AIR Magazine - Jetex Dubai - December'24 by Hot Media

DECEMBER 2024

NICOLE KIDMAN

“Creation” Wildlife Photographer of the Year 2021 Grand Title winner © Laurent Ballesta

A Fifty Fathoms is for eternity. Launched in 1953, the Fifty Fathoms is the first modern diver’s watch. Created by a diver and chosen by pioneers, it played a vital role in the development of scuba diving. It is the catalyst of our commitment to ocean conservation. RAISE AWARENESS, TRANSMIT OUR PASSION, HELP PROTECT THE OCEAN www.blancpain-ocean-commitment.com

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Contents

Loro Piana FW24-25

DECEMBER 2024: ISSUE 158

FEATURES Thirty Six

Forty Two

Nicole Kidman returns in a role that sees her continue to explore and support female empowerment – on and off screen.

Off-kilter designs, unironed shirts and reinventing the briefcase: why designer Thom Browne is so exciting.

No Going Back

Ripping Up The Rule Book

Fifty

The Pursuit of Perfection

A new book tells of Loro Piana’s century-long quest to find the extraordinary, however far it goes. 7

Lucky Move Collection

Contents

DECEMBER 2024: ISSUE 158

REGULARS Sixteen

Radar

Eighteen

Objects of Desire Twenty

Art & Design Twenty Six

Jewellery Thirty

Timepieces Sixty Six

Gastronomy Seventy

Travel

Seventy Two

What I Know Now

EDITORIAL Editor-in-Chief & Co-owner

John Thatcher john@hotmedia.me

COMMERCIAL Managing Director & Co-owner

Victoria Thatcher

PRODUCTION Digital Media Manager

Muthu Kumar Fifty Six

Motoring

A trio of variants, one very special car. Meet the new Maserati GranTurismo.

Dubai, UAE Reproduction in whole or in part without written permission from HOT Media is strictly prohibited. HOT Media does not accept liability for any omissions or errors in AIR.

ALPINE EAGLE

Jetex DECEMBER 2024: ISSUE 158

Welcome Onboard DECEMBER 2024

The allure of private jets has never been stronger. In a world that prioritises efficiency, privacy and luxury, the demand for private aviation has skyrocketed in recent years. Whether it is business executives travelling between global hubs, celebrities escaping the public eye, or families seeking more flexible and secure travel options, private jets have become synonymous with convenience and exclusivity. The surge in demand is easy to understand. Commercial travel often comes with long security lines, crowded terminals and rigid schedules. In contrast, private jet services offer travellers the freedom to set their own itinerary, avoid the chaos of major airports and step into a personalised flying experience tailored to their needs. This shift toward prioritising time and comfort has opened the door for private jet companies to expand, not as a luxury of the ultra-rich but as a solution for those who value control over their travel experience. For Jetex, expanding operations is not only a logical next step – it’s inevitable. As the world becomes increasingly interconnected, more individuals and companies recognise the benefits of private aviation. By investing in new FBOs, infrastructure and cutting-edge services, we are responding to a clear market signal: the era of private aviation isn’t just a niche market anymore; it’s an essential part of modern travel. Additionally, Jetex has partnered with Les Roches to launch an innovative postgraduate program in private aviation, combining its operational expertise with Les Roches’ academic excellence to prepare the next generation of leaders in this evolving industry. In an industry where time is money and luxury is expected, private jet companies expanding their footprint reflects more than just growth – it reflects a cultural shift toward prioritising what matters most to travellers. As always, thank you for choosing Jetex for your global private jet travels. All of us look forward to taking you higher in utmost comfort and luxury – and with complete peace of mind.

Adel Mardini

Founder & Chief Executive Officer

Cover: Nicole Kidman

by Ryan Pfluger/AUGUST

Contact Details: jetex.com 11

Jetex DECEMBER 2024: ISSUE 158

Future High-Fliers Les Roches and Jetex partner to launch exclusive postgraduate program in private aviation

In an industry where luxury and precision define success, Jetex and Les Roches have unveiled an exclusive Postgraduate Programme in Private Aviation that promises to reshape the future of executive air travel. This strategic partnership blends the operational innovation of Jetex with the academic excellence of Les Roches, offering students an unparalleled opportunity to step into the fast-evolving world of private aviation. Designed to address the growing demand for skilled professionals, the programme will be hosted across Les Roches’ campuses in Marbella (Spain), Crans-Montana (Switzerland), and Abu Dhabi (UAE). In addition to rigorous academic training, the program will include 14

a six-month internship with Jetex, offering students hands-on experience with a global leader in private aviation services. “Jetex is redefining the standards of private aviation, and this partnership reflects our commitment to developing a new generation of professionals who embody our values of innovation, excellence, and luxury. Together with Les Roches, we are paving the way for a brighter future in aviation,” said Adel Mardini, Founder & CEO of Jetex. “Les Roches has always been at the forefront of shaping leaders for the luxury service sector. This partnership with Jetex represents a remarkable opportunity for our students to immerse themselves in the world of private aviation and

emerge as future leaders in airline management,” said Carlos Díez de la Lastra, CEO of Les Roches. To support aspiring professionals, Les Roches and Jetex will jointly offer partial scholarships to selected participants, making this worldclass educational opportunity more attainable. Additionally, highperforming graduates will have the chance to secure job placements with Jetex, creating a tangible pathway from classroom to career. In a world where private aviation is synonymous with exclusivity and innovation, this collaboration marks a bold step forward. For anyone aspiring to take flight in this industry, Les Roches and Jetex are providing not just an education but an invitation to shape the future of luxury aviation.

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Radar

AIR

DECEMBER 2024: ISSUE 158

Having started out rooted in subversion and vandalism, street art – most notably by the likes of Banksy – can now sell for millions at auction. In Miami’s once derelict, off-limits neighbourhood of Wynwood, it has also transformed an entire community. Established in 2009 by Tony Goldman, Wynwood Walls is the world’s first meaningful – and undisputably still most significant – exhibition centre for international street art, sprayed onto a once rundown expanse of warehouse buildings. “My dad envisioned a neighbourhood unlike any other on the planet, one that resembled a masterful painting,” says Tony’s daughter, Jessica Goldman Srebnick, who has curated a new book for Assouline that documents the project and its ongoing impact. “Legacy is the mark one makes on the world. A legacy can be made in an unexpected and improbable way, even with something as simple as a spray can and a bold idea.”

Street Art Icons: The Story of Wynwood Walls is published by Assouline and available from December 7 assouline.com

OB JECTS OF DESIRE

OBJECTS OF DESIRE

Master craftsmanship, effortless style and timeless appeal; this month’s must-haves and collectibles

OB JECTS OF DESIRE

M B & F X E DDY JAQU E T

THE THREE MUSKE TEERS MB&F first engaged with master engraver Eddy Jaquet in 2020, creating eight, award-winning unique pieces inspired by the novels of Jules Verne. This time Jaquet has imagined scenes from eight treasured novels, including Alexandre Dumas’ The Three Musketeers, engraving them in his

unique, highly detailed way directly onto the Legacy Machine Split Escapement movement’s dial plate, which has been modified to 18K white gold for this purpose. Each piece comes in a stainlesssteel case, with a slimmer bezel and open-worked black subdials. 1

OB JECTS OF DESIRE

M A G D A B U T RY M

AU T UMN-WINTER 2024 Magda Butrym bills her AW24 collection as an ode to freedom and a challenge to conventional fashion norms. Her visual weaponry in this battle to break free includes her accessory of the season – the headscarf. In Slavic tradition, the headscarf symbolises femininity, a shield to safeguard the essence

of womanhood. Here it’s often softened with floral motives and features prominently in a collection that also includes wonderful, oversized shearling coats and myriad examples of Butrym’s ongoing commitment to championing independent artisans from across her native Poland. 2

OB JECTS OF DESIRE

L I N DBERG

BOG OAK Here’s a novel find in our ongoing search for eco-friendly luxuries; eyewear created from a log that started out as a mighty oak tree. The log was recovered in 1950 and validated for its age by the National Museum of Denmark, which dated it at around

