviated,” he says. “I have no financial worries at all, and that’s huge. Believe me, coming from a guy who was poor and had nothing and had their house taken away, that’s a huge thing.” His difficulty now is privacy. He goes out less and shies away from public places. He says being famous is like constantly wearing “a really nice pair of stiletto heels” that “look great and feel great” but also “kill your feet”. He’s come to realise why celebrities always seem to hang out with each other, because “they understand what it’s like to also be wearing those shoes”. In his book, he talks about going to hockey games with Robert De Niro, having supper with Laurence Fishburne and chilling out with Tom Hanks, who has become a friend. “Tom Hanks doesn’t need anything from me,” he writes. “I don’t need anything from him.” Perhaps most importantly for Cranston, he has been able to forgive his parents. His father came back into his life and lived long enough proudly to see his son hit the acting home run that he hadn’t been able to. When they cleared out his father’s apartment, they found a note dated three days before he died. It read: “The highlight of my life was when my children forgave me.” His mother contracted Alzheimer’s in her old age. Strangely, this made her

final years easier. “I feel far more sorry for those people who had really good relationships with a parent and then, all of a sudden, in a matter of a few months, that person slips away,” says Cranston. “That’s cruelty. With me, it was more fortunate that the disconnect happened when I was 13 years old.” He also believes that losing her memory freed his mother from the resentment at being jilted by his father. She simply forgot about it. In her nursing home, she embarked on a tragicomic relationship with a fellow Alzheimer’s sufferer, the actor Albert Paulsen. Cranston told the nurse he was “thrilled” to find out about it. “Do they romance each other during the day and then forget each other at night?” he asked her. “Is it like Groundhog Day every day?” He was “so happy that she had love – at the age of 80. Because that’s who she was. When I saw her, there was nothing to fight about any more.” So, at 61, fit, strong, rich, acclaimed and on top of his childhood traumas, Cranston can do pretty much as he pleases. His work since Breaking Bad has been good, but doesn’t he worry that he won’t be able to top Walter White, that nothing else will ever compare? “All that stuff is meaningless to me,” he says. “I’m just on a road and the last 10 years have been great. But my turn will end and I’ll get out. Someone else will make the decision as to what will be the opening line of my obituary. So that’s up to them. Right now, it would be Breaking Bad. To be honest, that’s just fine with me.” On that note, Cranston gets up to leave. With a strong handshake and a smile, he heads outside to brave the gathering selfie hunters and return to his wife.

I would like my dresses and my drawings to be studied in a hundred years

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Made To Perfection As a consequence of the breakneck speed at which modern life operates, details are often left trailing. Impervious to this concern is the world of haute couture, where detail remains everything. It’s a world that bids that we slow down. That we allow artistry the time it demands. And that, ultimately, we pause to appreciate fashion in its purest, most exquisite form. In an exclusive photostory for AIR, Karl Lagerfeld shares details of the many hands that crafted Look 60 from the Chanel FW17/18 Haute Couture collection

Step 1 Chanel Ateliers During this initial phase of pattern to mannequin, the pattern is used to create the ‘toile’ of the silhouette. this toile is tried on a fitting model and, once approved, it is then reproduced in the fabric chosen by Karl Lagerfeld, in this case a black silk tulle. Step 2 Lognon Ateliers the black silk tulle is placed between two cardboard moulds before being stream pleated in a vapour oven.

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Step 3 Lesage Ateliers Using an embroidery sample, the design is created first on tracing paper according to the pattern provided by the Chanel ateliers. the silk tulle of the top of the dress is then embroidered with 20,000 metallic gold, beige, silver, black and dark green sequins using the Luneville technique. the Luneville technique is executed on the underside of the fabric on an embroidery frame with one hand holding the hook and the other beneath the frame, moving the elements forward. this embroidery took 350 hours of work. Step 4 LemariĂŠ Ateliers Adhering to a sample approved by Karl Lagerfeld, bouquets of feathers with a fur effect are created, requiring 150 hours of work. First of all the feathers are cut, and then painted by hand before being assembled to form the flowers. they will later embellish the top of the dress. Step 5 Chanel Ateliers the embroidery and the bouquets of feathers made by the Houses of Lesage and LemariĂŠ are sent to the Chanel ateliers so that the seamstresses can start assembling the dress. During assembly, the dress is tried on a wooden mannequin to check that the proportions and the silhouette as imagined by Karl Lagerfeld are respected. then the finishing touches are made, the dress is sewn and the lining is added along with 11 jewelled buttons. the dress is now ready for the final fitting in the Studio, in the presence of Karl Lagerfeld the day before the show.

