Kensington & Chelsea Review Vol.2 Issue.1

Volume two | Issue One | FREE

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British & Continental Pictures Auction: Tuesday 19 June at 1pm Knightsbridge Viewing Sunday 17 June 11am to 3pm Monday 18 June 9am to 4.30pm Tuesday 19 June 9am to 11am +44 (0) 20 7393 3988 areti.chavale@bonhams.com

Edward Pritchett (British, 1828-1864) The Doges Palace and the Piazzetta, Venice (detail) ÂŁ4,000 - 6,000

International Auctioneers and Valuers - bonhams.com/19thcentury

Welcome to the new Kensington and Chelsea Review.

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

Our cover image is a detail [shown in full, above] of Queen Elizabeth II by Dorothy Wilding (Hand-coloured by Beatrice Johnson), 1952 Currently on display in The Queen: Art and Image exhibition until 21 October 2012 at the National Portrait Gallery www.npg.org.uk/thequeen ŠWilliam Hustler and Georgina Hustler National Portrait Gallery, London

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Publisher Talismanic Media Editor Sid Raghava Deputy Editor Coco Khan Art Director Max Wilson of O.W.H. Creative Publishing Director Michelle Bryant Stephen Slocombe

It’s been three months since our last issue and we’ve come back recharged and exponentially enriched from our secret operation to redesign and revitalise the Review.

Kensington and Chelsea Review retains its strong commitment to arts, culture, fashion and good living and to ensure that we stick to our raison d’être, we have welcomed aboard a new team of accomplished individuals – the irrepressibly brilliant Coco Khan as Deputy Editor, Stephen Slocombe and Michelle Bryant as publishing overseers and the deft designer touch of O.W.H. Creative’s Max Wilson.

With the Royal Borough at the heart of our passion, it seems only befitting that this comeback issue has a predominant focus on the impending Queen’s Jubilee Year celebrations. Couple that with an amazing array of features within this rebranded taster issue including interviews with Ozwald Boateng, Maya Fiennes, Martin Crimp and Raymond Blanc plus a new section of books and voilá! Enjoy and do write to us. We aim to please.

Sid Raghava Editor

Books Editor Danny Arter Theatre Editor Alan Fielden Travel Editor Roberto Priolo Writers William Kherbek, Stefan Nicolaou, Reef Younis, Alan Fielden, Danny Arter, Shula Pannick, Marta Mura, Annie Vischer, Linda Cooke, Adrian Foster

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. 7

Contents 10. News News curated from the worlds of art, culture and intrigue.

13. Fair

Play

Our picks of the summer art fairs

14. Queen-en-Scène What does the National Portrait Gallery’s exhibition tell us about Her Royal Highness?

18. Interview:

Gillian Wearing

We catch up with Turner Prize Winner Gillian Wearing about art and charity

22. The

EveryCollector

Taking a look at the changing face of the art collector

23 . From

Christie’s, With Insight

The first in a monthly column from Christie’s on their most exciting cultural sale

24 . In

Conversation: Martin Crimp

One of Britain’s greatest living playwrights bares all about his creative process

26 . Books The best to read, and a twitterview with Stephen May

28 . Performance Picks from the theatre world and musings on the Oliviers

30 . Bespoken

For (Pt 1)

Ozwald Boeteng speaks about what it is to be a style icon

34 . Bespoken

For (Pt 2)

The woman behind Lady Gaga’s notorious footwear explains tailored shoes

36 . Shopping Jubilee must-haves for the luxury hunter

37 . Interview:

Maya Fiennes

Yoga guru Maya Fiennes on why Yoga has never been more important

39 . Beauty Tips from Kate Middleton’s stylist, a trip to the Chelsea Day Spa, and essential products

40 . Masterchef Raymond Blanc OBE on sustainable fishing, and the fight for British cooking

42 . Partners

in Dine

Our picks of London’s restaurants

44 . Destination

in-depth

This issue focuses on Tunisia, a beach paradise navigating troubled times

48 . On

The Road

We drive the BMW 520d M Sport Touring

50 . A

Lift to the Sky

A look at the new property on offer in London’s centre offering a view to die for

48.

40.

18.

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34.

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 Jubilee News

Tea at the Park…Plaza The Park Plaza Riverbank and the five-star suites of Plaza on the River are offering a civilised way to honour the Queen.