6,000 years old. From it, Lindberg has crafted four styles of glasses, all of which pair the ancient wood with multi-layer buffalo horn and screwless titanium temples. Strictly limited to only 500 pieces worldwide, they are available from this month. 3

OB JECTS OF DESIRE

GAG GE NAU X COSE N T I NO

ESSENTIAL INDUCTION COOKTOP There was a time when kitchens were considered nothing more than a space to prepare meals – no more. Now, they are a design statement, meticulously crafted and replete with state-of-theart appliances and the finest materials. The perfect marriage of both, the Essential Induction is a cooktop

and worktop combined, seamlessly blending Gaggenau’s renowned technology with Cosentino’s high design, high quality surfaces. It’s the result of several years of collaboration between both market-leading brands and sees the functional transformed into an architectural masterpiece. 5

OB JECTS OF DESIRE

BERLUTI

JOUR SOF T Y BAGS Berluti introduced its Jour Softy line of bags in 2022 and has since swelled it with multiple styles, each fashioned from softly grained, flexible, yet durable Venezia Gloria leather. Further additions have dropped for winter, including an XL messenger

with a handy padded laptop pocket and an aluminum hardware, Venezia leather suitcase. But our pick is this Oversize Tote. Beautifully clad in its soft brown patina, it features a triangle fold-over base, a hand-stitched strap, a separable zipper and a natural cotton linen lining. 6 6

OB JECTS OF DESIRE

GI R A R D -PE R R EGAU X

CASQ UE T TE 2.0

A collectors’ favourite from the 70s that was first revived in 2022, GirardPerregaux has unveiled a new, limited-to820-pieces iteration of the Casquette in Grade 5 titanium and gold. The original version was hailed for its LED display, a state-of-the-art technology back in

1976 when it was released to reflect the public’s passion for sci-fi blockbusters (Star Wars followed it a few months later). The LED display remains for Casquette 2.0, but now also indicates the month, year, chronograph, second time zone and a secret date. 7

OB JECTS OF DESIRE

JIL SANDER X MONCLER

CIT Y OF GENIUS Luke and Lucie Meier, the husband-andMoncler’s high-performance ethos, further wife design duo at the helm of Jil Sander, creating volume while remaining light. Coats selected Moncler to help them explore the have detachable quilted linings, mohair relationship between nature and humanity. cardigans grant comforting protection, The resulting collection expertly marries the while knit is a repeated textural presence skilful construction the Jil Sander name has throughout in the form of fuzzy dresses always been synonymous with to aspects of and capes. 8

OBJECTS OF DESIRE

AIR

Art & Design DECEMBER 2024: ISSUE 158

Another World

Tim Burton’s unique and singular vision is the subject of a new exhibition that views his creativity through a design lens WORDS: JOHN THATCHER

he work of few film directors is rarely instantly recognisable. Wes Anderson, thanks to his distinctive use of colour and set design, is one such auteur. But before him Tim Burton ploughed a lone furrow, his signature Gothic aesthetic bringing a distinct individuality to a series of big screen hits, including Beetlejuice (1988), Batman (1989) and Edward Scissorhands (1990). Burton’s creative process – honed across five decades – is the subject of The World of Tim Burton, a blockbuster exhibition that is still enjoying a hugely successful, decade-long world tour, which has taken in visits to 14 cities in 11 countries since 2014. It’s currently stopped at London’s Design Museum, Burton’s home city for the past 20 years, where it has been been specially adapted, expanded and physically reimagined to afford visitors a deeper look at the director’s work by

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seeing it through a design lens. “During his extraordinary career, Tim Burton has harnessed a compelling mixture of gothic horror and black comedy, of melancholy and enchantment, of oddball whimsy and visionary range in the creation of fantastical filmic worlds,” says Tim Marlow, Director and CEO of the Design Museum. “Our exhibition explores his remarkable creative vision, subtly reframed through the lens of design, and gives visitors a new perspective on a cinematic master.” Starting out at ‘Suburban Beginnings’, visitors first learn of Burton’s early artistic endeavours and his immense contribution to stop-motion animation, before a section titled ‘Building Worlds’ exlpores thirteen (a number not chosen at random) of Burton’s feature films and the recent television series Wednesday. ‘Drawing Narratives’ then showcases Burton’s prolific output as an artist and

visual storyteller, before ‘Beyond Film’ wraps things up by exploring Burton’s unique and wider universe, exploring projects he has produced outside of cinema, including books and music videos, and his role as a muse to designers inspired by his dark, quirky aesthetic. “It’s a strange thing, to put 50 years of art and your life on view for everyone to see, especially when that was never the original purpose,” says Burton. “In the past, I have resisted having the exhibition in London, however, collaborating with the Design Museum for this final stop was the right choice. They understand the art, and with the opportunity to adapt the show and highlight the way design interacts with the works, I’ve been able to view it all through an exciting new lens.” Born in California in 1958 to a mother who owned a cat-themed gift shop and a father who worked in a government department, a large chunk of Tim

For Tim Burton, each film begins with a drawing, that he often returns to over time, almost like old friends

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I think a lot of kids feel alone and slightly isolated and in their own world

Opening pages: Untitled (Boy Series) 2009 © Tim Burton Previous page: Surrounded, 1996 © Tim Burton This page, from top to bottom: still from Wednesday (2022) © 2022 MGM; Untitled (Creature Series), 1994 © Tim Burton; Percepto, circa 1996–1997 © Tim Burton

Burton’s childhood was largely spent in his bedroom, where he’d draw cartoons and watch old movies. “I think a lot of kids feel alone and slightly isolated and in their own world,” he once reflected in an interview. His skills with a pencil saw him win a childhood competition to have his work (an anti-litter poster) plastered on every garbage truck in his vicinity for a year. But it would soon be his name that was plastered all over Hollywood. After attending the California Institute of the Arts he landed the role of animator at Disney Productions, where he got to work on iconic Disney films including The Fox and the Hound (1981) and was given the green light to write his own animated short, Vincent (1982), and first live-action film, Frankenweenie (1984). A few years later he was presented with the script for a film called Beetlejuice (1988), which allowed him ample opportunity to indulge his love of quirky, artistic fantasy. It was the making of his career. At the exhibition’s core are hundreds of Burton’s expressionistic sketches and drawings that he has prolifically produced since childhood. These works depict everything from individual characters to whole environments and are always the first step in Burton’s creative process to build the

fantastical worlds in each of his films. Visitors will see some of the earliest incarnations of much-loved and recognised characters: the Martians from Mars Attacks! (1996), the Mad Hatter from Alice in Wonderland (2010), Emily in Corpse Bride (2005), and Edward Scissorhands (1990), whose instantly-recognisable costume and scissor hands are also on display. “For Tim Burton, each film begins with a drawing that he often returns to over time, almost like old friends,” explains Maria McLintock, who curated the exhibition for the Design Museum. To provide additional insight into Burton’s fantastical world, visitors will be able to exlplore a recreation of the private studio where he works, giving a rare private glimpse into his creative process. The walls of this installation are lined with illustrations from recent projects. “This hugely successful show has delighted audiences across the globe for over a decade, but our Design Museum reimagining, with many new additions and new narratives, means this will be an unprecedented opportunity to be immersed in Tim Burton’s unique and singular vision,” says McLintock. Welcome to the dark side. The World of Tim Burton runs until April 21, 2025 at The Design Museum, London 25

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My Generations Marrying modern and traditional techniques, Cassandra Goad creates jewellery to be enjoyed forever WORDS: JOHN THATCHER