I love working with our ateliers, each PremiĂ¨re has her own speciality. Virginie Viard (Chanelâ&#x20AC;&#x2122;s studio director) and I know exactly who will be the best person to interpret each one of my sketches Karl Lagerfeld

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Marilyn What would it be like if Marilyn Monroe moved into your family home? For photographer Milton H Greene, it was a life-changing event WORDS: Chris Anderson

hen Joshua Greene talks about his childhood, and the games he would play with his babysitter, a very famous name enters the conversation: Marilyn Monroe. “I had this trick of sliding down the bannister into her room, and leaping on the bed,” he told The Telegraph. “She would tickle me and then I’d do it all over again. It was a very charming time.” Joshua, now in his early 60s, is the son of late Hollywood photographer Milton H Greene, known for his celebrity shoots in such glossy magazines as Vogue, Life and Town & Country. It was an assignment in September 1953 for Look, however, that would lead to his family welcoming their extraordinary houseguest. As Amy, the photographer’s widow, explained to The Hollywood Reporter in 2012, “It was the week before our wedding. He flew out [to Los Angeles], and when he walked in she said, ‘But you’re just a boy!’ because he looked like he was 12 years old. And he said, ‘You’re just a girl! Let’s go to work.’ They hit it off straight away.” Monroe was already an admirer of Greene’s work and requested him for the shoot herself. The photographer stayed in town for several days, taking images of the actress in a variety of outfits, in a studio setting and outdoors, and also snapping informal candid shots. Monroe had sprained her ankle on the set of her latest film, River of No Return, so had to sit or crouch for much of the time. This became a talking point between her and Greene, and the two formed a close bond.

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He took a series of pictures of her as different characters, to show how versatile she could be

Monroe talked very openly about her marriage to baseball player Joe DiMaggio, and also explained to Greene that she was unhappy in her career. Tied to a contract with 20th Century Fox, she believed she had become typecast, with roles based more on her looks than her desire to push herself as an actress. “He was really taken with her authenticity,” Joshua said of the blossoming friendship. Over the next year, Greene and Monroe would meet regularly, either for commissioned magazine shoots or simply to experiment with different looks and outfits. “Milton wanted Marilyn to step away from the dumb blonde thing, so he took a series of pictures of her as different characters, to show how versatile she could be,” Joshua continues. “They spent a lot of time trying different images and personalities.” A new book, The Essential Marilyn Monroe: Milton H Greene, 50 Sessions, curated by Joshua, explores the pair’s working relationship, detailing an estimated 50 photo shoots, offering published images alongside those only seen until now. The most famous of these came in October 1954, The Ballerina Sitting, which shows 57

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She felt protected. We cocooned her, whereas nobody else had done that before Monroe in Greene’s New York studio, sat wearing an ill-fitting tulle and satin dress – it was named by Time magazine in 1999 as one of the top three photographs of the 20th century. The book reproduces the well known image, and includes alternatives from the same shoot. When Monroe’s marriage to DiMaggio ended, Greene convinced her to spend more time in New York, where she joined the Actors Studio and began working with coach Lee Strasberg to improve her craft. It was at this point that she moved in permanently with the Greene family, splitting her time between their home in New York and a lodge in Connecticut. “It’s well documented that she was happy during these years,” explains Joshua. “My parents offered a stable environment in which she was able to flourish.” Monroe was apparently very independent and did not expect her hosts to entertain her, instead spending her time reading, at dance lessons or, of course, babysitting. Amy speaks very highly of the star herself: “She was neat, she was clean, she was no problem whatsoever; she was a good sport and she was smarter than she looked. She would take walks in the woods every day [in Connecticut] and nobody ever bothered her. She felt protected. We cocooned her, whereas nobody else had done that before.” Greene also began to help Monroe plot a new course for her career – he encouraged her to take legal action against 20th Century Fox to remove herself from her contract, and the two then worked together to launch Marilyn Monroe Productions. “The idea of creating an independent production company for Marilyn was so that she could break out of her typecasting and make the films she wanted to make,”

