Kensington and Chelsea Review

Volume two | Issue THREE | FREE

Designed for Life Kensington Le ads the New Generation of Design An in-depth look at London Design Festival and Chelsea’s Decorex 2012

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Welcome to the latest issue of Kensington & Chelsea Review. Filled with art, auction, culture and luxury, Kensington & Chelsea Review is the magazine for the rather discerning resident of the Royal Borough.

Our cover is a detail of Barneby Gates Honey Bees Exhibiting at Decorex Gold on Charcoal | 52cm wide | ÂŁ78 per 10m roll www.barnebygates.com | +44 7713 483530 page. 3

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Publisher Talismanic Media Founder and Managing Director Sid Raghava Editor Coco Khan Art Director Max Wilson of O.W.H. Creative Publishing Director Michelle Bryant Stephen Slocombe Books Editor Danny Arter

Inspired isn’t the word for what we have felt in anticipation to the biggest few weeks in the design world.

The practice of design can be seen as the perfect craftthe offspring of a symbiotic marriage between art and commerce, flair and function- creating a harmony that we strive for on this publication. Which is why it seemed fitting to dedicate this issue to design, and in particular the Kensington design houses representing the borough on the international stages of London Design Festival and Chelsea’s own Decorex. These are platforms featuring not only the best in the UK, but the best in the world, and we are privileged to offer an insight into these burgeoning creative realms. Elsewhere in the magazine you will find an exclusive interview with revolutionary artist Jake Chapman on his attempt at world peace for a day, while Tom Conran speaks openly about finding himself where his father- the inimitable Terence Conran- wasn’t looking. Check in on our social media channels via Facebook and Twitter (@KCReview) over the coming months as well be posting some exclusive content, competitions and commentary on the everinspiring world of art and culture in the Royal Borough.

Coco Khan Editor

Theatre Editor Alan Fielden Writers Shula Pannick, Annie Vischer, Adrian Foster, Sid Raghava, Ben Osborn, Dave Drummond, Stefan Nicolaou, Claire Coveney, Zoe Perrett All material in Kensington and Chelsea Review is strictly copyright and all rights are reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior permission of the publishers. Colour transparencies and photographs submitted for publication are sent at the owners’ risk and while every care is taken, neither the publishers nor their agents accept liability for loss or damage however caused. The publishers can accept no liability whatsoever of nature arising out of nor in connection with the contents of this publication.

Opinions expressed within the articles are not necessarily those of Kensington and Chelsea Review and any issue arising there from should be taken up directly with the contributor. page. 5

Goldsmiths’ Fair ’12 For Sale

Stylish contemporary jewellery & silverware 90 designer-makers in each week

Admission by catalogue £7 Goldsmiths’ Hall, Foster Lane, London EC2V 6BN St Paul’s page. 6

WEEK ONE:

24th - 30th Sept WEEK TWO:

2nd - 7th Oct 11am - 7pm Mon - Fri 10am - 6pm Sat + Sun Café www.thegoldsmiths.co.uk

Contents 8.

News News curated from the worlds of art, culture and intrigue

12. Designed

for Life

Inspired by London Design Festival and Decorex 2012, we ask whether extravagance in design is a virtue

16. Piece

for Peace

Jake Chapman, Bran Symondson and Jeremy Gilley talk openly about their new art venture

19. From

Christies, With Insight

The third instalment in Christie’s monthly column with tips for buyers

20.

Not so August Augmentation Is there substance to the bells and whistles of interactive technology?

23 . Childs

Play

We talk to writer, actor and director Chris Goode on what it is to be inspired by children

30 . The

River Runs Red

A photo special on the desert beauty of Jordan

36 . Interview:

Tom Conran

Constant culinary trendsetter, what is next for Tom Conran?

44 . Model

Behaviour

A round up of beauty tips to get the supermodel look

47 . Shopping Inspired by LDF and Decorex, we highlight some of the more eye-raising designs on the market

48 . Model

Behaviour II

Soon-to-be-Supermodel Katia Elizarova gives us sixty seconds

49 . Instant

Access Fashion

Will technology democratize fashion?

50 . Motoring:

Continental Cruiser

Adrian Foster test drives the new Bentley GT V8

50.

19.

30.

page. 7

16.

NEWS

Read All About It A rundown of London news from the worlds of arts, culture and the plain intriguing, all handpicked for the Royal Borough resident Design

A Rove Around Fitzrovia

Fitzrovia now Fritz Hansen Oxford Chair

Tom Friedman, Untitled, 2005, Mixed media, Zotefoam and wood, Table/board: 56 x 48 x 48 cm, Wall mounts: 57 x 45 x 10.5 cm, Courtesy RS&A

The Art of Chess Chess isn’t always the most exciting game. Cerebral, intense and fiercely competitive for those playing, to most it fails to enthral as spectator sport. Chess sets however, are an altogether different beast; intricate and ornamental, they are at best (and most universal), when innate. The Art of Chess is an exhibition running from September 8th at the Saatchi Gallery celebrating the ‘game of kings’, bringing together 16 chess sets designed by some of the world’s leading contemporary artists. With sets designed by the likes of Jake and Dinos Chapman (who feature on page 14), Tracey Emin and Damien Hirst, the exhibition promises not only to highlight the relevance of the game to the world of art, but to bring together some of the leading lights of the art world into one room. The Art of Chess runs from Saturday 8th September to Wednesday 3rd October. www.saatchi-gallery.co.uk Park Life, Park Nights Want to start your weekend off with a bit of culture rather than the usual post-work drinking session? Every Friday throughout summer the Serpentine Gallery are presenting Park Nights- evenings of music, theatre, performance, talks and film screenings – in the Serpentine Gallery Pavilion 2012 designed by Herzog & de Meuron and Ai Weiwei.

First up this month is Ed Fornieles’ The Dreamy Awards, a reinterpretation of an awards ceremony aimed to recognise those shaping our cultural and technological landscape.

Later in September artist Oscar Murillo presents a new performance commission while composer Robert Ashley brings an evening centred around Vidas Perfectas, an ambitious Spanish-language opera based on Ashley’s Perfect Lives. www.serpentinegallery.org page. 8

Once the stomping ground of writers such as Virginia Woolf, George Bernard Shaw and Arthur Rimbaud, Fitzrovia has had a bit of a mixed reputation of late. Often perceived as upmarket, yet still home to areas as deprived as any you might find in inner city London, there has been little worth mentioning in the past few decades. The past few years however, has seen an increasing amount of designers, architects and creatives set up in the area, bringing with them likeminded restaurants, cafes and hotels.

In order to showcase the growing talent of the area, several of these creative businesses have joined forces to form Fitzrovia Now, and to create a design trail during the London Design Festival.

With EDC London, Forza, Riding House Cafe and RIBA Bookshop and Restaurant all participating, it is an impressive mark of an area keen to showcase its growing talent pool.

Of the many open showrooms, the highlights include: Republic of Fritz Hansen in partnership with Skandlum housing the launch of Fritz Hansen’s new version of the Arne Jacobsen’s Oxford chair (pictured), with a never-seenbefore display of Jacobsen’s work; Swede Sensations: A guide to cool Swedish design and style in London, which surprisingly, does exactly what the title suggests; and a pop-up BOOKSHwOP, hosted by EDC London, where visitors can swap design books.

Elsewhere the Riding House Cafe will offer an exclusive £10 cocktail and cake offer to those visitors who can display a Fitzrovia Now map, while at the Sanderson hotel – situated in a striking 1960s building – visitors will be able to dine on its new Berners Street Terrace, sampling three dishes for £25.

If you’re feeling in need of a pamper there is also the option of an “express treatments menu” – featuring bite sized facials, massages and pedicures – in the Philippe Starck designed Double Storey White Oasis spa.

While Fitzrovia might at times feel a bit confused, this could well be the excuse to make an extended visit to an area increasingly attracting creative and vibrant businesses. Fitzrovia Now maps (with which you can get further discounts), will be available from all participating venues. www.fitzrovianow.com @fitzrovianow

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NEWS

Picture of the Month Once soiled by a long and turbulent civil war, Sri Lanka is a country set to become a tourist hotspot as of next year. A sure-fire sign of its tourist-ready status, British Airways have just introduced flights to Colombo, the country’s largest city, while a selection of new hotel and villa accommodation options have begun to crop up. Often described as the ‘Pearl of the Indian Ocean’, it seems it is poised to finally live up to that label, and what better way to celebrate than this feast for the eyes. Ampersand Travel offer Sri Lanka itineraries starting at £2,000 www.ampersandtravel.com; www.britishairways.com

Nobu Turns 15 Nobu has become so synonymous with the glamour and luxury of London’s elite that it’s easy to forget it’s actually relatively young. 15 years young, to be precise. In celebration of its 15th year in London, the restaurant is to welcome chef patron Nobuyuki Matsuhisa to prepare an exclusive canapé and dinner menu featuring lobster ceviche and crispy rice with tuna, as well as some of the restaurant’s most celebrated dishes such as salmon tartare with wasabi soy.

Not one to shy away from the extravagant, the menu will be matched with a selection of wines as well as Nobu’s own Sake served by a traditional Geisha girl. Closing with entertainment by ‘special guests’, it will undoubtedly be a night worthy of its glamorous reputation. www.noburestaurants.com/london/ Teatum Jones Fashion Tea at The Promenade at The Dorchester With London Fashion Week around the corner the capital is set to be awash with high end, exclusive parties. Rather than the typical, impossible-to-get-into, hedonistic soirees however, The Dorchester have collaborated with fashion label Teatum Jones to bring together fashion and the traditional afternoon tea.

On September 18th The Promenade at The Dorchester will be hosting an exclusive look at the label’s A/W 2012 collection – inspired by the more menacing side of The Grimm’s fairy tales, Hollywood crime scene photography circa 1940 and paintings of oversized, magical landscapes – while also serving a traditional afternoon tea of finger sandwiches, scones and pastries and an exclusive Odyssey cocktail.

The event will coincide with the designers’ silk scarf (inspired by and named after The Dorchester), launch at Liberty.

Teatum Jones Fashion Tea at The Promenade at The Dorchester will take place at both 2.15pm and 4.25pm on Tuesday 18th September. Tickets are priced at £52 www.thedorchester.com LEFT: ‘The Dorchester’ Scarf by Teatum Jones

page. 11

Take the trouble to come; sit down and share.’ © Sicco Diemer for DesignMarketo&HapticThought 2012

T H E DES I GN I SSUE

Designed for Life Thanks to the London 2012 Festival, the Big Smoke has showcased some extremely impressive creative outlets as of late- from outdoor performance and screenings, to exhibitions and family-friendly entertainment on the Southbank.

With the London audience now at maximum-exposure to creativity, at its most critically discerning and equally, at its most culture-hungry in light of the void left by London 2012’s close, can the invasion of design sate our appetites?