Jewellery DECEMBER 2024: ISSUE 158

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or someone who has always drawn abundant inspiration from travel to inform their work, basing a new collection on, and herself in, a different country every two years, you might expect Cassandra Goad’s travel plans to be set in stone, the destinations plotted and her itineraries fixed far in advance. But as foretold by her magnificent jewellery, Goad does not bow to convention. “For me, travel has always been about expressing my creative freedom, so I always allow myself to be totally free with my travel plans. Sometimes I am planning a visit to a country for years, while other times I get an unmissable recommendation and jump on a plane as soon as I have a free weekend. I am drawn to countries with rich cultural heritage and beautiful aesthetic understanding and I find my inspiration in a number of places – friends, recipes, books, art and film.” Then there are the moments. A flamboyance of flamingos gliding over the Western Coast of Mexico; a master of their craft hosting an ancient tea ceremony in Japan; a walk through a richly scented pine forest in Bulgaria; the early call of the muezzin as the sun rises to cast a golden glow over Morocco’s architectural heritage. It’s in such detail where Goad finds beauty. A recent creation to be born this way, the spectacular, multi-awardwinning Firework Masterpiece captures the surprise, delight and magnificence of an exploding firework. Created over eighteen months, it’s a unique piece that Goad says tested the skills of her workshop in every way imaginable. “Comprised of a diamond brooch ‘en tremblant’ (meaning, to tremble) and an aquamarine, pearl and diamond necklace which can also be worn as two bracelets, it’s testament to modern and traditional jewellery creation. One bracelet was created using exclusively modern techniques, while the other was crafted using only traditional techniques. To the naked eye they cannot be told apart.” Marrying the modern to the traditional is very much part of Goad’s overarching method. “I have never been fearful of new technologies. I welcome new methods for jewellery

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My vision is for each jewel to be enjoyed by my clients throughout their lives, and to eventually be cherished by the next generation

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creation and encourage my artisans to incorporate new skills into their practice. Within my workshops I always foster apprentice craftspeople, as I think it is crucial that the new generation learns not only modern creation techniques but also the processes of the past. For me, combining these painstakingly beautiful techniques with the possibilities afforded by the future is the way to create beautiful jewels that can be enjoyed for decades to come.” Ensuring longevity for her creations is of paramount importance. “My vision is for each jewel to be enjoyed by my clients throughout their lives, and to eventually be cherished by the next generation. I believe that versatility is key to the longevity of design, ensuring that each jewel remains relevant, cherished, and personal over time.” To this end, Goad takes bespoke commissions, often transforming family heirlooms, reawakening dormant beauty. “I recently had an American client come in with her vintage Cartier sapphire and diamond bracelet, which had been handed down to her by her mother-in-law. The bracelet was an exquisite work of craftsmanship but was too long to be worn comfortably. The beauty of the bracelet was its gentle tapering, which finished with a concealed clasp and so couldn’t be shortened by just removing links. Unfortunately, many jewellers no longer possess the expertise or craftsmanship to repair, rebuild or adapt jewellery and my client had repeatedly been told by others that it was simply not possible to shorten. However, working closely with my craftspeople in my London workshops we recreated several sections of the bracelet and custom cut sapphire baguettes, which tapered perfectly to the bracelet’s new dimensions.

This project always remains front of mind for me as it is a poetic reminder of why I make jewellery and why I continue to protect and celebrate jewellery craftsmanship.” Is she still sometimes surprised by some of the heirlooms clients bring to her for customisation? “The beauty of bespoke work is you never know what someone will bring you. Recently, a beloved client was renovating her family home and came across two diamond brooches in the back of a wardrobe that had been sitting in the attic for as long as she could remember! I worked with her to make multiple jewels for her from these brooches – engagement rings for her sons to propose with, a diamond cluster ring and matching earrings, to name a few. You really never know what you might find in the attic…” Goad describes her upbringing as a “wonderful mix of English countryside tradition and American elegance, through my respective grandmothers. While they came from very different worlds, they both had amazing and interesting collections of jewellery.” It was her English grandmother whom she recalls dressing her in jewels and a tiara which had been in the family for generations. “Sadly, she passed before my wedding day, but I felt she was with me when I wore the family tiara she had dressed me up in all those years ago.” Goad originally trained as a scientist before rekindling her love affair with jewellery, yet she retains a scientist’s eye when it comes to selecting gemstones. “I am continually fascinated by how small environmental or chemical changes can capture such intense colour into a crystal,” she enthuses. “One gemstone that has always intrigued me is a watermelon tourmaline, one of which I recently set into my Baguette ring design. This watermelon tourmaline has frozen in time the chemical reaction of lithium and manganese elements as they seep into the crystal through cracks created when the magma cools, resulting in a beautiful gradient of green into pink.” Few designers share Goad’s ability to capture such rare beauty, which is why the appeal of her magnificent designs will endure for generations to come.

Timepieces

DECEMBER 2024: ISSUE 158

Three At Last

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Twenty-five years after its last collection was released, Patek Philippe introduces Cubitus, a trio of new family members WORDS: JOHN THATCHER

t’s said that time waits for no man, but man can certainly be made to wait for time. Particularly when it comes to Patek Philippe. Unless you’re one of a fortunate few, you’ll be accustomed to having to wait your turn to acquire your desired model. And then there are its new collections. 1932 ushered in the Calatrava, its round shape still considered one of the finest symbols of the Patek Philippe style. The Golden Ellipse collection dropped in 1968, its elliptical case a bold departure from traditional watch shapes of that time, while in 1978 we were introduced to the Nautilus, an outrageously popular sports watch (and remains so today) that also introduced a new shape in the form of a rounded octagonal. The Gondolo collection followed in 1993, putting a modern spin on the Art Deco aesthetic, with the rounded octagonshaped, Nautilus-inspired Aquanaut released in 1997. The Nineties drew to a close with the launch of Twenty~4, a collection created for women and

comprising diamond-set rose gold and stainless-steel versions. That was 1999, when the Millennium Bug was still a thing. Twenty-five years on and Patek Philippe has chosen to acknowledge the anniversary with Cubitus, a new collection comprising a trio of sporty-esque timepieces and a big (45mm in diameter), bold shape that plays on Patek’s fondness for pure, strong lines to effect an amalgamation of a square, circle and octagon. This two-part case – water resistant to a depth of thirty metres, with rounded edges and side attachments – is further characterised by the use of contrasting finishes – vertical satin-brushed on the flat of the bezel and the front of the case, polished on the bezel’s chamfer and case flanks. To do so took 55 manual operations per watch, a mark of Patek’s dedication to be different, to be flawless. It’s a pattern repeated on the integrated metal bracelet fitted to two of the three Cubitus models – vertical satin-brushed on the main links, polished on the central links –

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case is further characterised ‘Thebytwo-part the use of contrasting finishes ’ while all three dials feature horizontal relief embossing. A signature feature of the collection, this horizontal decoration – used to playfully reflect light – can also be found on the rotors and mini-rotors of the movements. If you think the Cubitus bears more than a passing resemblance to the Nautilus, you’re not alone. “You should not always reinvent everything from zero,” Patek Philippe president Thierry Stern was quoted telling members of the press at the company’s German HQ in Munich. “Why? Take the best of what you know and improve it.” He later expanded on the choice of shape by telling Swiss Watches Magazine: “We are an independent watchmaker; we do what we believe is right for the brand. And most importantly, I always aim to surprise people. When you expect me to go one way, I go another.” The pick of the trio is the Cubitus Instantaneous Grand Date, Day and Moon Phases (Reference 5822P001), a model clad in platinum and equipped with a brand new self-winding movement, calibre 240 PS CI J LU – visible through a transparent sapphire-crystal case back – the creation of which resulted in Patek filing six patent applications. Such ingenuity was necessary to – among other things – regulate distribution of the energy required for the different displays and their simultaneous jump in 18 milliseconds. Those displays – a large-format date that draws design comparisons with A. Lange & Söhne, the moon phase and the day of the week – are positioned at 12 o’clock and 7 o’clock respectfully, while a smaller subsidiary seconds counter appears at 4:30. All Patek’s 32

platinum models contain a diamond, but until now none have been baguette cut. It’s set into the bezel at 6 o’clock. Set against a blue sunburst dial, baton-style hour markers and rounded baton-style hour and minute hands are crafted from white gold and coated with a white luminescent, further aiding legibility. As a nod to its sporty side, its navyblue strap, with cream contrasting stitching, is fashioned from an ultra-resistant composite material. Also featuring a blue sunburst dial, the Cubitus Reference 5821/1AR-001 is a two-tone version in steel and rose gold. Here, the baton-style hour markers and rounded baton-style hands are again coated in a white luminescent to aid legibility but framed in rose gold, a design unique to this model in the collection. The same frame contains the date at 3 o’clock. It’s powered by the self-winding 26-330 S C calibre, a feature of which is a stop-seconds device that enables time-setting to the nearest second and a raft of other technical innovations. It also powers the all-steel Cubitus Reference 5821/1A-00, a model easily identified by its striking sunburst olive green dial, now somewhat of a trend across sporty timepieces. Speaking of which, depending on your source material, the cufflink is either a timeless accessory that helps project your distinct personality, or one redolent of past times. Firmly in the former camp, Patek has also created a pair of cufflinks to accompany each model, their design reflective of the case shape, metal and dial colour. Now where did I put that double-cuff shirt?