says Amy. “Milton owned 49 per cent and Marilyn owned 51.” With the two now business partners, and Monroe armed with a revised contract that allowed her more freedom, Marilyn Monroe Productions began working on two movies. First came Bus Stop, a romantic comedy released in 1956, with The Prince and the Showgirl out a year later, and the actress starring alongside Laurence Olivier. But despite the fresh direction, changes in Monroe’s personal life were to threaten both the company and her friendship with Greene. “It all ended when she met Arthur Miller – he played on her insecurities,” says Joshua of the US playwright, who became Monroe’s third husband. “He thought he could manage her career, but he had no idea.” Amy agrees. “Not only was he jealous of Milton, but he was jealous of the time they [Greene and Monroe] spent together,” she reveals. “Arthur said, ‘It’s him or me.’” Everything changed. The production company ceased to exist, and Monroe and Greene parted ways, never to speak again – apart from one phone call in July 1962, shortly after her divorce from Miller and just a month before her untimely death. It was a friendship that had lasted four years, but resulted in arguably the most diverse range of Monroe images produced by a single photographer – only possible in a unique set of circumstances, where she actually lives in your home. Plus, for all of the trauma and frustration presented to the star by her work and personal life, at least it was a period that was able to offer her some happiness. The Essential Marilyn Monroe: Milton H Greene, 50 Sessions is available from ACC Editions. More info at accpublishinggroup.com 59

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Pride PL ace Elsa Schiaparelli was the historic rival to Coco Chanel, but the most fascinating facet of her legacy centres on ambition, not attrition. Art beguiled Elsa, and the Italian-born designer sought to capture its beauty within her fashion opus. In doing so – and befriending art’s masterminds – she became the toast of Place Vendôme

Image credit:

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Growing up, as a teen, hearing music, lyrics, that kept me sane, it kept me grounded. It always reminded me that I am not alone in the world

Opening page: Elsa Schiaparelli Left: Portrait of Nusch Eluard wearing Schiaparelli, by Pablo Picasso, 1937. © Succession Picasso 2017/ Photo © RMNGrand Palais (Musée Picasso Paris) / Adrien Didierjean

She was not easily satisfied with her creations for, as she observed, unlike a painting that was meant to hang on a wall, fashion assumed another life when worn

nown for a host of famous firsts in fashion, innovative couturier Elsa Schiaparelli claimed to be electrified with “a sense of exhilaration” when working with the likes of Bebe Bérard, Jean Cocteau, Salvador Dalí, Vertès, Van Dongen, and with photographers like Hoeningen-Huene, Horst, Cecil Beaton, and Man Ray. US-based publishers Rizzoli has pieced together the ultimate exploration of her art-based adrenaline rush – the spark that helped shape her disregard for the dressmaking status quo – in Schiaparelli and the Artists. The book comprises a series of 21 essays which detail the complex bond between ‘Schiaparelli & …’ – fill in the blank with the individual art influencer of the contributor’s choosing. Paloma Picasso writes on the designer’s creative exchange with her father Pablo, for example; André Leon Talley extols the significance of Warhol’s “universe”; Suzy Menkes muses on Elsa and Oppenheim, who “shared her intimate artistic circle”; the “incredibly charismatic” Christian Berard’s influence is

observed by Hubert de Givenchy; Donald Albrecht writes of the interiors expertise Jean-Michel Frank lent to the striking Parisian boutiques of this “master of self-promotion”. Dilys Blum, meanwhile, leads the line of contributing experts – and the Senior Curator of Costume and Textiles at Philadelphia Museum of Art wrote the following piece for the book, where she frames the designer’s intermingling and intrigue with the artistic... “In her autobiography, Shocking Life, Elsa Schiaparelli remarked that for her dress designing was not a profession, but an art. ‘Fashion,’ she declared, must ‘sense the trend of history and precede it’. Schiaparelli dominated fashion during the interwar years with a ‘hard chic’ aesthetic that mirrored her rebellious and contradictory nature. Her designs on the one hand could be classically elegant, and on the other daringly imaginative. She was not easily satisfied with her creations for, as she observed, unlike a painting that was meant to hang on a wall, fashion assumed another life when worn.