Claire Coveney looks at London Design Festival, Chelsea based Decorex, and the Kensington designers ruling the roost words: Claire Coveney

Celebrating its tenth anniversary, London Design Festival (LDF) promises to deliver their best festival yet, and with the bar having been raised to Everest heights marking the Olympic year, the London Design Festival is pulling out all the stops. Over ten days in September, the festival will feature hundreds of events that will take place across London, showcasing the city’s pivotal role in global design. Indeed, the scope of venues and events is impressive, including pop up shops and galleries representing the cutting-edge of creativity throughout the city. The V&A will mark its fourth year as its hub, showcasing some of the most exciting installations of the Festival, including two site-specific pieces. Once again the design show Decorex International will be housed at the grand Royal Hospital Chelsea exhibiting the latest in interiors, with this year seeing the turn of Dame Vivienne Westwood taking up the prestigious baton of designing the coveted Decorex foyer.

2012 has been a momentous year for design in the capital city; aside from the development of the Olympic Park and the transformation of east London, London

Design 2010 Medal winner Thomas Heatherwick‘s infamous Routemaster buses finally made their debut in February, and The Shard at London Bridge opened in July to somewhat mixed reviews. Both Renzo Piano’s controversial ‘glass elevator’ and Heatherwick’s recent exploits (his design of the 2012 Olympics cauldron was unveiled at the opening ceremony to huge acclaim) are emblematic of that current buzzword which almost seems to have been coined solely for this Olympic year, legacy.

According to the Design report for the Olympic Delivery Authority, the main venues, infrastructure and the parklands were, from the outset, all designed with legacy in mind; the hope is that the new Routemaster will continue the legacy of the symbolic red London bus, and the Shard will leave a legacy for ‘centuries to come’ (according to its developer).

The controversy surrounding these developments do not lie solely in their design however, moreover it is the huge price tags that have been attached to them; the buses have cost the taxpayer £1 million each, and the huge sums spent on the Olympic Park has been well documented. The £1.5 billion Shard was predominantly financed by the State of page. 12

Qatar but its critics have commented on the lunacy of such a development given the current global economic crisis; a 308m high development that serves as a constant reminder of the divide between the super-rich and those who are currently struggling.

So is there currently a place for these grand designs?

Would the Shard have been so vilified if its design had been a more subtle addition to the London skyline and the cost had subsequently been slashed? Would the ‘new bus for London’ have caused Boris Johnson such a headache if they had stuck more rigidly to the original design of the 1954 Routemaster and kept the costs down? In a financial crisis, should design really go beyond mere functionality?

The short answer is yes, and the London Design Festival is exactly the platform in which to demonstrate why.

During a recession, businesses and freelancers need to be inventive to survive, invest in ideas and think outside the box; experimental design has the power to inspire and engage. A joint project by design practices DesignMarketo and Haptic Thought that will take place at the Brompton Design District in South Kensington have drawn inspiration

LEFT: Prism by Keiichi Matsuda, V&A, London Design Festival 2012

BELOW: Exhibiting at Decorex Katie Walker - Ribbon rocking chair

Expert Opinion: Jane Barrett, MD of Chelsea luxury showroom Interio Beauty v Function: where do you stand?

I think that it’s important to buy with your heart first, then your head. That being said it really does depend on the piece in question. No point buying a beautiful kitchen implement that just doesn’t work - life is too short. But surrounding yourself with beautiful products that you want to be around every day is an essential part of that short life!

What’s the most inspiring piece of design you’ve seen recently?

I love Dorya’s stunning yacht-style drinks cabinet.

It’s made from hand-carved mahogany, revealing beautiful book-matched veneers. I’m not a big drinker, but it does inspire me to want to make the perfect martini every evening when I come home from work! It also comes in a limited edition royal blue finish, which is great for anyone embracing this seasons colour trend from the catwalk.

What should the modern design novice look for when shopping for their home?

Don’t be scared to mixed old designs with new. Some of my most treasured possessions have come from auctions and markets.

What’s the hottest interior trend right now?

Flashes of bright and bold colours in the home are currently in vogue and work especially well in urban living spaces. Create a striking focal point by teaming brightly coloured furniture with natural walls and floors.

Bumble bee yellow and tangerine orange designs look fantastic against a backdrop of dove grey.

Where do you see the future of design going?

In recent years we’ve seen huge demand for handcrafted sustainable design. We expect this buying trend to continue as many people seek furnishings that have been made from quality materials using traditional methods. Iconic design pieces in sustainable materials make for longevity. www.interio.co.uk

page. 13

Mimicry Chairs by Japanese Design Studio Nendo sees similar looking white chairs placed to ‘mimic’ their surroundings. Images courtesy of V&A

from the financial difficulties currently engulfing Europe by sourcing inspiration from Greece, a country that has been hit harder than most. According to their press release, ‘The heart of Kopiaste lies in its origin as a Greek word traditionally used in Cypriot culture as a welcome and invitation to: ‘Take the trouble to come; sit down and share.‘’ Indeed, the meaning behind the concept lies predominantly in actively engaging with the current economic crisis by questioning the role of design during this time. Shared experience is the key here; by using moulds to create food elements designed to share and focus, the visitor is encouraged to reflect on the moment and the role of simple design.

In what could be considered a direct contrast, the design and interior show Decorex, held at The Royal Hospital Chelsea, will be demonstrating the need for luxurious frivolity in the shape of Nicolas Feuillatte Champagne Bar, which this year has been designed by renowned architect, designer and curator (and Chelsea resident), Rabih Hage. Hage is probably most wellknown for his work on the Kings Cross based hotel, Rough Luxe, which opened in 2008 and is known for its ‘complete antithesis of everything we think of as ‘luxurious’’. When describing what he considers to be the archetype of ‘luxury’, Hage has stated that page. 14

it has always been about the truth, it is not about accumulation, but about the objects’ uniqueness and provenance. It is this approach to design that makes him the perfect choice to design the champagne bar this year, which promises to be full of humour along with a colour scheme that is champagne inspired.

As aforementioned, for the fourth year, the London Design Festival will reside at the V&A, one of the most celebrated institutions of art and design worldwide.

Past installations include last year’s standout piece

by Amanda Levete Architects which saw the Museum’s Grand Entrance transformed into a three-dimensional

ABOVE: ‘Petal’ prototype for the Olympic cauldron, in ‘Heatherwick Studio - Designing the Extraordinary’ exhibition at the V&A

latticework spiral made from red oak; or 2010’s striking installation, Framed by artist Stuart Haygarth which used over 600 metres of picture frames which had been cut and joined onto the grand marble staircase leading to the V&A’s Architecture galleries to create a dramatic landscape which visitors were invited to walk through.

This year, to mark the 10th anniversary of the Festival, the V&A are utilising ‘secret’ spaces within the Museum and opening them to the public. Not only will this allow visitors to admire the architecture of the building itself, but these spaces will be temporarily inhabited by some

innovative site-specific installations. A piece that seems to have already captured the imagination with its promise of portraying London in a different light is designer and digital artist Kelichi Matsuda’s inspired piece, Prism. Suspended from the V&A’s uppermost cupola, the installation (shaped like an upside-down iceberg) will be lit up like a lantern, and will use data to depict the ever changing nature of the capital. From transport data to economic statistics, the Prism feeds on the digital outputs of the city, as Matsuda says, “The installation is an investigation into the virtual life of the city, and our own often ambiguous relationship with the data that controls our lives.” page. 15

What the lasting legacy will be of these projects, I am not sure, but the fact that the design industry seems to be as committed as ever to creating vibrant and innovative ideas, despite the ongoing economic decline, is definitely something worth celebrating, and I can think of no better way to do that, than visiting the London Design Festival.

Here’s to another ten years!

London Design Festival 14-23 Sep, Various locations www.londondesignfestival.com Decorex 23-26 Sep Royal Hospital Chelsea www.decorex.com

Antony Micaleff by Bran Symondson

T H E DES I GN I SSUE

A Piece for Peace Jake Chapman, Bran Symondson and Jeremy Gilley are gunning for peace- quite literally if their latest collaboration is anything to go by. AKA Peace sees the three collaborate, joined by some of the biggest names in British art (Antony Gormley, Damien Hirst, Sam Taylor-Wood to name a few) in reworking the notorious AKA 47 or its image into art. The pieces will be sold off at auction with the proceeds going to Peace One Day, a charity that seeks to organise a day of international ceasefire on September 21st. AKA Peace opens at the ICA later this month, and Stefan Nicolaou caught up with the trio behind the project. words: Stefan Nicolaou

It’s a straightforward concept that requires an awe-inspiring effort: silencing the disquiet of the world for one day- the 21st of September 2012, in fact. The man accumulating the worldwide momentum with indefatigable drive is Jeremy Gilley, founder of non-violence advocate charity Peace One Day. The charity urges that on the 21st every individual, movement and nation unites in non-violence. Jeremy Gilley spoke of the campaign as a movement that requires ‘phenomenal patience’ and planning - he shared that his schedule is booked beyond 2015.

With every moment stringently planned, world peace still seems an unfeasible challenge. The mounting successes beg to differ. The Taliban, for example, agreed on the 7th September 2007 to observe a day of no-violence that allowed aid workers to access Afghanistan with no threat

of ambush or execution. In this single day, 1.6 million children were vaccinated against Polio. It was tragic irony that the press conference to announce the news fell on the morning of September 11th. Peace One day was denied the public stepping stone to further the pursuit of its aims, while the world simultaneously saw a devastating demonstration of why it was so crucial.

A lynchpin of Peace One Day’s incremental success is publicity across all walks of life. It is vital to mobilise individual awareness in every cultural sphere and locale.

Jeremy Gilley attributes the growing momentum to the targeted diffusion of the message across politics, the media and in art: ‘If you want to penetrate the heart of the global community…you need to work from all positions; you need to work in the world of art, the world of film, the world of page. 16

social media, the world of education. The corporations, governmental, NGO’s, Unions, Key Figures –it needs to be institutionalised, it needs to be self-sustaining‘.

Growing alongside the remits of the organisation is the VIP list of campaigners spreading Peace One Day’s aims and objectives. Jude Law is the international ambassador and Jake Chapman is overseeing art exhibition AKA Peace, with the body of work to be auctioned at Phillips de Pury on the 3rd October. The decision to participate, Jake says, was ‘no big ask’. ‘The whole project’, he summarises, was ‘compelled by good sense’. Identifying himself as a committed pessimist, the artist stated that to remain unmoved by Jeremy’s accomplishments would be ‘vain’.

Chapman stresses that he wouldn’t be involved in the charity if it wasn’t for the virtue of eschewing the ‘arrogant’

Jake Chapman by Bran Symondson

page. 17

Bran Symondson photographed by Steve Harries

I wouldn’t want to make art to suffer the indignity with the notion that it had some positive effect over the world.

Jake Chapman idea that ‘democracy is some kind of explicit representation of some natural dynamic that the West can just apply to the rest of the world because the world is too primitive to understand.’

Conceived by photographer Bran Symondson, AKA Peace is a reflection of the ex-soldiers time serving in Afghanistan.

Bran recalled observing soldiers decorating and customising their weapons. He intended to undermine the destruction and unrest ‘the most iconic weapon in the world’ represented through creating works ‘of beauty and intrigue’.

Chapman asserts that for him and participating artists such as Damien Hirst, Matt Collishaw and Sam Taylor-Wood the art produced is a temporary ‘diverting of labour’. ‘[I] wouldn’t want to make art to suffer the indignity [with the notion] that it had some positive effect over the world.