LOCATION: KYMA BEACH, DUBAI HAIR: SAFIYAH CASSIM AT MMG MAKE-UP: SOPHIE LEACH MODEL: EVGENYIA AT MOTION

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Page 1 ‘Coco Crush’ hoops, necklace and rings in white gold and diamonds, Chanel Fine Jewellery; ‘J12 Paradoxe Baguette Diamonds’ 38mm watch in highly resistant black ceramic, white gold and diamonds, Chanel Haute Horlogerie Page 2 ‘Les Infinis De Camelia’ transformable long necklace in yellow gold and diamonds; ‘Coco Crush’ bangles in beige gold and diamonds, all Chanel Fine Jewellery Page 3 ‘Coco Crush” earrings, hoops and ring in yellow gold, beige gold, white gold and diamonds; ‘Toi Et Moi’ ring in beige gold, white gold and diamonds, all Chanel Fine Jewellery; ‘J12 White Joaillerie’ 33mm watch in highly-tech ceramic, white gold and diamonds, Chanel Haute Horlogerie Page 4 ‘Coco Crush’ hoops, necklace and ring in white gold and diamonds, Chanel Fine Jewellery; J12 Paradoxe Baguette Diamonds’ 38mm watch in highly resistant black ceramic, white gold and diamonds, Chanel Haute Horlogerie Page 5 ‘Les Infinis De Camelia’ transformable long necklace in yellow gold and diamonds; ‘Coco Crush’ rings in beige gold, yellow gold, white gold and diamonds; ‘Eternal N°5’ ring in white gold and diamonds; ‘Extrait De N°5’ ring in beige gold and diamonds, all Chanel Fine Jewellery Page 6 ‘Coco Crush’ earrings and huggies in yellow gold, white gold, beige gold and diamonds; ‘Eternal N°5’ earrings in beige gold and diamonds, all Chanel Fine Jewellery Page 7 ‘Coco Crush’ earrings, hoops and rings in yellow gold, beige gold, white gold and diamonds, Chanel Fine Jewellery; ‘J12 White Joaillerie’ 33mm watch in highly-tech ceramic, white gold and diamonds, Chanel Haute Horlogerie Page 8 ‘Eternal N°5’ necklace in white gold and diamonds, Chanel Fine Jewellery

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No GoiNG Back Nicole Kidman returns to the big screen in a role that sees her continue to explore female empowerment INTERVIEW: VICKY DEARDEN WORDS: JOHN THATCHER

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n a hugely successful career that’s now well into its fourth decade – one that has spanned film, TV and theatre – Nicole Kidman has starred in myriad roles, many of them transformative, and scooped just as many awards along the way, including a well-earned Oscar for Best Actress for her portrayal of Virginia Woolf in 2003’s The Hours. And yet she’d be the first person to say that her biggest role by far is performed off screen. Appointed UN Women Goodwill Ambassador in 2006, Kidman traverses the globe to shed light on the infringement of women’s human rights, which typically includes domestic violence, a problem so rife that it’s claimed to affect as many as one in every three women. I bring up her off-screen work that serves to empower women because it’s a role that mirrors many of those she adopts on screen. In fact, it’s a thread that runs right the way through her acclaimed career, starting with Dead Calm (1989), arguably her breakthrough role, in which she played a resilient, resourceful wife confronting peril on the high seas. Latterly she’s played an abused but stoic wife in Big Little Lies (2017), for which she won an Emmy, and a tough, senior CIA operative in Lioness (2023), the season

finale of which drops this month. Also dropping this month is Babygirl, which sees Kidman return to the big screen as Romy, a CEO who on paper has it all – successful career, handsome husband, spirited kids – but yearns for something deeper. It’s a film that explores female empowerment from an angle rarely portrayed on screen: desire. It’s written and directed by female auteur Halina Rejin, who says she was “delighted to be able to make a film about feminine desire. But it’s also about an existential crisis. It has many layers.” Kidman is immense at unwrapping them all. A fact she attributes to being directed by a woman. “It’s about desire, it’s about your inner thoughts. It’s about secrets. It’s about marriage. It’s about truth, power, consent,” she says. “This is one woman’s story and is, I hope, a very liberating story. It’s told by a woman through her gaze. It’s Halina’s script – she wrote it, she directs it – and what made it so unique was that suddenly I was going to be in the hands of a woman with this material. And it was very, very deep to be able to share those things and very freeing. “At a press conference at Cannes years ago I said I’m going to put my weight behind a lot of women, in terms of directors, to try and change the ratio.

And this is all part of it.” Speaking of her connection to the character of Romy, Kidman outlines how she enjoys the process of exploration. “My connection to it is that I want to examine human beings. I want to examine women on screen. I want to examine what it means to be human, and all the facets of that and the labyrinth of that.” Known as Australia’s finest acting export, Kidman was actually born in Hawaii, where her Australian parents, her mother a nursing instructor, her father a clinical psychologist, lived before returning to Sydney to raise Kidman. She dropped out of high school to pursue an acting career, which began at the age of 16, and has since packed in a wealth of leading roles and five Oscar nominations for Best Actress. At an age when women used to forcibly disappear from our screens, Kidman remains as busy – and as integral – as ever. Which brings us to the question of how her body is filmed in Babygirl. “I approach everything artistically, so I don’t think of the minutia. I just go, ‘How do I give over to this particular character at this time, fully, without censoring my director?’ And that’s why it is important to feel safe with them, because I will just go

Left: still from Moulin Rouge (2001) Opposite page: still from To Die For (1995)

I want to examine what it ‘means to be human and all the facets of that ’ 38

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Credit: The Interview People

I’m a huge believer in the sacredness of the set and it never being violated with complete abandon to the story, to the nature of the character that I’m playing. So I don’t think about bodies per se, I just think about, ‘How do we tell the story, and what is your (the director) vision for it? And how do I help you? And how do we get there?’ And then we have big conversations, obviously, about the psychology of the character, all of those things. “But what I’m bringing is just myself with openness and availability, and I’ve always done that with directors. And sometimes that works, and sometimes it doesn’t, but I don’t know any other way. I couldn’t go into the environment protecting myself and being worried. I have to just go, ‘Okay, what do you want to do here?’” Herself a trained actor, Dutch director Reijn set up production company Man Up to produce films and television dramas told from a female perspective. Its output, which now includes Babygirl, has been praised for its quality, artistic integrity and openness. “I think that’s what made it so compelling – being in the hands of Halina, because I knew she wasn’t

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going to exploit me. I mean, however anyone interprets that, I didn’t feel exploited. I felt very much a part of it. It’s the story that I wanted to be a part of, that I wanted to tell, and every part of me was committed to that. “Primarily, a lot of it was just talking about ourselves, which is a really great way for actors to come together, because you share things and then gently, slowly, you start to feel… But because Halina is an actress herself, she’d be throwing herself around the room in the rehearsal space, playing all the roles. And that was fascinating, because I’d never experienced that before. She can play every role in the film – and very, very well.” An intimacy coordinator was also on set. “But there was still a f low to it, which allowed space to move and change and work,” says Kidman. “It wasn’t confined, and I love to work that way. I’m a huge believer still in the sacredness of the set or the actors’ space and it never, never being violated. Because it’s ours, it’s the bubble, and then there’s the world outside.”