Serving up a quintessentially British experience of sandwiches, teas, champagne and sweet delights, guests can also enjoy unlimited food and teas before watching the Diamond Jubilee Flotilla pass by on the Thames. For afternoon tea, tickets cost from £55 per person but for those wanting the ultimate Jubilee experience, private riverview suites can be arranged from £2,400 for the whole day on June 3rd.

Jubilee News

Jubilee News

A Right Royal MixUp

Take your Piccadilly

The Botanist on Sloane Square is serving up an alternative to the quintessential Diamond Jubilee celebrations.

Offering a range of Royal-inspired cocktails and aperitifs at £8.50 each – including The Crack Baby, Bitter and Twisted, Reliable and Thoughtful and The Ginger Nutter – it will also be serving up English dishes from the bar menu featuring a H. Forman and Son’s London cure Scottish smoked salmon platter with lemon and brown bread, a seasonal salad or a charcuterie plate served with cornichons and Irish soda bread.

To celebrate the Queen’s Diamond Jubilee, the Piccadilly Big Jubilee Lunch Street Party aims to put Piccadilly and St James at the heart of the celebration.

Open from 11.30am to 6.00pm, the takes place from Piccadilly Circus to the top of St. James’s Street and marks the first time in its history that a stretch of Piccadilly has been closed. Focused around the 500-seat picnic table, the day’s activities also include traditional fairground games, hog roast, luxury food stalls and a community market.

Written in the Stars After being nominated for a South Bank Sky Arts award after last year’s autumn premiere, Nick Payne’s ‘Constellations’ will run at the Duke of York’s theatre later this year.

Starring Sally Hawkins and Rafe Spall, the 70-minute drama touches on both quantum theory and brain cancer. “It’s the most demanding thing I’ve ever done,” Spall explains. “Even though it’s a play about quantum physics and brain cancer it was a surprising laugh.”

Constellation runs at Duke of York’s Theatre from Friday 9th November 2012 - Saturday 5th January 2013 Duke of York’s Theatre, St. Martin’s Lane, WC2N 4BG Tickets: £37.50, £25.00, £49.50 page. 10

Open Garden Squares Weekend The annual Open Garden Squares Weekend, being held this year on June 9th-10th, offers visitors an unprecedented opportunity to explore many of the capital’s most delightful squares, parks and gardens, and to partake in a variety of tours, fairs and festivities held to coincide with the event. There are many fabulous places taking part from within and around the borough, with highlights including the gardens at Leighton House, Chelsea Physic Garden, and music concerts in Arundel, Elgin and Belgrave Squares (pictured).

For more info visit www.opensquares.org

Christie’s to Auction World’s Oldest Whisky Christie’s will auction one bottle of the rarest Glenfiddich whisky ever released.

Listed as the world's oldest single malt whisky, the sixty-four year old bottle was one of sixty-one distilled in 1937 and bottled in 2001. Bottle no'42 of 61 from the Glenfiddich Rare Collection, it leads Christie's auction of Fine and Rare Wines Including Rare Spirits, which will be held in London on 7 June 2012 at 10.30am and is estimated to command a price of £50,000-70,000 at auction. Chris Munro, Head of Wine, Christie's London commented, “I've no doubt this bottle will invite a flurry of interest from collectors both old and new."

Jubilee News

British Summertime at Royal Albert Hall It’s a jam-packed programme at the Royal Albert Hall this summer. First up are their celebrations for the Queen’s Diamond Jubilee, kicking off on 31st May with a gala featuring the Royal Philharmonic Orchestra and four of the world’s leading female soloists performing their best loved works

and orchestral hits, followed by an evening of stirring favourites starring Robert Watson on June 2nd, and irrepressible showman Jonathan Cohen leading a Diamond Jubilee Singalong on June 3rd.

July 13th sees the beginning of a super special Proms season, centring around Daniel

Barenboim’s week-long residency for a cycle of Beethoven symphonies, as well as celebrations of the anniversaries of Delius, Debussy and John Cage. Elsewhere in the Hall, keep an eye out for an exhibition marking the 80th year of legendary British artist and pop icon Peter Blake (from June 19th)

Positive View Foundation Moves House Positive View Foundation has announced that it will hold its major exhibitions across the art spaces of Somerset House.

The not-for-profit organisation will use exhibition space to give schools and disadvantaged individuals the opportunity to participate in dedicated tours and workshops with future events including Henri Cartier-Bresson from 8 November 2012 - 27 January 2013, Landmark: Fields of Change from 14 March - 28 April 2013 and the Annual Photography Symposium in May 2013.