Schiaparelli looked beyond the act of mere making and sought out the period’s most talented painters, sculptors, interior designers, artisans, writers, poets, photographers, and graphic artists to interpret, inspire, and support her vision, which she skillfully choreographed into a reflection of the times. The arts during this period were nurtured by shared friendships, social connections, and a common desire to break with tradition and push the boundaries of the status quo. Schiaparelli’s friend Gabrielle BuffetPicabia, wife of the Dadaist Francis Picabia, introduced her to Man Ray in New York in 1920, and later, when she moved to Paris in 1922, to the exuberant couturier Paul Poiret, who acted both as a mentor and inspiration. Man Ray was the first of many photographers, including Cecil Beaton, George Hoyningen-Huene, and Horst P Horst who created mise-en-scènes for Schiaparelli’s fantasies in the pages of Harper’s Bazaar and Vogue. His photographs of Schiaparelli’s first hats and his portrait of her coiffed in 63

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Left: Trompe l’oeil leather gloves, Schiaparelli Haute Couture Winter 1936/37 collection, echoing the 1935 Pablo Picasso/Man Ray work Trompe l’oeil. Courtesy of the Philadelphia Museum of Art Right: A model dressed in Schiaparelli in front of the Schiaparelli boutique, 1954. Andy Warhol made drawings of Vespas captioned ‘Schiaparelli’ – a nod to to the many Vespas parked outside the Place Vendôme shop

Schiaparelli and the Artists, available via rizzoliusa.com

an Antoine wig superimposed onto a classical bust were published in the surrealist magazine Minotaure in 1933, thereby linking her with surrealism many years before she was acknowledged as one of its most successful interpreters. Schiaparelli was drawn to the work of many of the movement’s leading artists, including René Magritte and the flamboyant Salvador Dalí. She and Dalí became coconspirators, collaborating on many projects, including the iconic Shoe Hat, Bureau Drawer Suit, Skeleton Dress, Lobster Dress, and Tear Dress. The multifaceted Jean Cocteau also partnered with Schiaparelli, who translated his expressive line drawings into sinuous embroideries for her Fall 1937 collection. The design legend JeanMichel Frank devised the minimalist perfume bottle and packaging for Schiaparelli’s first fragrance collection and reinterpreted his modern - and mixed-style interiors several times 64

over for her apartment, townhouse, salons, and ready-to-wear boutique. Schiaparelli, in turn, dressed many of his ultra-smart clients and friends, including the Vicomtesse de Noailles, patroness of the surrealists, and Dalí’s wife, Gala. Surrealism’s fascination with objects and fetishism found a corollary in Schiaparelli’s amusing and imaginative fashion accessories, which she commissioned from the young, multitalented artists and writers who supported themselves, in part, by freelancing for the Paris couture houses. Alberto Giacometti, one of Frank’s associates, made buttons; Meret Oppenheim, bracelets; Elsa Triolet, necklaces; Derek Hill, masks; and Leonor Fini, the torso-shaped Shocking perfume bottle modeled on the actress Mae West. Christian Bérard (who also worked with Frank),Kees van Dongen, and Raoul Dufy translated Schiaparelli’s dreams into lively fashion illustrations, and Marcel Vertès and

Raymond Peynet into enchanting advertisements for her fragrances. Even Andy Warhol, visiting Paris for the first time in 1956, was seduced by 21 Place Vendôme, where he recorded in a quick sketch the Vespa scooters parked outside its doors. Schiaparelli’s likeness was captured in photographs and paintings by celebrated artists such as Jean Dunand, whose lacquer portrait of the designer was one in a series that paid homage to Paris’s most Influential couturiers and style setters. Her favorite work of art, however, which she embraced as a metaphor of her true self, was a painting by Pablo Picasso of two caged birds, one black and one white, that later served as the frontispiece of her autobiography. The parts these artists played in bringing Schiaparelli’s dream to life… testify to the creativity and collaborative spirit that continues to be her legacy.” Excerpt from ‘Schiaparelli and the Artists’, reprinted with permission from Rizzoli USA

Motoring

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OCTOBER 2017 : ISSUE 77

League of Performance A scintillating RS/R8 line-up captures the Audi racing spirit and hones it for the road. With finely tuned sports capability, supercar DNA fuses with real-world practicality â&#x20AC;&#x201C; built for those who crave the thrill of the track in their everyday driving experience WORDS : CHRIS UJMA