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Off-kilter designs, unironed shirts and reinventing the briefcase: Thom Browne is one of the most exciting American designers out there – even if he loves grey WORDS: KAREN DACRE

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You don’t need to know the name Thom Browne to be familiar with his work. There’s a high chance you came shoulder to shoulder with his influence this morning while queuing for your flat white, so important is the American designer, who has rewritten the tailoring rulebook by adding off-kilter appeal. Imagine a slightly awkward version of a school uniform with a cropped tailored jacket paired with a kilt, say, or slim-fit trousers with an ankle-grazing hem. The power of his gender-neutral clothes is that they get noticed. “Quite often people don’t realise it’s me and come up to me on the street and say, ‘Oh my gosh, I love your Thom Browne.’ I reply, ‘Oh my gosh, I love yours too,’” says the man himself, who has recently turned 59. Browne has a similarly distinguishable personal aesthetic, making him his brand’s best ambassador. His cropped grey hair and even greyer kilted suits have become his trademark, just as they have for employees at his New York HQ, who are reportedly issued with a starter uniform, along with an 11-page guide on how to wear it, when taking up a position at the company. Top buttons must remain undone, shirts are not to be ironed, navy is permitted on Fridays but discouraged on other days. Trainers are not encouraged in the office during the week but are OK on Saturdays… you get the idea. Disappointingly for me, as someone who would love nothing more than to catch a glimpse of those perfectly unironed shirts up close, we are meeting over video call. Browne appears on my laptop screen looking every inch as I’d expected, though: impeccably turned out in a tailored waistcoat and crisp cotton shirt in the manner of someone who is about to attend an event at the White House. He assures me this is not the plan. “We’re in Paris,” he says, referring to himself and his long-term partner, Andrew Bolton, the Lancashire-born curator who oversees the Anna Wintour Costume Center at the Metropolitan Museum of Art in New York. There’s no question that on the New York fashion scene, where he has spent the best part of two decades expanding an empire that includes menswear, womenswear, accessories and childrenswear, Browne is a winner in his own right. With his brand backed by the Zegna Group, which, since 2018, has 44

All pages: behind the scenes of Thom Browne Fall 2024 Couture Collection Below: Thom Browne

The world doesn’t need another dress. ‘ And it doesn’t need another item of clothing that looks like everybody else’s ’

owned 90 per cent of the business and trades on the New York Stock Exchange, he now has 107 retail stores globally and many more within department stores. He has also garnered what seems like lorry loads of celebrity customers. Best known are Diane Keaton — seldom photographed without a Thom Browne jacket — and Janet Jackson, who made a rare visit to London last

year to attend one of his dinners. Then there’s Zendaya, Serena Williams, ASAP Rocky and many more. Proof of his broad appeal came at the Met Ball this year, with Browne dressing everyone from Gigi Hadid — who wore a cascading gown created by 70 of Browne’s couturiers — to Cynthia Erivo in a dramatic petal-strewn two-piece. Was this Browne’s way of telling the

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you work a lot ‘withWhen proportion, working with grey seems like the way to show it off ’

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world he could do much more than just grey suits? “The desire is always to challenge people,” he says. “I want to show more interesting things and, in doing so, I want to grow the business even bigger. People need to see what we can do and how much more we have to offer.” Certainly the made-to-order side of the business is of increasing significance to Browne, who made his debut at Paris’s prestigious haute couture week last summer. But rather than sending out bustling gowns, as is customary elsewhere on the schedule, Browne’s shows are about reinventing tailoring in breathtaking form. At one, a homage to the Olympics, the designer recast sportswear classics as wearable pieces of art, with the sports blazer very much front and centre. Anna Wintour watched from the front row. “The world doesn’t need another dress. And it doesn’t need another item of clothing that looks like everybody else’s,” Browne says. Accessories have also become a big focus. Among them a briefcase that is rapidly becoming a new musthave among a particular breed of New York Upper East Side types. “The design is based on one my father carried. Of course it’s an extension of everything else that we are trying to achieve with the idea of a uniform.” Uniform is everything to Browne, who is as repulsed by the idea of a trend as he is enchanted by the colour grey. “It’s timeless, neutral and, honestly, just my favourite. It really is as simple as that. When you work a lot with proportion, working with grey seems like the way to show it off.” Quality counts even more. “Something that’s beautifully made will always be in fashion,” he says. “I want to create things that are as worthy of being in museums as they are of the hard-earned cash my customers spend on them.” Born to Irish-Italian parents in Allentown, Pennsylvania, Browne isn’t one of those designers who came to fashion after decades of sketching in his childhood bedroom. “Quite honestly, I never really thought of clothes as a kid. I grew up in a big family and we all swam or did sports and we went to school — that’s what my parents cared about.” It wasn’t until he was in Los Angeles, aspiring to be an actor (registering with the Screen Actors 48

desire is always to challenge people. ‘IThe want to show more interesting things ’

Guild led him to add the silent “h” to his name), that fashion took hold. “The thrift stores there were full of tailoring because everyone always gets rid of theirs when they move to LA. I was probably the only person buying it up.” Soon after that he moved to New York and cut his teeth working for a number of fashion brands before eventually setting up his shop with a limited run of suits — grey, of course — that could be made to order. These days, with a wealth of experience to offer, Browne is nurturing a new generation of US designers. In 2023 he was made chair of the Council of Fashion Designers of America, a position previously held by Tom Ford and Diane von Furstenberg. “It’s really hard to start your own

collection these days. But you can do it. You have to be able to commit to it and challenge yourself to design something really interesting so that people need it.” Does the fashion world need to evolve beyond catwalk shows? Not on Browne’s watch. “I love doing shows. The audience sees exactly what I want them to and I love that about it. That’s the reason I don’t work with stylists. I don’t want to be able to hide behind something.” When plotting a show, Browne takes inspiration from all sorts of places and people, none more so than his partner, Bolton. “It’s a luxury being able to talk things through with him. I really do think he’s the most important person in fashion,” he says. “From one seed or simple idea grows something amazing — and always a new suit or two.”

Credit: News Licensing

The Pursuit of Perfection A new book tells of Loro Piana’s century-long quest for the extraordinary

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WORDS: JOHN THATCHER

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hough it may be the quintessential ‘quiet’ luxury brand – as in, you don’t need the aid of a shouty logo to identify its clothing, only a keen eye for quality. Though to touch and feel its finery is the real giveaway – Loro Piana actually has a lot to shout about. It celebrated its centenary this year, a major milestone for any brand, particularly one that has never veered from the path it forged for itself those many moons ago, staying true to ingrained ideals that see it remain impervious to fluctuations from fashion’s cyclical nature, ideals forged on the picturesque peaks of northern Piedmont. It was in these verdant valleys that Pietro Loro Piana opened a mill in 1924, its purpose to provide the military with heavy woollen clothing. But the story of Loro Piana really begins with Franco Loro Piana, Pietro’s nephew, who joined and later succeeded his uncle at the company’s helm. It’s a story told by author Nicholas Foulkes in Loro Piana: Master of Fibres, a weighty tome just released by Assouline. Franco’s reign at Loro Piana took in World War II and the ‘Dolce Vita’ that followed, and by the end of his tenure in 1975 his sons Pier and Sergio inherited

a firm shaped in their father’s image. “It was one of the big firms making only fabrics, but luxury fabrics,” writes Pier of his father’s tenure. “Because of his passion for elegance and his excellent taste, he had moved the company into high-quality fabric that expressed the new Dolce Vita kind of living, always looking for beauty… looking for quality. He was convinced that the right thing to do was to specialise in making luxury fabrics that were at the peak of what was available at the time.” One such fabric was Tasmanian, its name derived from the Australian island of Tasmania, where sheep were reared to provide a fine merino wool, so fine, in fact, that as Franco discovered via his modern milling methods, a single kilogramme of it could be spun into a thread that would stretch for 100 kilometres. This discovery laid the foundations. “This is what our father passed to my brother and myself,” states Pier proudly. “We were never looking to make cheaper fabrics of lower quality in big quantities, but to make the highest quality in small series. This is what my father really passed to us as his heritage. We grew up in a company that was already known for the finest fabrics and most exotic fibres.” The continuing quest to find such