KCReview Recommends: She Monkeys In cinemas now Lisa Aschen’s She Monkeys explores the ambiguous relationship between two adolescent dressage riders. It presents images of domination, order and regimentation whilst examining the violence and chaos that lurks beneath the surface. There is a ubiquitous menace here which points to the influence of

Haneke, but the distinctly feminine energy add a difficult, and transgressive quality. In both cinematography and storytelling, Aschen demonstrate a lightness of touch, which have garnered plaudits from Tribeca. Very much the thinking man’s end of the Scandamania spectrum. page. 11

RHS Chelsea Announces Winners The RHS Chelsea Flower Show 2012 announces a raft of winners from this year’s show.

Out of 108 winning exhibitors, 55 Gold, 34 Silver-Gilt Flora, two Silver-Gilt Grenfell, one Silver-Gilt Lindley, 13 Silver Flora and three Bronze Flora medals were awarded with the Clive West-designed Brewin Dolphin garden claiming best in show and the Digitalis ‘Illumination Pink’ named show plant of the year.

Now from the heart of London to

Via Brussels from 4h40

Opening the way

eurostar.com

All's Fair in K&C this summer . . .

British summertime sees the Fair season get underway, and the Royal Borough as ever taking centre-stage. Here is our top not-to-be-missed fairs

Design for the cover of Sir Magazine (No 4, 1964), Rene Gruau. Presented by Stephen Ongpin Fine Art

Abraham Ortelius: ‘Angliae, Scotiae, et Hiberniae, Sive Britannicar: Insularum Descriptio’, Antwerp, c1574 London Map Fair Held at the historic Royal Geographical Society, this is the largest antiquarian map fair in Europe, with over 40 national and international specialists exhibiting. See atlases, travel book, globes, sea charts, town plans, celestial maps,

topographical prints, reference books and more, with prices ranging from £10 to £100,000.

June 16th-17th. Royal Geographical Society, 1 Kensington Gore, SW7; www.londonmapfairs.com

Art Antiques London Held in the fantastic surroundings of Kensington Gardens, with the Royal Albert Hall as its backdrop, it's maybe unsurprising that Art Antiques London has the highest ratio of visitors per stand of all. Also incorporating Haughton's International Ceramics Fair and Seminar, with leading dealers and visitors from all over the world, and a substantial lecture programme, this is one for the casual browser and arch connoisseur alike.

14th-20th June. Albert Memorial West Lawn, SW7; www.haughton.com

Mallett at Masterpiece London Masterpiece Promising ‘the best of the best from around the world’, Masterpiece is a high octane event showcasing a broad range of collectables, ‘from Bugatti to bronzes, Cartier to Cognac, Picasso to pink diamonds’, from a whole host of top level international exhibitors. Also has an accompanying lecture programme.

28th June-4th July. The Royal Hospital Chelsea, SW3; www.masterpiecefair.com

Rolls-Royce at Masterpiece London page. 13

Queen Elizabeth II by Gerhard Richter, 1967 © Museum Wiesbaden

Queen-en-Scène In honour of Her Majesty’s 60th year as Queen, the touring National Portrait Gallery exhibition The Queen: Art and Image opens in London. A multimedia show spanning video, painting and photography, the exhibition brings together representations of the Queen from some of the world’s leading artists. William Kherbek asks what such a survey teaches us about our Sovereign. words: William Kherbek

page. 14

Queen Elizabeth II, Queen Regent by Pietro Annigoni, 1954-5 © The Fishmongers’ Company

There’s a moment in Patrice Leconte’s 1996 film Ridicule about the adventures of a reform-minded Marquis trying to be heard in the France of Louis XVI in which the King encounters the Marquis whose famous wit has catapulted him into the most rarefied circles of the French court. The King asks the Marquis to demonstrate his famed wit by making His Majesty the butt of a witticism. True to his reputation the Marquis sidesteps the matter by demonstrating all the tact and intellect a screenwriter could muster. “The King” he says, “is not a subject”. It would seem that the Marquis’ dictum may hold for Queens as well.

The National Portrait Gallery has just unveiled an exhibition of portraits of Queen Elizabeth II and to make one’s way through the various depictions of Her Majesty from before

Queen Elizabeth II by Lucian Freud, 2001 The Royal Collection © Lucian Freud Archive

her Coronation to the present is to be struck by how little any given portrait actually reveals.

Some images have more to offer aesthetically than others.