That’s kind of heresy for me’. Chapman doubts that the work created will inspire a ‘metaphysical optimism’. Nor will it evoke a broader education, enlightenment or operate as ‘some awful binary agitprop for the liberal classes to feel better about bombing the shit out of everyone else.’ Art, according to Chapman, won’t change the world, although the ‘capitalist conditions by which [it’s] viewed and exchanged’ can generate the funds needed to keep the Peace One day vehicle running.

Symondson, however, disagrees and comments that AKA Peace is a subversion of the destruction the assault rifle connotes. Jeremy would concur that the ‘incredible’ works of art ‘have taken [an] object of destruction and made it an object of peace’.

The list of participants willing to espouse the campaign’s page. 18

virtues is rapidly lengthening. Elton John will headline a variety event in Wembley Arena on the 21st that will regale the entire story of Peace One Day, featuring James Morrison and other esteemed guests. Jake doesn’t rule out further involvement as he doesn’t want to avoid feeling ‘like an atheist popping into church, ‘just in case’’. As for Jeremy, his attitude to building upon the overwhelming accomplishments is defiant: ‘I don’t care about a ‘No’. I like someone saying No. No’s are much more interesting then ‘Yes’. ‘No’ is an opportunity and ‘Yes’ just means that you got what you want.’

AKA Peace runs 26-30 September 2012 at ICA. The works are auctioned at Phillips de Pury & Company on October 4th. www.peaceoneday.org/aka-peace/

C u lt u r e w i t h C hri st i e ’s

Premium Bond Chairman of Christie’s South Kensington, Nic McElhatton returns to Kensington and Chelsea Review for Christie’s monthly installment of insight into their world of auction words: Nic McElhatton

Casino Royale (2006) Lot 32: An Algerian Love knot necklace designed

by Lindy Hemming and Sophie Harley and worn

by Eva Green as Vesper Lynd throughout the film Casino Royale – Estimate: £2,000-3,000 Octopussy (1983) Lot 14A prop Octopussy circus programme and sign – Estimate: £1,500-2,500 Goldfinger (1964) Lot 3: A collection of 'Hotel Fontainebleau' props used in Goldfinger, including ashtray, gin rummy score card, and letterhead paper – Estimate: £1,500-2,500

For Your Eyes Only (1982) Lot 13: A pair of enamel cufflinks worn by Chaim Topol as Milos Columbo in For Your Eyes Only – Estimate: £1,000-1,500

50 Years of James Bond October at Christie’s South Kensington brings a multitude of cultural events including Islamic and Indian auctions, a celebration of Captain Scott’s centenary, Multiplied contemporary editions fair, a collection from Aynhoe Park – the list is almost endless. My favourite, however, has to be Christie’s collaboration with EON Productions, presenting 50 Years of James Bond – The Auction. Offering archive material from across the official twenty-three Bond films, including film props, jewellery, costumes and even cars, there is something to suit every budget – with estimates from £1,000 to £150,000. Forty of the lots will be offered online-only from 28 September – 8 October, and on what has been declared as ‘Global James Bond Day’, 5 October (the golden anniversary of the original screening of Dr. No), Christie’s will hold an exclusive invitation-only gala evening auction of a further ten lots (online bids also accepted). The full auction catalogue can be viewed online or a printed collector’s edition purchased, and I encourage everyone to take a look – I can almost guarantee you will want to bid on at least one lot. www.christies.com/bond

Live and Let Die (1973) Lot 8A selection of ten tarot cards designed by Fergus Hall, used by Jane Seymour as Solitaire in Live and Let Die, sold with an original film script for the film – Estimate: £800-1,200 page. 19

Tech Picks:

Honourable Mentions Recommended products for the gadget glutton words: Coco Khan

technology

Not So August Augmentation

Philips CitiScape headphones From £90 www.philips.co.uk The new Philips CitiScape headphone range- inspired by six creative capitals worldwide- offer the perfect combination of fashion meets technology. Developed by engineers and fashion designers from around the world, these headphones compliment any wardrobe combination whilst providing unsurpassable audioleakage prevention.

Interactive technology is rapidly being pulled out of Sci-Fi plotlines, and transported into our everyday domestic lives. Stefan Nicolaou investigates the hype words: Stefan Nicolaou

I’m standing in the kitchen because it has the brightest light source. I’m trying not to get too animated, though that defeats the purpose of the activity. If I move or there is an obstruction to lighting, my phone won’t recognise my face. If my face isn’t in the stock parameters of the outline then the grotesque, mutated, germ-like creatures won’t be able to pull on my face and crawl all over it. I’m playing Skinvaders, a free app that perfectly demonstrates and defines augmented reality (it seemed a bit too assuming of anyone’s pop-culture database to simply define it as ‘Terminator vision’). The phone or computer acts to add and embellish to the reality that’s being recorded in image and video.

Squeezing animated, pustule-like creatures aside, it’s one of a few nifty apps out there that show the potential of a technology still in its formative years. Apps such as TAT’s Augmented ID, Wikitude and SR Engine are between them able to recognise faces, objects and locations, before processing them through visual recognition search engines, or simply signalling where the closest areas of interest are.The present QR barcode technology also gets joojed up: London Fashion Week has already started featuring ‘scan here’ symbols on clothing labels that animate over the clothing, creating an excited version of the static original. This seeks to create a user experience that’s entertaining, factual and, like QR codes, can be rolled out to magazines, catalogues, billboards and posters.

But does augmented reality really enhance our lives? The natural rule of thumb for technological impact is assessing whether it makes an activity more efficient, more convenient or more stimulating. The advent of 3D cinema is a relevant example. The extra dimension was ascribed as the ultimate epic experience; yet rather than tentacles and car parts flying over us, the more common use of the technology has been to create a world on screen that appears as if we can step inside it - in short, the crux of 3D technology is depth.

The technology adage that ‘as it gets more complex, it gets smaller’, is the crucial factor in determining whether a technological advance will impact the everyday running of

our lives. The HTC 3D phone, for example, is so named as it has the capability to take 3D photos and videos. It’s a surreal experience. My methodology was to arrange family members in line (think Abbey Road shot from the front) and take snaps inside cupboards and the fridge. The results are impressive and a little bit alien. The display of the HTC adds the extra dimension of depth but this effect feels like it’s achieved by rather cheaply overlapping multiple 2D elements on top of each other; which of course, it is doing.

Furthermore, the HTC with its 3D camera, video-recorder and display is superfluous without a similarly equipped screen to share it on. There is a latent paranoia we are becoming the slaves to technology instead of the wielders. Every development leaves us a little more attached – or, detached in the ‘real’ reality – almost a tautology itself. The rise of the machine, notions of artificial intelligence and the virtual reality created by social media are all heralded as apocalyptic omens in some circles.

Augmented reality is the clash of both technological evolution and widening avenues into virtual reality. Our physical reality is altered but we still need to instigate all – it’s not automatic.

We still need to log on, download the app and tap confirm to make the reality work. The Wikitude app only works because of already developed GPS and built in-compasses.

These features in themselves are leaps in technology, but there’s one leap that hasn’t been made: computers aren’t capable of processing the information they can provide with the stimulation only humans can receive.

Perhaps one day our technology will truly be an extension of ourselves and we’ll have Terminator vision – the ability for computers to literally recognise objects and people with perfect cognitive function. Perhaps there will be a 3D camera and screen combination that is an exact replication of fleshy reality. Perhaps, but I think it’s worth noting we’re still waiting for hovercrafts and that house-cleaning robot.

The HTC 3D Evo is out now www.htc.com page. 20

Samsung Galaxy S III Free from £41 per month on 24 month price plans www.vodafone.co.uk What is inescapable about this Android smartphone is its speed. In many respects it surpasses the iPhone 4S, and with its sleek and curved design (for those missing the more feminine wiles of iPhone 3GS), slightly larger screen for videos and eBooks, and a camera that is able to take a series of images in one press, it is no surprise this little treasure has has the largest amount of pre-orders in Android history.

Meridian M6 Loudspeakers £4500 www.meridian-audio.com With such a price tag, you’d expect these speakers to deliver the world. Luckily, they do; these are speakers which deliver sound like cream, effortless finish and not even a hint of inequal audio distribution, now matter how far you are standing away from them in a room. Equally, with a design that looks more like contemporary ornament than gadget, these can easily be the piece de resistance in any household.

BATTERSEA PARK LONDON 25 – 28 OCT 2012

HAMPSTEAD HEATH LONDON 1 – 4 NOV 2012

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6 Sep – 13 Oct

A fast moving kaleidoscope of more than a hundred characters trying to make sense of what they know.

‘One of the most critically acclaimed playwrights in the English-speaking world.’

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Th e at r e

Child’s Play Chris Goode is a writer, actor, director and all-round theatrical renaissance man. Having lived successfully in the world of experimental fringe theatre, Goode’s latest production Monkey Bars received such acclaim at Edinburgh Fringe Festival, it might just propel him into the limelight. A play that is the product of varying dialogues with over seventy children, Theatre Editor Alan Fielden finds Chris Goode’s inner child words: Alan Fielden

My first Chris Goode play, The Adventures of Wound Man & Shirley, had the air of an intimate show and tell. Sitting amidst an exploded bedroom we heard the story of a boy suffering from a girls’ name and of his tender relationship with Wound Man, a surreal figure replete with all kinds of garish war induced injuries. Together they found something - not a smooth happiness, but joys nonetheless. The Adventures... was a peculiar suburban fairy tale, gory and fantastical.

Next came GOD/HEAD in which Chris (again solo) talked us through perhaps the strangest thing that could possibly happen to him - a religious awakening. He described the moment he dropped his shopping and became aware of the irrefutable existence of a higher being (and how this was somewhat annoying as he already had a lot on his plate). With GOD/HEAD we had Chris in verbatim mode, warm, open and intrinsically captivating.

And now? Fresh from exceptional success at the Edinburgh Festival and down at London Bridge’s Unicorn Theatre you’ll find Monkey Bars. The result of seventy-odd interviews with children aged 9-12 about life, the universe, and everything, Monkey Bars is a show of a different tone and scale altogether.

Was there a clear inspiration or starting point for Monkey Bars?

It started with an invitation to deliver a paper at an interdisciplinary conference on speechlessness. That was a theme that chimed straight away with my theatre work: namely, who gets to speak and who doesn't? I started to think about the social and cultural position of children, and not least their legal position, the circumscription around them that can often mean that what they say often fails to register with adults. So I started to think about how it might be possible to create a space in which children could really be heard, and whether there might be a way of flipping the old maxim to make them "heard but not seen". I wondered whether maybe, if we were confronted with smartly-dressed adults, with

all the respect we instinctively give them, and put children's words in those adult mouths, we'd start to hear differently. I took the idea to my friend Karl James, whose dayjob (and crusade) is all about helping people to have better conversations, and with his input as the initiator of the dialogues with the seventy-odd participating children, the whole process really took flight.

How are children to work with? Are children just small adults?