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ver 35 years ago, Audi’s ubiquitous slogan was taken from a faded poster, spied in the Inglostadt workshop by an advertising executive. ‘Vorsprung durch Technik’ read the phrase spotted by Sir John Hegarty of BHH agency, and the expression stuck in his head. The sentence, which roughly translates to ‘Progress Through Technology’, captured the imagination of an Englishspeaking audience, too, becoming a calling card that aligned the German marque with the pursuit of quality. Slowly phasing out the tagline, Audi has integrated ‘Truth in Engineering’ into its current Stateside advertising. Regardless, both phrases are telling. They describe a company whose focus is not on hype or hyperbole, but on end-product, maximum efficiency and pure peformance. Measured by those parameters, Audi sits on a vertible goldmine of motoring know-how – and the height of that expertise emerges from Böllinger Höfe, the home of Audi Sport. The 230,000 square metre complex is a futuristic space where its super sports cars are brought to life, step by step, and the 492 employees still perform many tasks by hand. Audi Sport equips various models with the goods to reach the pinnacle of motor racing: GT3, GT4, World RX rallycross, Formula E, and the Deutsche Tourenwagen Masters (or ‘DTM’, where in 2017 the Audi RS 5 DTM was once-more the most successful car of the season). But markedly, the division’s competitive expertise has seeped into Audi’s on-road range, and RennSport (RS) tuning sets a supreme standard: sharpened for raceway hairpins but built for everyday highways. The ‘RS’ approach is used to beef up a whole spectrum of models across the A and Q range. From the compact Q3 to the family-car A3; the executive A6 and A7 to the sleek TT coupé – add an ‘RS’ (or, with the RS3 and RS7, ‘Sportback’) to the name, and you’ve a highly tuned vehicle, configured with sports capbility. Tweaks extend to revamped instrument panels, changes in wheelbase and body style, spoilers, 68

RennSport (RS) tuning sets a supreme standard: sharpened by raceway hairpins but built for highways

tailpipes, modified discbrakes, a performance engine... Just some of the details rendering the respective model scarely recognisable from the original (and serving as an indicator of just what a car can become, with specified attention). Exclusive to RS models, for instance, is optional sports suspension, which deploys Dynamic Ride Control (DRC). The tuning hydraulically minimises pitching and rolling movements, meaning whether drivers choose to coast along with silky smoothness or prefer direct, unfiltered ground contact, they’ll experience reassuringly precise high-speed cornering. With it’s gracefully sloped profile akin to a cheetah at full tilt, the R8 V10 is an emphatic example of the breathtaking ability Audi Sport can pack into a roadcar. Introduced to the racing world back in 1999, the prototype won

Images: The flagship Audi R8 V10 Coupé, and the TT RS Coupé

outright at Le Mans – prompting Audi technicians to harness its power (and popularity) to blood a saleable R8 with the same racing genetics. This mid-engine vehicle balances supreme aerodynamics with striking aesthetics – obtaining a harmonious race/road compromise. The driver’s cockpit and engine bay create ‘two halves’, visually seprated by the black side-blades; add in daytime laser LED running lights, and its profile is unmistakable. In 2017, as the R8 LMS continues to boss the track, Audi pays homage with a R8 Coupé Audi Sport Edition, limited to 200. It has also added a R8 Spyder V10 RWS, as an alternative to the existing Coupé. It harbours a naturally aspirated 5.2l V10 FSI engine for 0-100km/h in four seconds, as well as an ultra lightweight Audi Space Frame (ASF) body, carbon fibre-reinforced ceramic brake discs and permanent quattro four-wheel drive (yes, we nearly went an entire Audi Sport spotlight without mentioning the famed quattro). The lauded R8 has sufficient bite to tempt supercar connoisseurs into its hi-tech ‘virtual cockpit’. But plump for a RennSport at any class level, and confidence pulses through its body, roaring with raceinspired heredity. Inject RS into the TT Coupé, for instance, and it becomes a monster – thrillingly powerful, responsive and cornering adeptly, hardly breaking sweat with output, and with sumptuous engine tonality. ‘RS’ is born on the track and built for the road. In both advertising and motoring, 35 years is a lifetime. There’s little need for taglines to define Audi now: decades of crossing the finishing line in first place merit an association with excellence. 69

Gastronomy OCTOBER 2017 : ISSUE 77

Climate Change

The Galvin brothers sit at the top table of UK cuisine, and are looking to make a mark on Dubai’s culinary scene with the new Galvin Dubai. They believe it’s attention to detail and guest recognition – not only recipes – that will make the difference WORDS : ChrIS Ujma