Pietro Annigoni’s famous portrait of the young Queen draped in an admiral’s cape set against a landscape that could have been lifted from a work by an Old Flemish Master offers a dangerously beguiling depiction of monarchy at its most monarchical. It’s true that it would be churlish borderingon-nonsensical to complain that most of the images in the show focus on the Queen alone, but it is in Annigoni’s portraits in particular that you see the true subject of any portrait of royalty, or, at the very least, all the portraits in this show: the relationship of the artist to power. Annigoni’s works are page. 15

about as uncomplicated as pornography in their way. There is very little of the person behind the Queen in his portraits so when humanity breaks through it’s all the more remarkable.

The young Queen still has traces of girlishness in the 1954 portrait, but Annigoni leaves nothing to the imagination in his 1969 work in which Elizabeth Regina stands against a stark, unpeopled backdrop like Goya’s giant brooding along the rim of the world. If unalloyed abeyance to Imperial Majesty is your thing, this is certainly the painting for you.

Does anyone’s work come close to reaching behind the pomp and complicated circumstances even for a moment?

The short answer is no, but that’s hardly the point, and that includes when artists are in clear dialogue with the work of

Coronation Cross Gilbert & George, 1981 Tate: Purchased 1982 Š Gilbert & George

page. 16

Queen Elizabeth II, by Pietro Annigoni, 1969 National Portrait Gallery © National Portrait Gallery, London

other artists- the image of the Madame Tussaud’s waxwork of the Queen springs to mind, or in Annie Leibovitz’s borderline embarrassing (though beautiful) reworking of the Annigoni 1954 portrait . What all artists, with perhaps the honourable exception of Andy Warhol, seem to have seen when looking at the Queen was their own proximity to, or distance from, power.

Even Lucian Freud’s comparatively tiny portrait which offers a less idealised vision of what it means to be the monarch suffers from this. His characteristic psychological intimacy with

sitters seems to deliquesce in the impossible-to-negotiate chasm between depicting the simply powerful and depicting the royal. Thomas Struth’s new portrait of the Queen and Prince Philip is tasteful and worshipful to the point of instant forgettability. The only moment in the show which seemed to offer any serious insight into what it must actually be like to be Queen Elizabeth, or, indeed to be Elizabeth Windsor, is the video footage from her Coronation. Watching the elaborate movements the Archbishop of Canterbury undertakes as he page. 17

crowns her, and the excruciatingly tense steps she takes as she ascends and descends the throne, it’s impossible not to feel close to the person underneath the robes and sceptres.

What if she miscalculates—even the tiniest bit—and stumbles on her way to the throne? What if she gets a foot caught up in the robes? How many times must she have practised these steps to ensure nothing could possibly go wrong? It must have been exhausting. You really feel for Her Majesty. After all, she’s only human.

Interviews That Ask What You Want Them to Ask, Not What They Want to Ask You

You’ve probably already seen the posters lining the walls of London Underground and the South Bank, Westminster and the City. Over in East London, Turner Prize winning artist Gillian Wearing is the sole subject of a dedicated retrospective at Whitechapel Gallery.

But unbeknownst to many, here in West London, an unsung charity collaboration with fellow YBAs and other renowned artists was already afoot.

William Kherbek asks the questions you want to ask

from top to bottom: Signs that say what you want them to say and not Signs that say what someone else wants you to say WILL BRITAIN GET THROUGH THIS RECESSION?, 1992-3 Dancing in Peckham, 1994 Self Portrait at 17 Years Old, 2003

words: William Kherbek  photography: Mark Bourdillon

page. 18

It was 1997 when Gillian Wearing, OBE, won the Turner Prize. Over the last two decades, she has created work which has proved simultaneously populist and highly influential amongst both artists and critics. Perhaps her best-known work, a series of photographs titled Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-3) document members of the public whom Wearing approached , asking them to write and show to camera whatever they were feeling on a sheet of paper. Recent work by the so-called ‘post-internet’ generation of British artists bears considerable influence from Wearing, particularly works which seek to erode the distinction between artist and audience. Wearing is recently participated in a series of commissions for the homelessness charity, Crisis. The commission which featured work from Sir Anthony Caro, Antony Gormley, Tracey Emin, Jonathan Yeo, Yinka Shonibare and others, was auctioned off on May 3rd at Christies with the total £340,000 raised going to the charity. The Kensington and Chelsea Review interviewed her about the auction.

You’ve spoken about the “democracy” new media offers by providing a platform for people to express themselves in ways which were not possible before.