Of the 72 children we spoke with, I've only met two; Karl did all the interviews, without my being present, so I can't say much about what they were like to work with. What I can say is that, listening to the eleven hours of tape, it was very clear that children, just like adults, cover a very wide range of personalities and temperaments- some were difficult to talk to, some were easier. Just like it would have been if we'd been asking the same questions of adults.

How do children's fears compare to adult fears? And children's humour?

I'm not sure anything really changes as you grow up, you just develop tools and mechanisms for dealing with (and not talking about) what makes you scared. We talked a lot with the children about moments of transition, times when they'd been scared of doing something new - and they spoke very candidly about those moments. I suppose as adults we much less frequently find ourselves asked to do something we've never ever done before.

As for children's humour, obviously it tends towards the surreal and the free-wheeling. They love to improvise and to tell tall tales. Any one story, presented as true, can be a genuinely disorienting mix of reality, exaggeration, elaboration, confusion, dreamlikeness, darkness and ribaldry -- but quite often it turns out that the most improbable stories have more than a grain of truth about them. Humour for kids is just another playground.

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Is there anything to be learnt from children?

There's as much to be learnt from children as from any other section of the population. But it depends so much on the quality of the listening and questioning you bring to the encounter. And those who think children are little sages who utter unvarnished wisdom are not listening any more carefully than those who think all they do is witter on nonsensically. Children have a low signal-to-noise ratio which is why it's sometimes hard to pick the important stuff out of all the other linguistic detritus. But those adults who show up to listen and to engage in genuine dialogue on an equal footing will always find other people - including children - full of revelatory insights.

You talk about giving people who don't often get heard an opportunity to be listened to.

How do you think that's worked out?

In terms of Monkey Bars specifically? We've heard quite a lot through this process about how much the children we spoke to have valued the opportunity of talking, even for just a few minutes, to an adult like Karl who wasn't going to judge them or project his own agenda onto them. And now that the piece is meeting audiences, we're getting to hear a lot about what adults see in the show, what they recognize, what they remember from their own childhood, what they're surprised by. My only sadness is that there was ample material for four or five more 75-minute shows, and a lot of wonderful, rich conversations ended up on the cuttingroom floor. But even those children were heard, in their talks with Karl, and they felt heard, and as far as I'm concerned that's fantastic in itself.

What's been your favourite age to be alive?

I think round about now. At a conscious level I felt pretty happy as a child, but as soon as I was old enough to look back on my childhood I could see that it was complex and difficult

and sometimes very bruising, and as an adult I've had to come to an understanding of the repercussions of those complexities. It's only in the past four years or so that I've felt at all stable as an adult and at least somewhat able to comprehend the forces that shaped me, and to be OK with all that. On the whole I've never been happier than I am right now. Which is a nice thing to be able to say.

What should children be in charge of?

Themselves. To the extent, at least, that they are heard and their opinions about themselves are taken as seriously as adults are. Their experience of family life, of school, of each other, of their own emotional lives, is incredibly acute and often at least as perceptive as adults. Of course they need guidance and protection - as do we all - but too often their opinions and their wishes are sidelined and marginalised for the sake of grown-up convenience, or simply because in our culture we habitually don't treat children as whole people.

Any plans for the future after the Unicorn run?

After the Unicorn, the show goes off to finish its mini-tour at Warwick, and it'll return to the Unicorn and to a more extensive tour next year. Meanwhile I'm mostly spending the autumn writing a book and a play at the same time, on the same subject: theatre itself, and what it means to us, culturally, politically, imaginatively. It's a huge topic, obviously, and a daunting one to write about, but also incredibly stimulating. The book and the show will both emerge into the world next April, so we'll see what happens then.

Monkey Bars opens September 25th at Unicorn Theatre, SE1.

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Th e at r e hi g h t l i g h t s

Curtain Call Theatre Editor Alan Fielden selects the productions that should be marking calendars throughout the Royal Borough.

Grosse und Klein, Three Kingdoms, GATZ, The World Shakespeare Festival and LIFT 2012 has been an outstanding year for London as a global stage, hosting the greatest of international and homegrown work. It’s far from over. The coming months are almost painfully exciting.

Three Sisters Young Vic, 8th Sept - 13th Oct Following on from brilliant productions of Caligula at the ENO and Gross und Klein (with a truly enigmatic Cate Blanchett) at the Barbican, Benedict Andrews is proving to be a brave director of industrious originality.

Coupled again with exceptional designer Johannes Schutz, Chekov’s heart-breaking exploration of yearning, self-sacrifice, and deception should be a treat for the senses as well as the soul.

Tickets £19.50-£30 66 The Cut, SE1 www.youngvic.org Love and Information Royal Court, 6 Sept - 13th Oct Kicking off Dominic Cooke’s immense penultimate Royal Court season, a new play from the renowned Caryl Churchill is always to be keenly anticipated. Between the magical feminism of Top Girls, The Skriker’s dark folklore and Blue Heart’s recursive absurdity, the appropriate approach would seem to be ‘expect the unexpected’. Love and Information, where ‘more than a hundred characters try to make sense of what they know’, should be no exception.

Tickets £12- £28, Sloane Square SW1W www.royalcourttheatre.com

Roundabout Season Shoreditch Town Hall 19th Sep - 27th Oct Down in Shoreditch Town Hall, Paines Plough’s Roundabout Auditorium promises to be an intimate, fresh experience. Three plays by ‘three rising star playwrights’ will be performed in-the-round by a single ensemble in a ‘thrilling 360 degree setting’. Look out for One Day When We Were Young, exploring World War II’s affect on a young couple whose love goes on to span sixty years. www.painesplough.com

Scenes from an Execution National Theatre, 27th Sept - 15th Nov Lauded and loathed theatrical dissident, Howard Barker used to ‘amuse himself by notoriously sending the National Theatre all his plays’ (presumably to revel in the rejection).

Scenes from an Execution, first performed in 1984, marks Barker’s first play to be staged there. Following one woman’s wilful defiance of art over politics and the ensuing conflict of private integrity with moral responsibility, Fiona Shaw will likely be an apt lead.

Tickets £12-£47 South Bank, SE1 www.nationaltheatre.org.uk

The River Royal Court, 18th Oct - 17th Nov The latest play from Jerusalem writer Jez Buttersworth, to be staged in the snug Jerwood Theatre Upstairs, has such highly anticipated demand that tickets will only be available from 10am (9am online) on the day (the cause of some consternation for members of the Royal Court friends scheme). Again directed

by Ian Rickson, The River is described as ‘bewitching’.

Tickets £20, Sloane Square SW1W www.royalcourttheatre.com Mademoiselle Julie The Barbican, 20-29th September The classic Strindberg tale of ‘gender, class and forbidden desire’, with Juliette Binoche playing the Mademoiselle falling for a servant in the middle of a summer’s night. With a live chorus, a striking set, and costumes designed by French fashion house Lanvin (the costumes do look lovely), this should be a beautiful, vital variation of the familiar play. Belgium press commented on ‘the grace of its main actress, the sharp vision of the director, and the perfect alchemy [of the performers].’

Tickets £16-£65 Silk Street London, EC2Y www.barbican.org.uk

Mademoiselle Julie copyright Christophe Raynaud de Lage Festival d'Avignon page. 26

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B o o k r e vi e w s

“I have always imagined that Paradise will be a kind of library.”

Borges NW Zadie Smith Hamish Hamilton Out now Fiction

NW; North-West, an area of London Zadie Smith describes as “ungentrified, ungentrifiable … here bust is permanent”. A bust, perhaps, of neoliberal development sorts, but not of a cultural ilk – it proved fertile ground for her excellent debut White Teeth, and does so again in the eponymous NW. It’s also a veritable melting-pot of dialects, patois and slang which, impeccably pitched, rabidly accumulate alongside images, sensations and locations to recreate London in a way few modern writers can.

The intonations of various ethnicities, nationalities and classes colour Smith’s image of the city, which is revealed through the eyes of four protagonists: Leah, Natalie (nee Keisha), Felix and Nathan.

The quartet are bound by their allegiances to NW, all raised in Caldwell, a council housing development which comprises five blocks, optimistically named after philosophers Smith, Hobbes, Bentham, Locke and Russell. The buildings are “connected by walkways and bridges and staircases, and lifts that were to be avoided almost as soon as they were built … here is the door, here is the window.

And repeat, and repeat.” The uniformity of the architecture fails to seep into the characters’ lives; they embark on their eclectic journeys, all the while allegiant to their postcode.

The novel opens with Leah, despondently smoking cannabis in her garden hammock and reluctantly eavesdropping on her neighbours’ conversations. She works a

badly paid job in the charity sector and rents a small flat in Kilburn with her partner, French hairdresser Michel. The couple dote on a dog, Olive, but Leah is indisposed to parenthood, to the annoyance of Michel.

Without his knowledge, she continues her course of contraception.

Leah’s idyll is intruded by Shar, a bedraggled girl who pleads for money to visit her hospitalized mother. She has an addressed bill to prove herself one of the NW tribe, and Leah relents, handing her £30. She won’t see the cash again, but the meeting is a catalyst for a trail of events that weaves through the novel.

Narrative styles are toyed with – the opening is truly Woolfian stream-ofconsciousness – but experimentation is never at the expense of entertainment. The novel encompasses online instant messaging, flirts with epistolary and flourishes in bite size flashbacks that aggregate to flesh out Natalie’s history. A school friend of Leah’s, both of them escaped the estate to attend university, though their occupational trajectories part there.

Natalie is a successful barrister, married to wealthy university colleague Frank, and mother of two children. Her life, especially when contrasted to Leah’s, seems the image of perfection; it’s testament to Smith’s penmanship that the sketch-like recollections (all 185 of them) accrue to make such an accomplished whole. One of the novel’s few weaknesses is that Natalie’s infidelities – arranged online, in a series of acute, darkly comic passages – are not comprehensibly justified; her marital claustrophobia feels sudden and insufficiently explicated. Yet they allow Smith room to string together a brace of bizarre, uncomfortable attempted ménage-à-trois’, which are among the novel’s funniest, sharpest passages.

If the two women are on an upwards trajectory, their male school friends mire at

Zadie Smith by Dominique Nabokov the opposite end of the spectrum. Nathan, a promising footballer and the subject of Leah’s teenage affection, is living rough, while Felix, endowed with a gold-smattered smile and evolved from his drug-taking past, works as a mechanic, striving to provide for his girlfriend. Their paths seem more linear, perhaps predictable, than Leah and Natalie’s; nonetheless, they are both pivotal in the compelling march to the novel’s final act.

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But NW’s great success is rooted in Caldwell. Smith is finely attuned to the nuances of class and social mobility, and her treatment of such tropes never feels laboured. Just as the lifts in the estate’s high-rise flats are out-of-order, climbing in NW must be done the hard way. Leah and Natalie may climb the stairs, but to what end?

Danny Arter

What Are You Looking At? 150 Years of Modern Art in the Blink of an Eye Will Gompertz Viking, Penguin Out Now Non-Fiction

Ian McEwan by Eamon McCabe Sweet Tooth Ian McEwan Jonathan Cape Out now Fiction

“The experience of reading is skewed when you know, or are about to know, the author,” Ian McEwan writes in his latest novel, Sweet Tooth. The comment is puppeted through protagonist Serena Frome (“rhymes with plume”) but, as the plot unfolds, the boundaries of authorship blur.