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We were never looking to make cheaper fabrics of lower quality in big quantities, but to make the highest quality in small series

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Previous pages and this page: Coutersy of Loro Piana Opposite page: Loro Piana FW24/25 Next pages: Coutersy of Loro Piana

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fabrics makes for compelling reading. In one example, Pier recounts a month-long trip with his brother throughout South America in the 1970s on a search for the exceptional. They found it high up in the Andes, where the vicuña roam free, the smallest of a family that also includes the alpaca and llama. Known locally as the Queen of the Andes and once fabled as semidivine beings bestowed with magical powers, the vicuñas number had, over centuries, shrunk from somewhere in the millions to a figure in the thousands, to the point that when Pier and Sergio encountered them they were on the precipice of extinction and declared a protected species. Their impossibly soft fleeces were prized and at the mercy of murderous poachers. To counter them, trade in its fibre was outlawed, forcing farmers to focus on their llamas and alpacas for an income, pushing the vicuña out of their concern and ever closer to the edge. Loro Piana proved instrumental in changing the narrative. “We undertook ten years of work and research that would allow us to shear the animals, without harming them, once every two years,” recalls Pier. It took until 1994, following years of Loro Piana-led negotiations and collaborations, for the first official auction of legally sheared vicuña to take place and its risk of extinction is no more. Today, vicuña remains one of Loro Piana’s key fabrics. It was a process Loro Piana repeated in northwestern China, where Pier worked with remote goatherders in Inner Mongolia so that they would comb their herds before they reached a year old, setting aside this small but precious amount of Baby Cashmere, which Foulkes colourfully describes as, “A superior product that results in garments that make some other so-called cashmeres feel like sandpaper.” Another discovery was made in the Shan Hills of Myanmar, where the lotus flowers of Inle Lake are of cultural and spiritual significance to the region and its people. Its stems can be slowly woven into a remarkably fine cloth if spun within twenty-four hours of being picked, though it takes a harvest of 6,500 stems to create

What’s overtly apparent is that what Loro ‘Piana takes from the natural world it also gives back ’ a single jacket. While this skill was practiced, only a few saw the fruits of such painstaking labour. Loro Piana worked to ensure its demand is now as constant as it is widespread, thus preserving a centuries-old craft and the way of life bonded to it. In fact, what’s overtly apparent from the book is that what Loro Piana takes from the natural world it also gives back – tenfold. A pioneer of sustainability long before it became a marketing-driven box to be ticked at other fashion houses, Loro Piana strives to not only preserve the animals that provide its raw materials but also their habitat and wider community. In the home of the vicuña it supports education and infrastructure, while the supply of cashmere is nurtured

through partnerships with the likes of the Academy of Science of Inner Mongolia, with the aim of preserving regional biodiversity. As a previous Loro Piana advertising campaign proudly stated: ‘If you know, you know.’ That’s true, but it’s good that this book now exists to remind you of what genuine quality really is.

Loro Piana: Master of Fibres is published by Assouline and available now at selected Loro Piana and Assouline stores assouline.com 55

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Motoring DECEMBER 2024: ISSUE 158

Three Cheers A trio of variants, one very special car. Meet the new Maserati GranTurismo WORDS: JOHN THATCHER

here’s a reason the label Made In Italy carries such weight. More than a simple stamp of authenticity, it conveys superior quality, expert craftsmanship and an innate sense of what constitutes style. It’s a badge that Maserati wears with pride and has done so since 1914, when Alfieri, Ettore, Ernesto and Bindo Maserati indulged their shared passion for engines and motorsport by setting up an auto workshop, Officine Alfieri Maserati, in Bologna, Italy, laying the foundations for what is now one of the world’s most prestigious motoring brands. One that remains, more than a century on, resolutely Made In Italy. It’s a pertinent time to reflect on the company’s beginnings because its new GranTurismo marks a new chapter in the Maserati story – it’s the first car in the brand’s history to adopt a 100% electric battery-based powertrain. That’s the GranTurismo Folgore (its name meaning lightning or thunderbolt), which is one of three GranTurismo versions now available, along with the petrol-powered GranTurismo Trofeo and GranTurismo Modena. It’s the latter of that trio that we put through its paces in Dubai, a handsome chap with a fabulously expressive long nose, just like the one proudly sported by its predecessor, and a broad aluminium clamshell bonnet. In fact, its exterior styling bears more than a passing resemblance to its forefather, the first generation of which was introduced in 2007. Because why change for change’s sake? As any premium brand will testify to, consistency is key to success, and the original GranTurismo was a much-loved model. A four-seater, two-door coupé with a naturally aspirated eight-cylinder

engine and classic Pininfarina design, it was created as a modern interpretation of the 1947 Maserati A6 1500, the first GranTurismo car in history. This new version has a lot to live up to, then, but if anything this latest iteration is perhaps more polished, a little more refined. In short, it does the family proud. Maserati has based its new model on a trio of key principles: Sportiness, so that while it’s pleasurable to drive on the road it shows an aggressive side to its personality once on a track; Luxury, the idea that the exterior and interior are treated as equals, their styling afforded painstaking attention to detail; and Comfort, the rear seat passengers given due consideration so that the car accommodates four contentedly. It’s fair to say it excels in all three areas. Certainly, in terms of luxury, it overtly

displays all the credentials necessary to be deemed Made In Italy, both inside and out. Where that prominent, beautifully sculpted nose slopes gently to the road are sporty vertical lights, now a feature on all Maserati models since debuting on the MC20 halo car, and a front grille that includes the now iconic 3D Trident logo, the design of which was created by another Maserati brother, Mario. At its rear, the taillights are creatively shaped somewhere between a boomerang and a harpoon. How you’d like your GranTurismo to look beyond that is pretty much down to you. In addition to the standard half dozen colours you can select from for the car’s body are multiple more – along with a range of exclusive materials – as part of the Maserati Fuoriserie customisation programme. That’s also true of the

wheels and brake callipers, with a wealth of colour combinations possible. Inside, the GranTurismo is every inch a thing of beauty. On the dash is the subtle signature of the Italy flag, just in case you were left in any doubt as to the origin of the expert craftsmanship that cocoons you in the cabin. But you won’t be – you can see, touch and smell the commitment to quality. The Modena features a wonderful embroidered and stitched graphic motif, which spreads elegantly across the dashboard, panels and seats, its design inspired the architectural details in the Michelangelo-designed Piazza del Campidoglio, one of Rome’s most beautiful squares. It’s complemented by a tactile dark ash burl and your choice of black, tan or greige leather, with tone-on-tone stitching.