Do you feel the forms this expression takes as seen in, e.g. Youtube videos, in blogs, or on Facebook, is less ‘personal’ than it may appear due to the editing and presentation which go into such works. Are people discussing their lives or developing forms of aesthetic reasoning to make biopics about themselves?

Every form of media that has come along has changed us, from newspapers, film, radio, and television, and, of course, the Internet which has created the new media platforms. For it (new media) to change you, you don’t even have to actively take part; the influences would work their way into the culture from people who have consumed and digested these new forms of communication and then fed their experiences back into film, newspapers, TV, adverts, or general conversation.

With new technologies come new structures that we adapt to, like text speech or Twitter with its limited amount of space in which to write a line for each entry. Youtube videos, or Twitter page. 19

Crisis Commission clockwise from left: Craig O’Keefe with Craig statue by Gillian Wearing; Tracey Emin; Yinka Shonibare, Homeless Man, 2012

conversations are edited life, and, no doubt, there is a level of performance that would go into this, but, when we meet friends, or colleagues in real life, the same thing happens. We edit what we say to them; we perform in a way we feel appropriate for that moment.

I think as soon as the snapshot camera became widely available to people during the 50s, visual biographies have been created. Before that of course people used writing or word of mouth, but we all feel the need to make sense of our lives. A photographic album of the 50s would have normally included images family events—weddings, birthdays, holidays—creating, as much as possible, some idea of a happy life.

Today, I think people are more likely to include the banal aspects of life, the everyday, or even to film some more bizarre moments in order to create a unique portrait. But it has always been in our innate nature to create biographies and stories, to be listened to and heard and to leave some trace of our existence.

As the ‘post-internet’ generation of artists have engaged ideas developed in your practice, particularly the notion of active audience participation in the creation of art works, do you feel any aesthetic kinship with the emerging generation of British artists?

It’s great that my work has been so influential. I think anyone that works within a similar vein you feel some kind of kinship to. When I originally made my work, I didn’t realise how potent some of the ideas would become and how they were really ahead of their time.

Regarding your film Self Made, do you feel like the work taught you anything about the modalities of performance?

It was really interesting when it came to working with both the professional actors and the seven participants who hadn’t had previous acting training or experience whom I had chosen for Self Made.

I could see how performance became enriched when it wasn’t just about outward physical and vocal elements, but also the soul. The participants tapped into it via the Method Acting workshops that they were part of. You felt convinced of their inner feelings, that it no longer felt like ‘acting’ (although, of course, it was). In comparison with a trained (Non-Method) actor, you could feel

something very true and unselfconscious. This aspect of performance is very much the basis of Method acting, and all the best acting I have ever seen stems from Method. A good example would be the films of John Cassavettes.

Your work has engaged various media, are there artistic media in which you would like to work but haven’t yet?

I would love to make a TV show. I have been approached to think of a documentary for TV several times, but would love instead the challenge of something that evolved over time.

Regarding the Crisis Commission, would you like to say something about your involvement with the exhibition regarding your interest in the project, or your impetus to being involved?

My work for the auction—all the proceeds went to Crisis—is a small sculpture of an ex-soldier called Craig O’Keefe. He became homeless soon after returning from Afghanistan. Craig thought his life was over, but, with the help of Crisis, and Veteran’s Aid, he was able to get a job and turn his life around. He, in turn, now helps other homeless people by being a volunteer tutor at Crisis.

He is a fantastic role model for the centre. Everyone has a story as to why they were homeless; in Craig’s case, he was diagnosed with Post-Traumatic Stress Disorder.

You don’t have to take a significant leap of imagination to think about how difficult it must be to be homeless. It can happen to anyone, and it is probably one of the most frightening things to go through. Society is set up to recognise people who have addresses and bills to identify them in order that they can be offered jobs or bank accounts. Being homeless can exclude people from aspects of life that a lot of us take for granted. People who are tackling homelessness need a lot of support, and I think Crisis is brilliant as it gives people hope. That’s why I support them.