For readers familiar with McEwan’s biography and oeuvre, a reading of Sweet Tooth may be very skewed indeed.

Frome is introduced abruptly – nothing much happened, so she claims, in her first eighteen years. Her voracious appetite for reading is overlooked when she applies for university; she studies mathematics at her mother’s behest, and graduates from Cambridge with unflattering third-class honours. In her spare time, she pens ‘What I Read Last Week’, a column for a student magazine, which catches the attention of university professor Tony Canning. The pair embark on a brief affair, and it is Canning who ushers Serena towards a career in MI5 before he cold-heartedly ends their liaison in a roadside lay-by.

The action unfolds in the turbulent early seventies; strikes, energy crises, the three-day week and, pivotally, Cold War tensions. The latter is the cornerstone of Serena’s only MI5 mission of note, codenamed ‘Sweet Tooth’. The project is a secret scheme devised to (financially and ideologically), encourage writers to ink anti-communist propaganda. Serena is thus led to Tom Haley, a lecturer and budding writer, and the pair’s attraction is instantaneous.

It is his short stories with which Serena first becomes

engrossed. These tales are recounted with brevity but, in many ways, they overshadow the plot that contains them. The first tale is of two twins, one debauched and the other religious, who briefly trade vocations. Another tells of a man who falls wildly in love with a mannequin; later he tires of her cold sexual appetite and becomes murderously jealous. A third short recalls a man who betrays his wife, only to find out she has committed a deception too – each are aware of the other’s behaviour, but feign ignorance. These snatches of story provide some of Sweet Tooth’s most pulsating passages, thematically touching on tropes at the heart of the overarching story: deceit, surveillance and love.

There’s also a fair lashing of irony: these shorts are reworkings of early McEwan stories, laced with the macabre humour and probing, uncomfortable intrigue that epitomised his early novels. And here’s where Sweet Tooth gets rather skewed – it’s not the novel’s only biographical referents.

Haley teaches at Sussex University, where McEwan studied; the writers share the same editor, visit the same Soho watering-hole. Haley shares a stage with a young Martin Amis, as McEwan did earlier in his career. Readers unaware of this may miss the boat somewhat; for a spy thriller, Sweet Tooth is often more le creuset than le Carre. The novel itself is the real espionage tale, and McEwan leaves its deliciously pivotal twist for the closing chapter.

While the novel may not live up to its thrilling premise – the mindless mundanity of MI5 ousts any pretentions of guns and glamour – it is still a thoroughly enjoyable read. McEwan’s style is spare and absorbing, yet Sweet Tooth lapses into passages that feel overwrought and forced, passages which are all the more glaring amongst the author’s usual sleek prose. McEwan’s unexpected ending may go some way to explain away such oddities; it may even prompt a second reading. Clever metafiction may come at the expense of adrenaline, but not at the expense of intrigue Danny Arter page. 29

We might not think that we ‘get’ Modern Art. We might feel alienated by the conceptual and abstract; we might feel duped or conned, insulted or provoked, patronised or misrepresented. But, as Will Gompertz’s excellent new book argues, all the evidence states that right now people around the world respond to, care about and understand Modern Art as never before.

What Are You Looking At? is not intended as an art history book on the modern period but instead ‘a personal, anecdotal and informative book’ telling the story of art from the Impressionists up to the present day.

Coloured by Gompertz’s own experiences as a director at the Tate gallery for seven years, it is actually slightly more than that. There is a gently argued but passionately felt thesis running throughout the book: that Modern Art includes some of humanity’s greatest achievements in creative practice and thought, and so its appeal is far broader than it is considered to be and public access to it should be celebrated. With this in mind, Gompertz provides an informative guide that not only conveys the historical importance of the art he describes but also persuades how relevant and rewarding – aesthetically or conceptually – these pieces are. Reading it gives a sense of walking through a large, well-funded modern gallery: artworks that you might have disregarded as boring or irrelevant suddenly become incredibly exciting up close, while at the same time art that you thought you didn’t ‘get’ emerges as accessible and satisfying.

Gompertz begins just before the Impressionists – when Modern Art really was controversial and rejected outright by buyers, patrons, the ‘Academy’ and the press. The roots of Impressionism are a synthesis of the Romantic power of Delacroix – who described the ‘cold exactitude’ of painting as ‘perfection applied to the art of boring’ – and the unflinching realism of Courbet.

Eduard Manet’s paintings embody this synthesis, and, despite his reluctance to appear as an artistic rebel, the circle of ‘dissident artists’ that grew around him became the first movement of Modern Art. From here on, Gompertz compellingly describes the interplay of artists, styles and movements without ever resorting to a list of ‘isms’. Focusing on key moments, individuals and works, a huge amount of information is conveyed without overwhelming the reader.

Gompertz has a talent for concisely explaining difficult concepts, often framedwithin a debate about artistic validity and cultural relevance. Take for example, the ‘Supremacism’ of Malevich’s Black Square (a black square on a white canvas). ‘The artist is asking a great deal of the viewer,’ he explains; Malevich is ‘turning the traditional relationship between artist and audience on its head,’ making art confrontational rather than subservient.

Although, as Gompertz happily acknowledges, ‘arts folk talk bollocks,’ his own role as a gallery director and critic and his encounters and conservations with artists are key to his clarity. The discussion of Cezanne, for example, is wrapped up in a conversation the author had with David Hockney in the spring of this year – written about as if it were a far-off historical moment in contrast to the imagined café conversations of the Impressionists related in the present tense.

Gompertz’s own experience and knowledge remind us both of the significance of modern art history and of our own place within it. This is exemplified in the final chapter, which contrasts an £100 million auction of Damien Hirst’s work with the simultaneous downfall of the Lehman Brothers bank: ‘the significance of the auction and the financial collapse taking place at the same time is incontestable: it inadvertently marked the end of an era for capitalism and for modern art.’

Ben Osborn

T R AV EL : J O R DAN

The River Runs Deep It’s unsurprising Jordan is named after its most nourishing river, as though the name acts as a reminder of its best asset. After all, with scorching desert, little water, and desert winds that whistle like wolves, Jordan’s landscape seems anything but hospitable. Yet with a people as characterful, a history as awe-inspiring, and wonders of the world buried within this tapestry, it’s clear the river runs to all corners of the nation, and it’s clear the river runs deep. words: Coco Khan

Bedouin guide on desert tour at Wadi Rum

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The Treasury at Petra

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ABOVE: Bedouin hut high up on mountain at Petra LEFT: Houses on hillside, Petra BELOW: Sign atop Mount Nebo, where, according to Judaism and Christianity, God gave Moses a view of the promised land

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RIGHT: Roman ruins at Jerash

BELOW: Hand-painted Ostrich eggs, made locally by community groups

Sign for the Dead Sea: The lowest place on Earth page. 33

The Dead Sea

It’s not easy being Jordan. This vast desert country has suffered heavily from water shortages with huge amounts of its landscape being unusable and uninhabitable. It neighbours the sea, but of course that water mass is the Dead Sea- good for floating, but not for drinking.

Here, forty degrees in the blistering sun is an everyday occurrence, and though air-conditioning is the norm you can’t help but wonder about those in the streets, or perched on the sides of the rocky roads ostensibly idling, but in reality scrambling for some trade. More recently, Jordan’s tourism sector- one of its main industries- took a billion dollar hit from wary tourists intimidated by the political state of its neighbouring countries (Iraq, Syria, Israel and Saudi Arabia) during the Arab Spring Revolution.

Yet Jordan is a peaceful kingdom, and has been for decades. It is easily one of the most liberal and progressive countries of the Arab realms. The hoteliers aren’t going to ask you to produce a marriage certificate when asking for a double room like in Saudi Arabia, and in tourist areas you’d be surprised at how shorts and a t-shirt barely conjures a second glance. But it is the Hashemite Kingdom’s friendly Bedouin characters, it’s jaw-dropping history, the evidence of which still scatters the landscape in its Roman ruins, and the rugged beauty of its Moon-like deserts that makes Jordan truly one of the richest countries on Earth.

There are many reasons why Jordan appeals to the experienced holidaymaker. The top hotels (you’ll note them by their leisurely use of water- as such a rare commodity this is a sure-fire sign of wealth) are more than equipped to rival any European establishment and the Middle Eastern style of eating (grilled meats, breads and salads served as a kind of Arabic tapas) in the top restaurants could satisfy even the most critical of gourmands. But there is something here that money can’t buy, and something that I for one have never seen so laden throughout a country: romance. Not the romance that you find in films, no Parisian whimsy or Latin fire, no chintz china or velvet throws, but the classical Romanticismthe beautiful pathos, the epic grandeur. You feel this as

soon as you find that the international airport is named after the King’s wife, as though you stepped off the plane into the Taj Mahal, despite its grey décor. Head into the ancient city of Petra, part ruin, part preserved, three hours north of growing city Amman, and your breath will be stolen. This is without a doubt a wonder of the world, and no matter how many shots of the place they took in Indiana Jones, no justice could be done. It is though the former Roman history is alive, bursting forth from the city walls around you. The charming Bedouin people (a desert dwelling populus of the Arab countries) still live in Petra today. The government built them an alternative town, but many of them still live in the caves. It’s that romantic side of Jordan again. No matter how high you climb the rocks- and you can climb hardily for an hour to get to the upper most building called the Monastery- you will always find a Bedouin personality nearby, singing, trading or playing. You feel safe, and it brings to life the ancient city.

There are Bedouin still dwelling in the desert known as Wadi Rum. Though many of the Bedouin live elsewhere, working in the sand as guides for tourists, you can still see their inspirational carefree relationship with the desert. The Wadi Rum desert is their playground, and if you can find one to be your guide along the dunes in a 4x4 (or camel for the animal lovers) you will fall into a sandy world that resembles the moon, where red Mars-like rock emerges from the sand. At night the stars are wildly bright and if staying in one of the camps in the desert you can feel the earth moving beneath you. At these times, and at sunrise, it can be almost religious.

Of course no trip to Jordan can be complete without a dip in the Dead Sea. It is true, you float. It is also true, your skin feels rejuvenated like never before- but it is in turn true any salt in the eye burns like the Jordan sun at midday. That said, the cauterizing sea is perfect for cleansing the body and mind of ails and worries from London living and to inject you with the humble frivolity of the Bedouin. They say it’s the Dead Sea, but I for one, have never felt so alive. page. 34

Stay Landmark Hotel, Amman Double rooms start from £86 per night. www.landmarkamman.com – +962 65607 100 Taybet Zaman, Petra A standard double room sleeping two people starts from £65 per night. +962 3 215 0111 www.taybetzaman.jordantourismresorts.com Captain Camp Desert, Wadi Rum Prices start from £25 per night for a single bed in a shared tent. Private tents start from £75 per person. www.captains-jo.com – +962 3 206 0710 Movenpick Resort and Spa, Dead Sea Double rooms start from £125 per night, based on two sharing. +962 5 356 11 11 – www.movenpick-hotels.com Eat Fakher El Din, Amman – www.fakhreldin.com Sun City Restaurant, Petra - www.suncityrest.com Lebanese House, Jerash - www.lebanese-house.com Do This year is the 200th anniversary of the rediscovery of Petra and 50 years since the release of Lawrence of Arabia. Visit the city and the desert before the year is up.