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audio system comes courtesy of ‘The GranTurismo’s Sonus faber and is exceptional ’

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Equal attention to the finer details has been granted to the technology that surrounds you. A sculpted one-piece 12.3” central display and 8.8” comfort display features the majority of the controls – including the gear select buttons – which are as simple to use as they are to see. It’s here you’ll see a button that controls the new digital clock on the dash. And why might you need to control the clock, you ask? Well, this is no ordinary clock. For a start you can change the way it looks by selecting either Classic, Sport or, our favourite, Design, for which an engaging sweep of light eats up the seconds. But this ‘clock’ is also a compass, G-force meter, accelerator, and stopwatch. 007 would be delighted. The rest of the controls are housed on

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a new, multi-functional steering wheel (all leather and chrome-plated details, with wheel paddles fashioned from brushed, dark aluminium), including a handily placed volume control behind the wheel. You’ll need this, because the GranTurismo’s audio system comes courtesy of Sonus faber and is exceptional. Two wholly immersive variants of it are offered: the standard Premium system, which features 14 speakers and 2D surround, with an output of 860 W; and the optional High Premium system, with its 19 speakers, 2D and 3D surround sound and powerful output of up to 1,195 W. Even when ramped up to the max, the sound is crystal clear and thrillingly precise. It’s from the steering wheel where you’ll fire up the Modena’s 490 CV 3.0-litre

V6 Nettuno Twin Turbo, which features technology that helps power Maserati’s MC20 supercar. You can swiftly switch between four driving modes on both the petrol and electric options – GT mode being the default option on both – and all are quick. The Modena speeds from 0-100 km/h in 3.9 secs; the more powerful Trofeo doing so in 3.5 secs; while the instant pick-up of the all-electric Folgore powers you there in just 2.7 seconds. Speed is of the essence with the Folgore, so you’ll have the option to install a home charger, negating overlong wait times at on-the-go chargers. Maserati built a legacy along with the very first GranTurismo. Its latest version underlines why it remains in pole position as a pioneer.

An embroidered and stitched motif draws inspiration from the architectural details in a Michelangelo-designed piazza

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Scaling New Heights How the Dassault Falcon 8X set standards in the sky

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ubai’s biannual Middle East Business Aviation Association (MEBAA) show is not just an aviation event, it’s the industry’s ultimate launchpad. Held under the patronage of H.H. Sheikh Ahmed bin Saeed Al Maktoum, MEBAA 2024 will once again transform Dubai into a global hub for the best in business aviation, showcasing a blend of futuristic tech and luxury aircraft. This year’s show will feature 135 exhibitors and 55 renowned speakers, and see 25 top-of-the-range business jets on display across three days of gamechanging content. Among these marvels will be the Dassault Falcon 8X, granting attendees a unique opporunity to learn more about its outstanding range, builtin luxuries and cutting-edge design. The Falcon 8X’s presence at MEBAA will be more than just a moment: it symbolises a bridge between the past, present and future of luxury travel, with Dassault bringing its history of excellence in design and engineering to a new frontier. From in-depth discussions on sustainable growth to hands-on exhibitions of industry-leading technology, MEBAA is where the world of business aviation both thrives and evolves, and the Falcon 8X embodies that evolution. The 8X doesn’t just fly; it flies with precision and grace, carving new paths in global aviation. At first glance, the Falcon 8X looks like any sleek business jet, but its story goes far deeper. This is no ordinary aircraft; it’s a flying sanctuary crafted for those who demand excellence. At its core, the 8X is all about efficiency, comfort and range, achieving a perfect harmony between technical prowess and refined elegance. Imagine an ultralong-range jet that can seamlessly glide from New York to Beijing or London to Singapore without a hitch. It’s fast – capable of Mach 0.90 – but it’s also astonishingly comfortable. This threeengine powerhouse by Dassault Aviation features Pratt & Whitney Canada PW307D engines and is based on their earlier 7X model, but with a stretched fuselage and avionics enhancements that redefine what a business jet can do. A masterpiece of engineering, the 8X’s design reflects Dassault’s deep military expertise, where they’ve married fighter-grade digital flight controls with an intuitive cockpit system, providing smooth, safe flights across the globe. It’s powerful enough to land in smaller,

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This is no ordinary aircraft; it’s a flying sanctuary crafted for those who demand excellence

hard-to-reach airports like London City or Lugano, opening up a world of destinations inaccessible to most jets of its size. Add to this the advanced FalconEye® option – a system that combines synthetic vision with realtime visual capabilities – and the 8X becomes a jet that can tackle nighttime landings and reduced visibility with ease, ensuring safe arrivals in style. With unmatched functionality, the 8X boasts a take-off distance of 5,880 feet and a landing distance of just 2,220 feet, meaning it can handle shorter runways and less traditional airports. And when it’s time to descend, the aircraft’s approach speed is a gentle 107 knots, allowing for smoother, more

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controlled landings. This adaptability opens a world of travel possibilities. But what truly makes the Falcon 8X standout in the skies? It’s a combination of world-leading technology, luxurious comfort and forward-thinking design elements. First, the range: at 6,450 nautical miles, the 8X beats its predecessor, the 7X, by 500 miles, putting it in competition with the Gulfstream G650 and Global 6000. That extra mileage translates to non-stop travel for up to 14 hours, enough to carry passengers across continents with ease. Inside, the 8X is a peaceful escape wrapped in luxury and grace. The spacious cabin is designed for refined repose with an emphasis on noise

reduction, making it one of the quietest jets in its class. The customisable interior allows each jet to reflect its owner’s unique tastes, with options for different seating arrangements, high-end materials and an advanced multi-zone audio system. From a sophisticated galley to plush seating options and adjustable lighting, every inch of the 8X emits an air of polished charm. Representing a glimpse into the future of aviation, the 8X is efficient, using advanced aerodynamics and lightweight materials to improve fuel efficiency and lower emissions. With ongoing improvements in sustainable aviation, the 8X is a model that doesn’t just meet current standards but anticipates future needs. For Dassault, the 8X is not just a jet; it’s a testament to what business aviation can be – a blend of comfort, technology and vision that resonates with today’s travellers and tomorrow’s explorers. A flying testament to the future of aviation. 65

Gastronomy DECEMBER 2024: ISSUE 158

The Michelin Man Arnaud Faye’s career has featured stints at numerous Michelin-starred restaurants, but Epicure is shaping up to be his most defining

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WORDS: JOHN THATCHER

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t had been almost a decade since I last stayed at Le Bristol Paris, that much-beloved bastion of French refinement on chic Faubourg SaintHonoré. Yet though much may have changed following a six-year, top-to-toe renovation that was completed in 2018, everything that marks it out as a special place – antique furnishings, designer fabrics, faultless service that extends to welcoming you back as though you’re part of the family – remains unaltered by the march of time. That’s certainly the case at Epicure, the hotel’s feted fine dining restaurant, where in April this year the baton was passed from Eric Fréchon to Arnaud Faye, his not so simple task to maintain its three Michelin stars. It’s fair to deduce that he’s made a flying start, the online version of the Michelin Guide updated to say that Faye has “brilliantly taken over the helm,” crafting a “light, delicate repertory that errs towards minimalist,” for which “Purity depicts each crisp, legible flavour.” Praise indeed. “For Epicure, my aim was to introduce a fresh perspective on French gastronomy that emphasises seasonal, plant-based ingredients in a refined and balanced way,” outlines Arnaud, talking to us about the restaurant’s new menu, which he introduced in September. “I envisioned a menu where vegetables and fruits take the lead, with fish and meat as subtle complements. This approach not only 68

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What’s essential for me is my colleagues and helping them to progress in their own careers, that’s the most important thing