For more information on the Crisis Commission, log on to www.christies.com/events/ or www.crisis.org.uk page. 20

Eight Days in June ANTIQUE CERAMICS IN KENSINGTON 13th - 21st June 2012 OPENING TIMES: Wednesday 13th June 2pm - 8pm Weekdays 10am - 5pm Saturdays 10am - 4pm Sunday closed GARRY ATKINS

66c Kensington Church Street E&H Manners Gallery London W8 (*) Telephone 020 7727 8737 Mobile 07786 902 471 www.EnglishPottery.com

RODERICK JELLICOE 66c Kensington Church Street E&H Manners Gallery London W8 (*) Telephone 020 7624 6471 Mobile 07775 580 051 www. EnglishPorcelain.com

R & G McPHERSON ANTIQUES

40 Kensington Church Street London W8 4BX Telephone 020 7937 0812 Mobile 07515 806 230 www.OrientalCeramics.com

SIMON SPERO

3a Campden Street off Kensington Church Street London W8 7EP Telephone 020 7727 7413 Fax 020 7727 7414

Catalogue available at

EightDaysinJune.com

(*) Exhibition Address only

The (Every)Collector Formerly the reserve of a select few, owning a piece of art is soon to become an everyday experience - an everyday experience for the Everyman. As Stefan Nicolaou observes, in the 21st Century, we find an Everycollector is born words: Stefan Nicolaou

Viewing art in its many guises and media exists as an accessible and straightforward activity. This if, of course, speaking in the very literal sense and abandoning any convoluted discussions of social exclusivity. While admittedly abundant in some areas more than others, galleries and museums are a permanent open-day with much gratitude owed to dedicated philanthropists, public government funds and visitor donations. Stumbling cross emerging artists in the scores of backstreet viewing rooms and cafe-cum-bars, or visiting heritage collections in the National Gallery and Tate opens the pursuit and pleasure of art to everyman – except in ownership.

Gift shops are often the source of wry jokes concerning their invariable locality to an exhibition’s exit. This common edict highlights the crucial nature of gift shops to provide both visitor satisfaction in the form of mementos and increasing a gallery’s profit-margins. In a building where rules against photography and filming reign supreme, prints and books serve as minute reminder of the experience.

A question lingers: why own a replica condensed and distorted onto a mug or canvas-tote bag? Why settle for gloss and curvature of an embellished souvenir tea-pot?

Hiding away the keepsakes of gallery visits on a shelf seems a sorry consolation in lieu of the real artefact. The limitation of owning favoured pieces of art as trinkets is arguably slowly dissipating.

Art is pushing beyond the boundary of spectatorship for many, and a business for a select few. There’s an increasing catalogue of authentic, affordable artwork in the selling portfolios of leading collection houses. Through low-cost gallery sales and the creation of exclusive prints, art can be a commodity for wallets less spacious than a jobbing collector’s. Home owned art is no longer an extension of selling populist exhibitions in the form of merchandise. The velvet rope is no less taut; Frames aren’t to be prised apart.

Canvas can, however, be carried home under the arm of more enthusiasts - especially as an investment or worthy object of interior decoration.

A sale at Bonhams this 29th May is a case in point that signals a new opportunity to practise hanging art as a domestic hobby. The modern British prints on sale at Bonhams are an opportunity to glide into the art-buying arena. It’s realistic to accept that not everyman can amass a vault of paintings such as Saatchi or Frank Cohen, but a large portion of enthusiasts and shrewd investors can own a Hockney, Hirst or even Picasso print for as little as £700.

Usually, adorning the home with decorative art rests at a hazardous crux where affordability meets discerning quality. The scope for the growing arm of everyday art collectors - the everycollector if you will - to viably buy eminent artistic work widens as the shop floor expands.

The vibrant, abstract geometry, for instance, of Sir Terry Frost is sold inexpensively alongside gloomy and sultry sketches of L. S. Lowry: every movement and style for every colour palette and motif. Common sense would also dictate that the collections available will broaden as the trend of domesticated art comes further to the fore.

This is not a solitary matter of decoration. All work on sale at the Bonhams sale mentioned above is a limited edition – a collector’s item. As one should expect, the prints are high in quality and replicate the details and nuances of the original. Ownership of art reaches a value beyond interior furnishing, becoming an acquisition of what is personally appreciated and a prudent investment.

It would be reductive to assert that artists such as Hodgkins or Hockney are merely popular because they are successful or have received mass publicity. We queue for, and meander around, galleries and visitor spaces in a similar fashion to when we attend musical concerts or the theatre. Listening to a CD or reading scripts is a diluted experience compared to witnessing the living display.

Bona fide artwork in the area of habit and rest eschews the limitations of opening hours and ordered distance. It’s a further advantage that the purchase in question rarely loses value if bought intelligently and from estimable trading hands.