Fly easyJet flies to Amman from London Gatwick.

Flights prices start from £93.49 per person (one-way, including taxes based on two people travelling on the same booking). Visit www.easyJet.com to book. www.visitjordan.com

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F OOD

Tom Conran: Trend Setter In running at full speed from the legacy of his father, Terence Conran, restauranteur Tom Conran found himself at the sharp end of the UK’s food movements- a position he has maintained throughout his career. Dave Drummond digs deep at his newest venture. words: David Drummond

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What I did is recognise pubs as a culture and tradition and, not embrace them, but champion them.

Tom Conran

Going on to open The Cow and then, after a North American road trip, an American diner, it could be said that his openings have either coincided with, or anticipated, some of the most popular food trends of the last few decades: the availability of otherwise unknown, quality ingredients in our supermarkets, delis and cornershops, the arrival of the gastropub, and more recently the popularity of North American junk food. I put it to him that he’s pre-empted some of the biggest food trends over the past few decades. “Yeah, well I have to give myself credit for recognising the ideas,” he concedes, but continues modestly, “I think it’s the same in music or art, or other ways of expressing – graphic art of tattoos or anything like that – people reach the same idea at the same time.”

But above everything, it is his most recent business that prompts his most enthusiastic response: tequila.

Having opened his Mexican restaurant Crazy Homies right next door to Lucky 7 and installing one of London’s only dedicated tequila lounges (Chamucos Clubhouse) in the basement, you could say that importing your own tequila was the natural progression. For Tom however, Chamucos – his 100% blue agave, super premium brand – is also clearly a passion. When I bring up the subject he tells me of the spirit’s history, its molecular make up, its various effects and his trips through Mexico on professional mescal tastings (drinking for over 12 hours without so much as a headache), all without pausing for breath.

He brings his three tequilas over to our table (one aged in oak for 18 months, one for 8 months and one unaged) and his enthusiasm becomes a little clearer. All three are incredibly smooth and without the typical burn of the more common tequila brands. Instead it glides down gullet and gut, warming as it travels, with one leaving a sweet vanilla aftertaste, whilst a citrus tinge comes through on another.

“Tequila elevates you onto quite a special feeling,” he says, sipping from the unaged Chamucos, “It’s beyond getting drunk, it’s almost narcotic.”

In many ways the Conran name is synonymous with the ability to spot a public’s changing taste, and with recent reports showing global tequila sales to be at an all time high it seems Tom certainly has the gene. What he doesn’t seem to have however is the fierce aspirations of constant expansion also associated with his name. When I ask him what he will do next he shrugs. “I don’t know,” he says, going on to admit, as if I would have found it surprising that “this is a lot of work.” As I leave Tom makes his way over to a table of friends who have been patiently waiting for our interview to conclude. It seems expansion isn’t an option for a man far too happy with the empire he already has.

Leaving the tube at Westbourne Park, en route to The Cow, you pass The Oak and The Metropolitan. Both look nice, both are reasonably busy, but both are also the style of establishment we tend to overlook these days. They’re gastropubs; similar in their double heighted ceilings, shabbychic fittings, fairy lights and identikit menu. And, because they’re of a breed of pub that’s now been ingrained into every street corner, they’ve become a bit invisible. But pubs weren’t always this way. Tom Conran – restaurateur, son of Terence, importer of super premium tequila and in the right light and angle a bit of a Ron Howard lookalike (without the goofy features) – remembers them well: “Pubs in the 80s and early 90s were crap. Diabolical,” he says, staring out the windows as if trying to picture them, “sticky carpets; smelled of piss; smoky, horrible smelly places with bad beer.” He speaks slowly, picking his words carefully, seldom forming full sentences. But it’s clear he didn’t think so much of pubs at the end of the 20th century.

We’re onto our second pint in The Cow, the restaurant/ gastropub Conran opened in 1995; the first of his three restaurants on Westbourne Park Road. The other two are American diner Lucky 7 and Mexican restaurant Crazy Homies. As we drink, there’s a steady stream of people coming in to eat, drink or just to say hello to Tom. He’s clearly a known and liked figure, but being the boss he’s also on the end of some interesting requests, one being from a local who asks if the kitchen can blend down an entire fish and some potatoes for his toddler. Tom obliges, but appears bemused by the situation, as you would be.

The Cow wasn’t the first gastropub in the UK (a title attributed to The Eagle in Clerkenwell), but it was one of the earliest, and certainly one of the first to be focusing on the food of the British Isles. “What I did is recognise pubs as a culture and tradition and, not embrace them, but champion them. Try and find all the good things about them and pull those ideas together and put a slightly more modern interpretation on it.”

Tom originally training as a chef because restaurants were at the time the only industry his father wasn’t involved in (in a big way at least; before his father became “a mighty force, a might wind” he says). Tom worked with Alastair Little, lived in New York – “it was great, a very exciting time” – and travelled extensively before returning to London. His first project was opening Tom’s Deli – a shop providing ingredients for a “more eclectic type of cooking”, items that weren’t available everywhere but that an increasingly adventurous eating public craved. The deli is still there today (as are all of Conran’s venues, an impressive feat in an increasingly downbeat economy), but has now evolved into something of a café. A result presumably of the competition faced by supermarkets increasing the range of their offerings.

www.tomconranrestaurants.co.uk page. 37

Opening Hours 7.00 am to 7.00 pm Monday to Friday 7.00 am to 6.30 pm Saturday Same Day London Deliveries 0207 727 8243 www.lidgates.com

ADVERTORIAL

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AD V E RTO R I AL

Lidgates Culinary Experience...

Perfect Sunday Lunch Holland Park treasure Lidgates is one of the UK’s most acclaimed Butchers.

For over 160 years this family run institution has been supplying only the finest meats to their discerning customers, top chefs, the famous and the foodies. Now, the masters share some of their secrets, tricks learned from five generations of painstaking love and attention for the butchery craft.

The meat: Shetland Lamb on the bone A bit of history: Plucked from Uradale (Old Norse-The Valley of the Winding Stream), this home farm of the native Shetland sheep and cows has an unpredictable climate and unforgiving environment making farming an occupation for the philosophical and committed. Uradale Farm is a self sufficient enterprise growing all its own feed from crops of grass and arable slate with grain harvested from Shetland bere and barley. There are no imported feedstuffs and no GM contamination. Most feed is produced for the cattle during the Wintertime who in turn provide ‘farmers Gold’ the fertility for the patchwork of tillable fields.

Archaeologists working on Neolithic digs in Shetland found remains of Shetland’s native sheep dating back 5000 years. Shetland sheep are of the northern shorttailed variety, closely related to other primitive types from the Soay of St Kilda and the Villsau of Norway. The Shetland breed have evolved to cope with its particular environment continuing to do so.

The ingredients: The lamb: 1.5 - 1.75 kg leg of Shetland Lamb, on the bone For the garlic and rosemary butter: 3 large garlic cloves 20g butter, softened 4 - 5 stalks fresh rosemary, plus extra for garnish Salt and freshly ground black pepper For the gravy: 125ml good burgundy red wine Small knob of butter Equal amount of plain flour The works:

1. Preheat the oven to 200C/400F/Gas 6.

2. Remove the lamb from the fridge and allow to return to room temperature.

3. Prepare the Garlic and Rosemary Butter. Peel the garlic

cloves, grate finely and place into a bowl with the butter. Strip the leaves off the rosemary stalks and chop finely, add to the bowl.

Season with salt and pepper and mash to a paste with a fork.

4. Using a sharp thin knife or metal skewer make between 30 and 50 small incisions into the flesh of the lamb, fingertip sized.

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5. Work the garlic and rosemary butter mix into the lamb by massaging it into the meat trying to work it into the incisions.

6. Place the lamb into a roasting tin covered lightly with

foil and place into the oven. As the lamb heats the garlic and rosemary butter will penetrate deep into the lamb.

7. After 30 minutes, remove the foil and continue to roast for 40/50 minutes (medium), more if required.

8. Remove the lamb from the oven once cooked and leave to rest in the roasting tin for 10 - 15 minutes, covered loosely with foil to keep warm.

9. Prepare the gravy. Heat a heavy based frying pan on the hob, once hot pour the pan juices from the roasting tin into the pan, add the red wine, turn down the heat and leave the sauce to reduce. To thicken, make a beurre manie by mixing together the flower and butter in a clean bowl making a paste, add about a teaspoon of the beurre manie to the pan and whisk well until the gravy has the desired consistency.

10.To serve, slice the lamb and pour over the gravy.

Garnish with a couple of stalks of fresh rosemary.

11.Serve with potatoes dauphinoise and fresh vegetables for a Perfect Sunday Lunch!

Food

A Passage to India This month’s restaurant reviews take a special look at London’s finest Indian Restaurants, eating establishments whose lavish approach will make any diner feel a Sultan

Benares 12a Berkley Square W1J www.benaresrestaurant.com Jamshedpur, where Atul Kochhar grew up, was the first planned industrial city of India. Founded by industrialist Jamshedji Tata, it grew from a little village called Sakchi to a city that forged the way ahead for modern India in the early 1900’s. As if inspired by the history of his birthplace, Atul has pursued a similarly groundbreaking ideal in his quest to offer Britons the best of traditional Indian food brushed with a generous dollop of European sophistication.

Benares is the inspired synthesis of a wizardly confluence of eastern and western culinary offerings. Named after the holiest and oldest city in India, Benares is shining a beacon for a whole new chapter in Indian dining and most certainly a

recognised London institution. This Benares shimmers much like the city might do on a summer night, while the holy Ganges meanders through.

The bar – curated by Italian Giovanni Spezziga – is a good place to start this gastro-Indo pilgrimage. Cocktails range from the passion fruit infused chutney martini to drinks named in honour of Mumbai, Bollywood and even the local area: Green Park. You get a feel for Benares’ innovative take on all foods Indian with the Jal Jeera N2 – a boozy take on the classic sub-continental street lemonade. The bar menu is a perfect accompaniment to these exciting drinks on offer. Try the spiced yoghurt croquette paired with a Benhattan (Indian Whisky, Cocchi Vermouth, Bob’s Bitters and Homemade Ratafia Cherries), perhaps?

Moving on to dining hall, after some mini pappadoms

with their cute little dips, we have the first of the heavyweight rounds – a triforce of ‘saffron-mayonnaised’ crab salad, mackerel kathi and the delectable tandoori chicken paté with orange jelly; all served up in pocket sized Kilner jars accompanied with a garlic naan. The delicate mix of spices and choice ingredients brings out the best in the paired wine of Hungarian origin, Atul’s Signature Nyakas Sauvignon Blanc 2001.

Fennel lamb chop and squid do pyaza follow. The Indian flavour and inspiration stays whilst the Michelin experience gets reinforced further. Sugarcane ice cream rounds off what is simply a masterclass in Indo-European fine dining. And with the body, spirit, soul and mind sated, is there any minus at all?