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modernises the dining experience but also aligns with my commitment to working closely with local producers to highlight the finest elements of French terroir. Ultimately, my goal was to honour classic techniques while bringing an innovative, contemporary spirit to Epicure that resonates with Le Bristol’s timeless elegance.” Arnaud’s arrival at Le Bristol, where he leads a team of 200 that also oversees the hotel’s one-star brasserie, 114 Faubourg, seemed like a natural step, having cut his teeth in the kitchens of various Relais & Châteaux properties before landing a plum role at The Ritz Paris aged just 29, where he led L’Espadon to two Michelin stars. Then he left the City of Lights for forest-fringed Chantilly in the north of the country, repeating his two star trick at the historic L’Auberge du Jeu de Paume and then doing so again – for eight years on the trot – at Chateau De La Chevre on the French Riviera. Wherever he goes, it seems that the stars align for him. “It’s just as hard to

win them as it is to keep them,” he says. Most restaurants and, indeed, most chefs, lay claim to a signature dish, but that’s not the case at Epicure. “Every dish on the menu embodies the restaurant’s ethos, reflecting a dedication to seasonality and a commitment to creativity,” states Faye. “The menu evolves regularly, adapting to the finest seasonal ingredients, which allows each creation to bring something fresh and innovative to the table. It is essential that the products are in season; this is the most important factor. Then begins a more or less lengthy process of development around the product we wish to highlight. This philosophy is why we don’t single out one dish as a signature; instead, each dish represents a unique expression of my culinary vision, ensuring a dynamic and memorable experience for our guests with every visit.” It’s a culinary vision that has its roots in Auvergne, the region of his birth. “Being born in Auvergne naturally drew me towards nature and the countryside. This connection makes sense, as I had grandparents (both great cooks) who had a farm, along with others who had a vegetable garden. At that time, it was still a predominantly agricultural region, particularly in the rural areas, which inevitably shaped my perspective: good produce and healthy eating were essential.” It was, however, another family

member who arguably made the greatest impression. “I don’t necessarily remember the first time I entered a professional kitchen, but I do have a vivid memory of one of the first great restaurants I was invited to, by my uncle. I must have been between ten and 12 years old and I vividly remember one particular dish: quail with prunes.” He’s just as quick to recall advice that he still adheres to: “To be curious and open-minded about everything that surrounds us: products, food, but also everything artistic, like painting, sculpture and music.” And while you may think that such a serial collector of Michelin stars would be driven to claim more, his focus isn’t on personal gain. Quite the contrary. “What’s essential for me is my colleagues and

helping them to progress in their own careers; that’s the most important thing.” Which must be music to the ears of his 200-strong team, as this is a man who seems to know the secret recipe for Michelin success. “Several chefs have significantly influenced my culinary career, but one of the first was Antoine Westermann at Le Buerehiesel in Strasbourg, a three-star Michelin restaurant at the time. He profoundly shaped my career through his work in the kitchen. It was my very first experience in a three-star establishment and I discovered the true difference compared to a two-star restaurant, particularly the relationship between tradition and modernity.” Dine at Epicure and you’ll get to taste that difference. 69

Travel

AIR

DECEMBER 2024: ISSUE 158

ULTIMATE STAYS

Nujuma, a Ritz Carlton Reserve Saudi Arabia

ucked away in the Red Sea’s untouched archipelago, Nujuma, a Ritz-Carlton Reserve, offers an artful convergence of luxury, culture and natural beauty. Just a short speedboat ride from the Red Sea International Airport, this exclusive retreat immerses guests in a world of pristine white sands, azure waters and starlit skies. With only 63 villas – each boasting panoramic windows, sea-view pools and telescopes for celestial exploration – this resort invites you to engage with the natural world and rediscover tranquillity. With its Conservation House and a sought-after dive centre, Nujuma opens up a world of adventure. But it’s the resort’s dining experiences and world-class spa that really elevate it to extraordinary heights. Dining at Nujuma isn’t just about food; it’s about storytelling. The resort’s culinary philosophy is inspired by the Arabian tradition of gathering to share tales of fortune, poetry and wisdom. At Tabrah, a modern take on a fisherman’s home, guests can tuck into seafood delights like ‘The Luckiest Catch,’ a communal celebration of the sea’s bounty. For those craving relaxed poolside vibes, Jamaa serves wood-fired dishes in an alfresco setting with cabanas perfect for lounging. As the stars emerge, Maia transforms into an intimate sanctuary for astrologyinspired refreshments. Sip on Gemini, a citrusy mocktail named after the Arabic constellation al-Taw‘amân, while the

resident astrologer deciphers the mysteries of the night sky. Sita, meanwhile, a Frenchstyle patisserie and Levantine restaurant, entices with its woven-wood pavilions and the aroma of freshly baked bread paired with spices from the resort’s curated library. From market-inspired dishes to cosmic cocktails, Nujuma’s dining experiences are a sensory journey like no other. It’s festive season this month, which at Nujuma is a celebration of life, culture and connection. The Season of the Sea Holiday Programme offers expertly crafted experiences from 24-31 December, tailored to make memories that will live on. Highlights include spice and bread-making classes under the stars, mixology workshops and outdoor wellness celebrations with mocktail parties. There’s also plenty on offer for children and teens, including hand-printing decorations and cinema under the stars. The week culminates in a glamorous Gala Dinner at Sita, where the flavours of the Red Sea shine in every dish.

Recently crowned Saudi Arabia’s Best Resort Spa 2024 by the World Spa Awards, Neyrah Spa is a haven for holistic wellness. Weaving together elements of land and sea to rejuvenate the body, mind and spirit, treatments incorporate regional treasures like oud and moringa peregrina tree oil, tuning guests into the essence of Saudi Arabia. With five sea-facing treatment rooms and three outdoor cabins, the gentle sea breeze becomes part of the healing process. Bespoke treatments guide guests on a journey to reflect on the past, live in the moment and move forward with clarity. Beyond traditional therapies, Neyrah offers lunar yoga, sound healing and meditation sessions that resonate with the soul. Designed as more than a spa, Neyrah is a transformative voyage, one that leaves you feeling renewed and deeply connected to the world around you. Because at Nujuma, every experience is finely-tuned to inspire and delight, creating a celestial escape where each night – and day – unveils a new story waiting to be told. LS

What I Know Now DECEMBER 2024: ISSUE 158

Isabelle de la Bruyère AIR

CEO, OPERA GALLERY The best professional advice that I have ever received is ‘to stand in front of my audience.’ I have always been very reserved and never liked to do any public speaking and, at the start of my career, while working at Christie’s, I was supposed to head all the press calls but always gave them to someone else to conduct instead. At one point, my boss looked at me and said, “Enough, Isabelle. You must stand in front of your audience if you want to move ahead.” This obviously meant conquering my fears and natural shyness, but I did. It continues to serve as a useful reminder of the benefits of getting outside of one’s comfort zone. I’m proud of many things in my life but have yet to pinpoint one that is to be my greatest achievement. That said, I strive every day to be the best at all that I do, big or small, both on a professional and personal level. One of my main concerns in life is to achieve a good balance in my life, which can feel like an achievement in itself. A lesson I learnt the hard way was to never judge people by their appearance. I once caught myself judging someone 72

based on a preconceived assumption. That was twenty-five years ago and it has never happened to me again. Having narrow expectations of what something is, or can be, is very limiting, and by having an open mind, as well as leaving room for surprise and spontaneity in life, your world view, experience, and capacity for empathy grow exponentially in kind. This also enables one to develop sharper instincts. Like most people working in the art world, I am a frustrated artist at heart. I would have loved to know how to paint, draw, and design with creative imagination. However, the left side of my brain is more dominant, thus limiting my artistic output and expression. As such, I am always so impressed when I meet artists, and my new role now enables me to work closely with them and learn daily. Being a transparent person can feel like a gift and a curse – I sometimes wish I could hide my true feelings more. I can be quite easy to read, when you know me well. This has occasionally put me in uncomfortable positions, and I have hurt people without intending to,

simply because I cannot hide my true sentiments. I would tell my younger self to never be afraid. Life is a journey, and you need to embrace your curiosity, take risks and not be afraid of failure. Everyone makes mistakes; they are part of our growth, and it is important to learn and essentially ‘fail forward’ rather than fear them. It took me decades to learn this, and I might have wasted less time had I realised this sooner. Then again, I do believe in never having regrets, so I would also tell my younger self this. I admire artists whose convictions, beliefs and creativity are so strong that they dedicated themselves to their art as a career. Very often these artists come from humble backgrounds, and though the arts sector is a very difficult world to penetrate, most continue, unafraid of failure. They are a mirror to what is happening in the world and they give back to society, often reflecting societal issues, beliefs and values. They inspire, provoke and create opportunities for emotional connection, and I admire their passion, conviction and tenacity to stand up for what they love and believe in.

Suhaib Shashaa, Arab GT

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DRIVEN BY YOU Fuel consumption combined: 12.2l/100km | CO2 emissions combined: 276g/km