Accompanying the obedience-trained dog on the rug and the strawberries in the greenhouse will soon be the legitimate creations of established artists. In pride of place, at a price not to be baulked at and a point of permanent appreciation, art collection for the domestic setting has arrived. No queues, assembly or exiting through the gift shop required. www.bonhams.com

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C u lt u r e w i t h C hri st i e ’s

Bag Yourself A Unique Hermès Bag The first in their exclusive monthly column, Chairman of Christie’s South Kensington, Nic McElhatton highlights the cultural event of the month words: Nic McElhatton

Christie's South Kensington offers a range of sales for new collectors as well as seasoned connoisseurs, across a variety of categories from Interiors and Antiquities through to Memorabilia and Fashion. Sales dedicated to Hermès handbags have been a regular occurrence since 2009, and continue to prove popular with collectors wishing to bypass the waiting lists for the rarest, brightest, and most exotic of accessories. This May, as well as the various owner Elegance auction which features sixty-eight Hermès handbags including Birkins, Kellys, and vintage models, Christie's will be staging a special one-off online auction of four one-of-a-kind PasseGuide bags representing England, Ireland, Scotland and Wales; a tribute to the United Kingdom and Ireland. The handbags will be unveiled at the launch of Hermès' ‘Leather Forever’

exhibition which will be open to the public from 8th - 27th May 2012 at the galleries at 6 Burlington Gardens, London, W1. The auction will begin on Monday, 14th May and each bag will be sold to the highest bidder on Thursday, 31st May. All proceeds from the auction will be donated to the Royal Academy of Arts.

Please note that Christie's Elegance auction of Hermès handbags offered from various owners will be held at Christie's South Kensington on 30 May 2012. Hermes: Four One-of-a-Kind Passe-Guide Bags starts: 14 May 2012 at 9am GMT. Final bids: 31 May www.christies.com/hermes All proceeds from the auction will be donated to The Royal Academy of Arts. page. 23

The Bags 1. An ‘Irish Green’ crocodile ‘Passe Guide Ireland’ bag Hermès, 2012 Estimate: £22,000-24,000 2. A ‘Barenia Natural’ Leather and Tartan ‘Passe Guide Scotland’ Bag Hermès, The Tartan by Johnstons of Elgin, 2012 Estimate: £8,000-10,000 3. A ‘Vert Fonce’ Box Leather ‘Passe Guide Wales’ Bag Hermès, 2012 Estimate: £8,000-10,000

Martin Crimp, Paris 2009 Photograph: Raphaël Labbé

Mart i n C ri m p

The Crimp Fairytales Martin Crimp is arguably Britain’s greatest living playwright. Arguably. Still, to this day, the controversial writer sparks debate amongst his critics and peers. To some, his work is regarded as part of the radical in-yer-face movement of the 90s - a movement that centred on contentious, vulgar and outrageous material. To others, including Crimp himself, such an opinion couldn’t be further from the truth. Alan Fielden caught up with him words: Alan Fielden portrait: Gautier Deblonde/nb pictures

The whole blue sky over Pimlico is clear today as I await Martin Crimp’s arrival, sipping a half-pint to steel my nerves. I’m excited and a touch nauseous to meet the writer of two of my favourite plays; the innovative, labyrinthine Attempts on Her Life and Fewer Emergencies, that sinister trilogy that felt like a quiet revelation to a much younger self.

Recently, Martin’s translation of Botho Strauss’ Gross und Klein (Big and Small) has astounded audiences at the Barbican (featuring a brilliant Cate Blanchett, almost unanimously praised by the press, “mesmerizing”, “beyond terrific”). For the Orange Tree Theatre’s 40th birthday Martin has mirrored himself; the 56 year-old has written Play House, about a pair of volatile young lovers, to compliment Definitely the Bahamas, a play about a couple in their late fifties/early sixties written when he was 30.

For the first time he also directs.

Soon enough Martin arrives. We order our tapas and I get rolling, a younger writer to an elder.

AF: That’s what I most enjoyed about Neil Dudgeon’s [now lead in Midsomer Murders] performance in Fewer Emergencies.

MC: Yes. There are some actors like Neil who have that quality. Which is very good to interpret my work.

AF: Did you enjoy directing?

MC: I really enjoyed it. Compared to being a writer it’s much more intense. If I’m having a good day as a writer I might be working from nine in the morning to two o’clock and then thinking, ‘Ok, I’ve done my days’ work’. As a director, you’re working from the moment you wake up until ten at night. Because I had two plays I was rehearsing simultaneously, I’d really gone in at the deep end. Fortunately I’ve worked with people like Katie Mitchell, who’s been very helpful.