Not really. Third time here and it still takes my breath away.

Sid Raghava

Bombay Palace 50 Connaught St W2 www.bombay-palace.co.uk A sleek new look- all tasteful, muted tones and Raj-era photographs- has restored Bombay Palace both physically and metaphorically as one of London’s premier Indian restaurants.

The pedigree of Harjeet Singh is similarly impressive, with the chef boasting almost a quarter-century of experience at some of the subcontinent’s finest dining venues.

The London outpost of the worldwide Bombay Palace is perhaps best known for North-West frontier-style cuisine-

ensuring anything coming out of the tandoor will be firstrate. Velvet-soft Shikampuri kebabs and obscenely large, herby prawns are a delight, but don’t overlook vegetarian offerings like Achari baigan- baby aubergines flavoured with pickling spices in a rich hung-yogurt sauce.

Bombay Palace’s menu touches on every region, revealing fiery Goan fish recipes and the beach snacks so beloved of Maharashrans- the myriad flavours in Ragda pattice or Dahi batata puri are guaranteed to ignite jaded tastebuds. There’s space for classics like Kashmir’s rogan josh, but also to showcase lesser-known recipes like a

Keralan korma. Crisp-fried okra and stir-fried bitter gourd are worth trying.

The quality is upheld with desserts and drinks- try the buttery, comforting Gajar halwa. A cocktail list includes all the classics, as well as a few of Bombay Palace’s own decoctions. Wines are well-chosen to complement the diverse flavour profiles of dishes. Since the re-launch, Bombay Palace has been well received by well-heeled London diners- guaranteeing a perpetual, pleasantly buzzing ambience.

Zoe Perrett

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For more details please contact us at kensington@doylecollection.com

Food La Porte Des Indes 32 Bryanston Street W1H www.laportedesindes.com Since 1996, La Portes Des Indes has kept a wonderfully fragrant aroma emanating from the corner of Marble Arch. They are not trying to reinvent the wheel that is Indian food; they’ve just stuck to their original raison d’être of putting an elegant French accent on Indian cuisine.

More importantly, it has been thoroughly maintained. The experience is further enhanced by its Edwardian surroundings counterbalanced by a jungle bar and a 40ft Mogul waterfall. So whether you indulge in achari jhinga or a crab Malabar, a Parsee fish or a Poulet Rouge, you can be sure of a little slice of Indian food heaven in resplendently colonial surroundings. To the non-initiated, it is a bit of a ‘je ne sais quoi’ so please do have a go!

Sid Raghava

Do try this at home

If you are staying for a feast from the East, KCReview recommends these highly affordable award-winning wines from Laithwaites: Tamarind 20 Queen St, W1J www.tamarindrestaurant.com The Tamarind experience is one which sets standards amongst high-end Indian establishments. The tasteful decor may evoke many luxury Indian hostelries, but the service nods firmly to French-style fine dining. Slightly tucked away in a Mayfair basement, it has the feel of an exclusive members club, yet somewhat paradoxically, extends the same very warm welcome to all-comers.

Rajesh Suri and executive chef Alfred Prasad know their way around a clever menu,

so as you’d hope; Tamarind’s is interesting, confident and elegant. The restaurant specialises in refined Mogul cuisine, but Prasad’s Southern influences are in evidence, and also mean his frequent specials are worth ordering – look out for anything with fish. If you’re up for a feast, the Dawat menus deliver a comprehensive banquet fit for Shahs.

No matter how much – or how little – you know about wine, you’d be doing yourself a disservice not to employ the talents of sommelier Tobias Gorn. Tell him what you like and he’ll tell you what to drink. Listen to his advice, and have your meal elevated from merely great to

transcendental. If spirits are more alluring, cocktails are reliably excellent while the masala chai is one of the better versions available in London.

Despite all the luxury Tamarind connotes, the restaurant has mastered that all-too-rare art of low key, subtle elegance.

Guests are treated equally, and treated equally well. You may be the one paying, but you’ll feel as though you’re the one being spoilt. A visit to Tamarind is always an occasion, whether for a casual tête-àtête or a formal celebration. Relish every minute of the experience.

Zoe Perrett

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Domaine Bott Geyl Pinot d'Alsace 2008

(Alsace AOC, France, 13%) £12.99 The honeyed notes and mineral touches of the Domaine Bott Geyl Pinot d'Alsace 2008 acts as perfect foil for the creamier sweeter dishes such as as korma.

Artisan Pinot Gris 2009

(Marlborough, NZ, 14.5%) £13.99 This light and almost herby wine adds a roundness to any chicken dish whilst also providing a mellowing effect on the masala's chilled heat.

DRINK

Raising the glass Gerard Basset is at the top of the wine world. The only person to ever hold the Master of Wine, Master Sommelier and MBA Wine Business qualifications whilst being co-founder of both Hotel du Vin Group and TerraVina, he would be justified in a little smugness- but there’s not a hint questions by Coco Khan

Would you describe wine appreciation as an art or a science?

I think it’s a bit of both. But for me wine appreciation is before all a technique that anyone can develop (unless physically/ medical impaired) with the right guidance and a lot of practice.

For the average sipper, what should you be looking for when tasting a wine?

Begin to focus a bit more whilst drinking wine, and by that I mean keep the wine a little longer in the mouth so you have enough time to analyse it. Look for the overall balance within the wine. For example, establish that it is not overly acidic or too cloying but instead that the wine is fresh or smooth or intense; whatever its style it must be harmonious.

Look for the quality of the aromas, both on the nose and the palate; ideally for a great wine the aromas should be either be very pure or quite complex, and when you have swallowed or spat out the wine (if tasting a lot of wines in one session this is recommended), the final flavours (called the finish or aftertaste) should be pleasant and linger as long as possible.

Do you necessarily agree that old world wines are greater than new world wines?

No, there are great wines in both the old and the new.

Screwtop, or corkscrew?

Again, neither can be deemed as better than the other, it depends on the circumstances. I love pulling the cork out of a bottle with my corkscrew. My personal corkscrew is like a prolongation of my hand and I also feel there is something quite sensual in the operation of pulling a cork.

However, I am very sensitive to cork taint and the screwtop has contributed a lot in reducing this problem.

Some wonderful wines are sold under screwtop and for that reason I am fairly pro. Indeed, we have a lot of wines under screwtop in my restaurant.

Can two bottles of wine ever be the same?

Yes, of course. However, the old saying ‘no two bottles are the same’, does apply in many cases to old vintages. In old bottles there is more opportunity for notable differences between the

same wine for a number of reasons. For example, the positioning of a bottle in the cellar may play a part and the wine may be influenced by small temperature or light differences. Even small differences of positioning in a cellar between two bottles of the same wine such as situating one bottle in a very slightly colder or darker part of the cellar may have an impact over a long period.

What is it about wine that is making it now a financial asset for investment?

There are only a relatively small number of estates that are capable of gaining financial value and not for every vintage, so there is a limited quantity of wine available for investment and a high demand! There are a huge number of people wanting to purchase these wines, particularly with growing wealth in emerging markets, such as the BRIC countries. Therefore high demand and short supply can make fine wine an interesting proposition as an investment. The Liv-ex 100 (an online trading platform that tracks the movement of the most sought after 100 wines), has outperformed the FTSE100.

In addition, because wine is classified as a wastage product it tends to benefit from more lenient taxation on Capital Gains Tax (subject to certain conditions and depending on the country where the tax is paid). However, it is not as easy as it sounds and to be successful you have to know what you are doing, have the right contacts to source wine at the right time (at its best price), and keep it ‘In Bond’ (in a bonded warehouse prior to any VAT or duty being paid), and in the right conditions. Even so, it is not always a guarantee of success. Many people invest in wine for their own personal enjoyment. Unlike shares, which could potentially become entirely worthless, at least with wine you can pull out the corks and enjoy!

How is the climate affecting our understanding of good wine regions?

The climate is one of few very important factors that decides if a region is a fine wine region or not.

Where do you see the future of wine heading?

More and more people will want to enjoy wine and understand more about it. More people than ever are reading wine specialist books and magazines, undertaking wine courses, visiting wine regions, etc. The demand will page. 43

inevitably lead to the prices being pushed up, but as a result wine quality will also continue to improve.

In three words how would you describe your relationship to wine?

Wine is my mistress. I am not a wine bore (I really hope not) as when I meet people I don’t impose wine in the conversation unless they really keep asking me questions about it or I am with other wine professionals. However, I cannot stay long without tasting wine and reading about it (I have more than a thousand wine books at home).

Gerard’s Picks Today my very good friend Christopher Piper of Christopher Piper Wines brought for me to taste a selection of lovely and unpretentious French wines and here are three that really stood out: WHITE: Menetou-Salon, Chavet Fils, 2010

A truly classy Chenin Blanc, again from the Loire Valley with elegant jasmine, honey and quince aromas with a beautiful finish.

White: Vouvray Sec, Coteau de la Biche, Domaine Pichot, 2010

A truly classy Chenin Blanc, again from the Loire Valley with elegant jasmine, honey and quince aromas with a beautiful finish.

RED: Chenas, Les Carrières, Paul-Henri Thillardon, 2011

A very engaging juicy Beaujolais cru wine full of character with black fruit and touches of Mediterranean herbs Last week I tasted a wonderful selection of Spanish wines. We are so privileged in our trade to travel the world to visit regions and wineries but also to have the opportunity to taste delicious wines from so many countries back home. www.gerardbasset.com

Dana Fineman for Playboy Magazine

Beauty

Model Behaviour The supermodel is back on the catwalks. Whilst Cindy Crawford and Linda Evangelista might not necessarily be found on the runways, their style is written on the faces of models around the globe. Annie Vischer tells you how to get the look. words: Annie Vischer

We are skipping through our occasionally balmy summer in a stream of sports luxe, pastels and peplums, and as we leave the Olympic festivities behind to the history books we look back to the catwalks of London Fashion Week AW12 to guide us in our revamp for the fall. But what is this? A little something that makes folding away the sarongs that billowed so elegantly on our beach of choice this summer that bit more bearable, a 90s revival! Oh but stow away those Alice bands because this season it comes with a

modern twist. Rising like three Venuses from the sea come 90s goddesses Naomi, Kate and Cindy to lead us into the beauty world of AW12. If you, like me, clapped your hands with glee at the sight of Kate Moss leading the supermodel troupe in Westwood at the Olympics closing ceremony, then for you too, AW12 signals a nostalgic play time.

Pour le visage, think Helena Christensen vs Cara Delevigne. It is a 90s colour palette applied with wild abandon. London Fashion Week makeup artist Tahira Herold page. 44

cites ‘curves, big hair, great brows and defined features’ as the quintessential look of the 90s. Emphasise brows to give them a handsome power without seeming too ‘done’. Eyes should be kholed and smudged to oblivion in dark brown and black shades. Try Bobbi Brown Eyeliner in Mahogany or the classic Chanel Le Crayon Khol in Noir. Herold recommends using a metallic blush or bronze shade of eye colour to add texture to the look, for which the Urban Decay Naked Palette offers a wealth of choices. And ladies, be still your beating

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Kate Moss on Praed Street by Kate Garner. Prints available from Michelle at Bolt Agency www.boltagency.co.uk

hearts, lip liner is back! But this time it is subtle. For the understated nuances of AW12 apply a balm before blending liner in from the edges, and, if needed, add a touch of lipstick in a spice shade to the fullest parts of your pout to finish.