“F

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or any young chef, the dream is to have a restaurant – but aged 47, it came quite late for me,” says Chris Galvin. The elder of the brothers is in Dubai, 12 years and 10, Michelin-grade restaurants later, to oversee the the newest addition to the dining empire he’s built with Jeff. His “late” career enlightenment has gifted Chris a wisdom that could fascinate for hours: knowledge gleaned from expert tutelage, blended with his own astute observations, zeal for cuisine and cultivated tastes. The back story is important. A selfconfessed Francophile, Chris had “the job of a lifetime” working for Sir Terence Conran, who was “a dream to work for – despite being tough – because his presence was inspiring. He knew how to pull the rabbit out of the hat every time, and his was a rich landscape to work in”. Then, maestros Chris Corbin and Jeremy King came out of retirement to open The Wolseley, and brother senior was appointed by the duo to launch the restaurant in 2003. Galvin describes them as “masters of front-of-house”, and from Corbin and King he learnt yet more subtle touches to being a leading restaurateur: “Celebrities swarmed wherever they were and they produced

magic: they were Pied Pipers of the A-listers. Everything they put in a restaurant – everything you picked up and you felt – had to bear scrutiny. That was their byline; a relentless commitment to excellence.” Having earnt credentials on both sides of the Atlantic (Jeff as Head Chef at Marco Pierre White’s Oak Room, Chris at Ménage à Trois in New York), the Essex-born brothers joined forces. In putting their own surname above the door they’ve come to head Britain’s culinary vanguard, winning Michelin acclaim along the way. The UAE represents the newest challenge for the business; they did extensive homework. The Galvin’s afternoon tea enclave Demoiselle Dubai opened in City Walk earlier this year, and Galvin Dubai – an elegant restaurant and lounge – now strengthens their presence in this cosmopolitan corner of the city. “I talked to the chairman at Meraas [developers of City Walk] about his love for Florence and the quaint piazzas, and about how much he wanted people to be outside to experience the continental feel – walking, shopping, popping into cafés,” says an impressed Chris. “They’ve kept their word.” The brothers did not race of out the gate. People and ingredients underpin

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the Galvin’s success, and both needed attending to prior to their chess move. They observed the big gastronomy names come out to Dubai, and getting the right components for the dishes was foremost. “Obtaining ingredients always concerned me,” Chris says. “We watched from the early days when it was a real grind to get decent produce to the UAE. But then, our suppliers in London started saying ‘you know, they’re getting fish from the British coast faster to Dubai than you are here.’ We’re lucky we had all of those forerunners and in nanoseconds, Dubai has grown in terms of its capability to acquire ingredients.” An ensemble cast is equally crucial. Chef Patron Chris shares that, “Galvin Dubai was not a concept we had in the bank – it was created purely for Dubai. Galvin DNA is to talk in shorthand; we know what we want, and everyone who works with us is on the same page.” Of Luigi Vespero, who will be “on the coalface” as Executive Chef at Galvin Dubai, accomplished Chris – quick to extol deserved positives – describes the Italian as, “one of the best chefs I’ve ever worked with.” 72

Conversations with Vespero centred on menu theme; Chris keeps a constant finger on the pulse of dining trends because food “is like fashion; seasonal, akin to haute couture,” he observes. Galvin Dubai is ardently not a copy/ paste of their homegrown success: “In the UK right now we’re looking at grouse, duck, venison and pheasant, because we need to build up those carbs and calorie intake for the cold winter. But the tastes here are different; we mustn’t take something that’s in London and impose it on Dubai; it had to be bespoke.” Cuisine of the Sun by Roger Vergé was a thematic touchstone, with recipes to transport the mind to sundrenched locales. “I saw an opportunity to break free,” says Chris. “Yes, chefs broke free years ago with fusion, but you have to be careful as in the wrong hands it can cause confusion,” he adds, mindfully. So he coined the term ‘Mediterranean basin’, borne by his fascination with the climate and with produce imprinted by a broad spectrum of weather. From the North of France (with its fresh oysters) to the Côte d’Azur; along the west coast of Italy and Liguria (its fragrant, floral

oils), then down to Naples; taking in the spices of Morocco in the southern Med. Just don’t deem it fine dining. Chris says, with humour, “My brother calls it ‘fine dining with the edges knocked off’, and I call it Bistro+. It falls somwhere in the middle.” Galvin Dubai is the evolution of an identity, of fine produce, and of attentive customer recognition: warm greetings, open body language. “We take our staff to visit farmers and vineyards, so they can ‘walk the walk’ with swagger; wise enough to impart knowledge of a dish’s origins, yet aware if service with less talk is required.” He admits, “When a waiter acknowledges you by name, that feeling is priceless – yet costs the restaurant nothing. I always make a point of thanking a guest for choosing us.” Dining here is an assurance that each detail has been carefully considered, down to the softness of the seat and the pleasing hue of the placemat. A combined 50 years of elite experience is poured into delivering the unique and, should the brothers prevail with their fine fare and exceptional service, Dubai dining will be truly galvanised.