If your mission is to contour, go steady. Gone are the heroin chic days of the hollow cheek, the word of the season is ‘natural’. Add a dash of rosy blusher to the apples of cheeks for that ‘Gosh what a lovely country walk!’ flush.

Herald urges that the key look of the 90s supermodel was health and vitality, so invest in glowing skin. Try YSL’s new Le

Teint Touche Éclat foundation, Laura Mercier Oil Free Tinted Moisturiser or Giorgio Armani bases for soft matte coverage that lets the skins own radiance shine through.

For hair the 90s meant big, and for AW12, big means healthy. Celebrity hairdresser Asgar of Daniel Galvin salons (who has tended to the tresses of none other than Ms Crawford herself) notes that ‘the supermodels ruling the catwalks in the 90s had huge personalities and the hair to match’. Whilst copious amounts of hairspray and mousse were responsible for the springy bouffants of the

90s, the key to the lustrous locks of AW12 is nourished hair.

According to Asgar, the secret behind Cindy Crawford’s full and bouncing mane is minimal product, so keep it simple with nurturing shampoos and conditioners and a spritz of heat protectant before styling. Indulge in the Philip B Royal Oud Forever Shine range, which is causing a sensation with its deeply conditioning properties and smells divine to boot.

One carefully placed beauty spot later and you could be sashaying down the runway for Versace yourself! Maybe Autumn isn’t looking quite so bad after all.

s h o ppi n g

Intelligent Design With London eagerly awaiting the maverick designs thrust upon the city at London Design Festival and Chelsea‘s own Decorex, we highlight some items whose ingenuity have been raising more than a few eyebrows.

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2.

3.

4.

6.

5.

7.

1. Furniture meets Culinary. La Cornue W Vaulted Over Tower £12,120 www.lacornue.co.uk 2. K Hinton Exhausted Salad Servers £950 www.miratis.com 3. Dorya Monmart Chest in Tangerine £11,919 www.interio.co.uk 4. K Hinton Exhausted Cake Stand and Cake Slice £1200 www.miratis.com

5. Ryan McClean Splash Tray £6800 www.miratis.com 6. A bicycle without a saddle or pedals, this step-cycle relieves stresses associated from cycling and can be customised by bespoke designers. FreeStep Cycle £1000 www.simplegenius.me 7. Moon Chair via Made.com showroom for LDF £399 page. 47

Fa s hi o n

Model Behaviour II The name Katia Elizarova might sound familiar.

It might be because of her speculated romance with actor Benedict Cumberbatch splashed all over the press recently. But it should be for her sterling work as a soon-to-besupermodel. Russian by birth, graduate of Law, Chelsea resident and currently the face of Rimmel, Katia Elizarova gives us sixty seconds on London Fashion Week. words: Coco Khan

What will you be participating in this fashion week?

I'm going to be working with new designers to London over the next couple of seasons, brining the likes of top Russian designer Masha Tsigal to our shores, and I'm very excited about that.

But, as everyone knows, after the beautiful clothes have been aired on the catwalk, it is the after parties that really count. So that's where you'll find me!

Fashion week is always a great time to catch up with old friends as people from all over the world descend on the Fashion capitals of London, Paris, Milan and New York. I'm fortunate enough to be able to both open as well as watch the shows now in my role as a brand ambassador.

What is your daily routine around fashion week?

The most important thing is to be flexible. I make sure I have everything to be ready to party just as much as I am ready to work. I'm usually up early for a coffee and croissant on Kings Road before I flit from show to show. I love not only the main shows at London Fashion Week, but also attending and supporting new designers in the fringe shows. I guess I spend a lot of time in taxis during fashion week.

As long as I rest as much as possible at night, throw a crease free dress, high hells and a positive attitude in my bag LFW is my playground.

How long have you been preparing for this particular fashion week?

Preparation for this fashion week began as soon as the catwalk shows ended last fashion week. I'm fortunate to be mostly attending as a guest this time round, so I can enjoy the shows and all that preparation, while others work. For me I'll be planning a look for the shows on the day. I always underestimate how long it takes! When I'm on the catwalk, however, I'd usually meet with the designer a couple of weeks before the show for a fitting, then the day before for rehearsals as necessary. Nowadays shows are becoming more of a spectacle quite often - which doesn't help when directors find out you trained as a dancer - it can make for some pretty crazy but fun catwalk requests.

What are looking forward to the most?

I'm keeping my eye on the Mulberry show. I love the brand, and they are known for really putting on a show, both on the catwalk and at their parties. Popping to Mathew Williamson will be on my agenda too. Although, what I am looking forward the most is to be surprised and to fall in love; With a dress, shoes, or just an idea. Fashion week is one of the most inspiring times for a true fashionista!

If you could describe your experience in three words what would they be?

In love again

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Lo n d o n Fa s hi o n w e e k

Instant Access London Fashion High-fashion has long been associated with the elite, but with the digital age infiltrating every corner of the earth, Shula Pannick looks at the impact of technology on the fashion world’s most exclusive week words: Shula Pannick

German language writer Marie Von Ebner-Eschenbach once famously commented that ‘So soon as a fashion is Universal, it is out of date.’

Films like ‘The Devil Wears Prada’ have portrayed the modern fashion world as ruled by this maxim. A world of snooty editors influencing the style of the masses from afar; a sphere where ‘the normal’ are forced to embrace lastseason’s offerings as decreed by a small body of influencers.

Influencers who themselves have moved on to the new, the shiny, and out of reach.

On September 14th, as another London Fashion Week commences, our Capital will once again be invaded by the very trend setters and style commentators depicted in such popular culture. From the icy blast of Anna ‘nuclear’ Wintour (blowing in from her Vogue perch across the Atlantic) to the good and great of the style-conscious

celeb world. Everyone from the A-List will be in the f-row of Somerset House this season.

And yet, London Fashion Week has become a demonstration to all and sundry that fashion can be accessible without being out-of-date. Burberry, though a purveyor of high-end designs, went the extra mile on this note at its February LFW show. Chief Creative Designer Christopher Bailey proved once and for all that everyone should enjoy the most up-to-date fashion moments.

As models stomped down the runway of a speciallyconstructed space in Hyde Park, complete with simulated rainstorm and thunder, the show was live streamed globally for fashion fans to watch. In addition, the coats and bags showcased were immediately made available for purchase on Burberry’s website. Prices may still be prohibitive, but Mr Bailey played his part in rebranding London as the page. 49

epicentre of attainable style; with designs to immediately be appreciated by all.

Fashion weeks have long been the exclusive playground of the rich and famous. This may still be true, but London Fashion Week 2012 is ever pursuing creative ways to bring the fun of the fashion-frenzied to a wider audience. In February, with Vodafone as head sponsor, pull-out drawers were installed underneath the seats of lucky front-row press, complete with power points to charge weary phones, cameras and i-Pads.

What stronger sign that London is prepped and willing to share its’ designer offerings with the consumer world? By encouraging media and celeb attendees to immediately spread images and opinions of the clothes seen, no longer is the consumer doomed to a life of fashion-delay!

The stage is set to survey what innovations will next ease the route of creations from catwalk to cupboard!

m oto ri n g

Continental Cruiser The ultimate grand tourer gets a twin-turbo V8 engine in a bid for greater efficiency. But is it still special, asks Adrian Foster words: Adrian Foster

At the Geneva Motor Show in 2008 Bentley promised the world a new, eco friendlier model with CO2 emissions dramatically reduced by up to 40 per cent across its range.

Now, four years later, the new Continental GT V8 is helping to deliver just that with a new, down-sized 4.0-litre V8 and a reduced list price over the range topping V16 model. Even so, a 0-62mph time of 4.8 seconds and a 188mph top speed are far from shabby.

The all-new V8, co-developed with stable-mate Audi, is packed with advanced fuel-saving technology such as cylinder deactivation that, on light loads, turns the V8 into a V4. Owners will be relieved to hear that design details such as hydraulic engine mounts mean that this remains completely undetectable, while Bentley has gone to great pains to ensure the GT still sounds like a Bentley. And, courtesy of a wave of torque, goes like one, too.

Visual differences on the GT are subtle, if controversial.

Some might not like the overtly ‘sporting’ refocus, which includes a more aggressive front bumper, black mesh intake grilles, dark lower rear valence and alloys that wouldn’t look out of place on an American muscle car. Fortunately, V8 specifics such as the ‘8’ shaped exhaust tailpipes and red enamel Bentley ‘B’ badges differentiate it from its upscale sibling, which remains on sale. What’s most impressive about the newcomer is the way it sounds. The bright sparks at Bentley, with some help from their colleagues

at Audi, have created a soundtrack which, in their words, was designed to ‘burble, growl, then howl’. WO would have definitely approved.

The Continental GT actually comes with a choice of two engines, a twin-turbocharged, direct injection V8 with 500bhp and a mammoth 6.0-litre W12 with 567bhp. There’s actually very little difference between the two in outright performance – both are exceptionally fast and eager to unleash their awesome power at very low engine speeds.

It might be fast, but happily the GT is by no means a raw sports car.

Really, the only way you can tell apart the smallerengined GT is through its real gung-ho performance being reserved for higher revs. And in practice that’s no bad thing, as over 4,000rpm it’s almost as sensitive to throttle inputs as a non-turbo car and the response is quite simply electric. However, although it’s intentionally harder-edged than any Continental GT has ever been you’d probably be horrified if the GT wasn’t library quiet - and you won’t be disappointed. Inevitably, those wide tyres do generate some road noise over coarse road surfaces, but that’s the only fly in the ointment. The engines purr at just above tick-over at motorway speeds, while the triple laminated acoustic glass blots out wind noise to the point where driving past cars travelling in the opposite direction produces only the faintest ‘whoosh’. page. 50

You get the reassurance of four-wheel drive, as well as adjustable air suspension that mostly strikes a decent balance between comfort and control. However, sharp motorway joints and battered B-roads can upset the GT’s composure in a quite un-Bentley sort of way.

In Summary Less is definitely more when it comes to the Bentley Continental GT. Moreover, the smaller engine machine lacks nothing in pace and has the added bonus of delivering a more sporting and involving drive. Economy savings can be a bonus too, even if deep-pocketed potential owners aren’t likely to worry about such things when bragging in the golf club bar. Pricing for the Continental GT V8 starts at around ten per cent less than the W12 version, which means it should retail at around the £122,000 mark. The price differences might be slight but the potential range is hugely improved: drive it sensibly – difficult, admittedly – and the GT V8 has an impressive touring range that is in excess of 500 miles. That means it properly lives up to its ‘Grand for Touring’ soubriquet and saves its wealthy owners from too many tiresome fill-ups.

Notional rivals are the Aston Martin V12 Vantage and the Ferrari California, but the Bentley offers more space than either with no real loss of driving excitement.

More at www.bentleymotors.com

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