Opposite page: The downstairs seating area of Galvin Dubai, in City Walk This page, top: jeff and Chris Galvin

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21 journeys by jet

Amanpulo

The Philippines 74

Travel OCTOBER 2017 : ISSUE 77

o much can be gleaned from only a name; take Amanpulo, for example. ‘Aman’ is Sanskrit for peace, while ‘pulo’ is a Filipino word for islet. True to its name, this resort represents a pure slice of on-water seclusion. Set in Cuyo Archipelago, to the northeast of Palawan Island, there’s little to disturb the luxurious island life refined here by Aman Resorts. The group has a penchant for handpicking unique locales in which to place its luxury offerings, and this corner of the Philippines is ideal (for added peace of mind, it’s even outside the region’s typhoon belt). Palawan’s vibrant reefs make it a destination of choice for avid scuba divers, and while accolades can’t be bestowed upon entire oceans, the seven square kilometres of crystal clear Sulu Sea waters are exceptional. Resorts can be honoured, though, and Amanpulo has a cabinet full, through exceptional service and quaint abodes. Pad down a sandy footpath direct from that perfect beach, back to accommodation that is loosely modelled on the native Filipino bahay

kubo. The dwellings are open-plan, with a twin-roofed design, replete with hammocks that sway in secluded bowers on broad wooden decks and boasting dramatic views of the turquoise sea, spied over a thick jungle canopy. Opt for one of the prime Casitas with a private plunge pool, to cool off from that lick of Southeast-Asian sun. The Philippines is renowned for its fare, and the culinary options here live up to expectations. Locallycaught seafood and island-grown vegetables and herbs take prominence on resort menus, served across venues from the Clubhouse Restaurant and Beach Club to private salas and beach barbecues. That welcoming Filipino vibe makes Amanpulo a home from home; an emerald-green sanctuary promising paradise for couples and families alike. Land your jet at Manila airport (Ninoy Aquino), and then depart on a private plane transfer to the island from the dedicated Amanpulo Lounge hangar. Admire views of the turquoise Sulu Sea, before landing on the island’s very own airstrip. aman.com/resorts/ amanpulo 75

What I Know Now

AIR

OCTOBER 2017 : ISSUE 77

Michael Aram Fine Jewellery & inTeriOr Designer

I loved making things as a child and the only people I knew who were making things were other artists, so it was natural for me to study fine art. Growing up in New York, though, I felt that art was such a big word, and I love reminding myself of that, because its pretentiousness always struck me as horrible. That taught me to approach my craft with earnestness and humility.

stamped out – and it was what I call neutered, senseless design. Maybe they were sexy shapes, but they lacked heart and soul within. Objects should have that moment of ‘pause’, when you think it’s a little unusual and it challenges you to consider its aspects. Those elements add something special to the moment.

Pigeonholes are for pigeons. Why do creative people box themselves? It should be about seeing, feeling and touching, and a trip to India taught me this. It was a Wild West of creativity; endless possibilities with no limits.

Back then, craftsmen were somewhat underappreciated – their work wasn’t considered special. Now clients have an incredibly heightened awareness of craft and, as the world advances, it’s becoming more rewarding to obtain high-quality objects made by hand.

When I started out in 1989, everything in the interiors market was mass made – high manufactured, made in Italy,

I’ve ensured that with my company, there’s a tremendous amount of respect, stillness, graciousness and no

pretence – plus I also dislike the word ‘trend’. We don’t follow trends: what’s important for me is the DNA of our brand. I like to talk about my design as perfectly imperfect: I’m celebrating the imperfections of nature. I think in life it’s important not to be so fussy about things. I never want a coffee table that you can’t put your feet up on, and I don’t ever want to be that host who looks at his guests and thinks ‘oh gosh don’t sit on that chair’, or ‘don’t put your glass down on that counter’. It’s great to have beautiful things but it’s only great if you don’t worship them – you must use them. I have crystalware at home and if it gets chipped, it gets chipped. I think objects get sad if they’re not used and enjoyed.

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