AF: That happened quick! Are you ever shocked by what the characters are doing?

MC: Sometimes. In Face to the Wall. I found that quite hard to write; the long speech about shooting children, about diving into blood. There’s a voice leading you somewhere that you don’t necessarily want to go. That’s quite worrying. No, it’s not worrying, no. I’m being precious. It’s quite exciting really. When a character takes you somewhere that you weren’t expecting (Laughs).

Shock would not be the right word.

AF: Where do you find a play?

MC: I find a play on the page. By the process of writing. I’m very much someone who likes to improvise with my piece of paper. I write longhand with a pen. Sometimes I will come back to something after a couple of years, that I’ve abandoned, and think, ‘There was some mileage in that’.

It’s a matter of trying to build up a critical mass.

AF: Lastly, what do you enjoy about writing?

MC: (A pause for some time where we both dab at our dishes)

AF: You could start with nothing?

MC: Yes. Obviously there are exceptions, but I like to let the writing do the discovery.

AF: What is more important to you - to illicit humour or grief?

MC: That’s a good question. I think comedy is an intrinsic part of my makeup. Having said that, every line that I write I find both funny and not funny at the same time. It has to make me smile but at the same time be serious. When your work is produced in translation some of the tiny, tiny, tiny things which make people smile in your own language are taken away. You learn that you cannot depend on tics of style to achieve your aims. There has to be something more serious and deeper at work.

I’ve been so lucky to have work produced by Luc Bondy because he has an extreme lightness of touch and although he’s a very intellectual man, he also has a wonderful sense of humour.

AF: Is a writer responsible for what his characters say or do?

MC: The interesting thing is when you find voices that will speak autonomously. And then they will move the action forward; they will make the discoveries for you. That’s the situation you always aim for.

(Aside) It’s pouring with rain.

I enjoy being completely on my own.

I enjoy making marks on a piece of paper.

I enjoy travelling in my own mind, via the voices I can discover in my own head.

I love making structures.

I love words. Themselves. As objects. As food. Things you can eat.

I love the sound of the human voice. I love that music.

And… I like the sense of being able to stop time. To get hold of a piece of time. And hold it. Stop it. And preserve it.

Those are the things I like.

A lot of things I really hate (Laughs).

AF: Maybe next time.

MC: Next time maybe. page. 24

I found that quite hard to write; the long speech about shooting children, about diving into blood. There’s a voice leading you somewhere that you don’t necessarily want to go. That’s quite worrying

Peter Carey by Ashley Gilbertson

B o o k r e vi e w s

“I have always imagined that Paradise will be a kind of library.” Borges THE CHEMISTRY OF TEARS Peter Carey Faber, £17.99 (Hardback) £12.99 (E-Book) Out Now

ONCE YOU BREAK A KNUCKLE D.W. Wilson Bloomsbury, £14.99, Hardback, Out Now

LIFE! DEATH! PRIZES! Stephen May Out Now via http://bit.ly/xnyyjh

A careful layering of reality and unreality runs through Peter Carey’s new novel. It mostly takes place in a fictional museum, but detailed localism and the intrusion of a utilitarian, centreright coalition government seem all-too familiar. Here, a fictional object is being restored: a clockwork automaton of a duck – or swan, depending on which narrator you believe at which point in the book – based on Vaucanson’s famous ‘digesting duck’ that appeared to eat and defecate. The overall effect is reminiscent of Angela Carter: a world so close and vivid as to seem realistic, but where something unreal always threatens to break the surface.

Two narrators view the automaton through the prism of bereavement. In 2010, conservator Catherine Gehrig, tasked with restoring the item, grieves for the co-worker she shared a secret love with. In 1854, Henry Brandling commissions the duck as a gift to his dying son.

As both observe, they’re in a dangerous interplay of emotions and symbolism: grieving the dead or dying at the same time as bringing something inanimate to apparent life. Unspoken by either is the fact that, wishing they had more time with someone, they have become invested in the mechanics of clocks. The idea that technology symbolizes and mediates our relationships and emotions runs throughout the book: Gehrig has to painstakingly delete endless emailed love-letters; her conservation assistant is driven mad by a live webcam of the Gulf Oil Spill.

This is not always an enjoyable read: both narrators are so enveloped by their own unstable emotions that it’s difficult for either to grow or develop, a fact mirrored by their frustratingly slow progress on the building (and rebuilding) of the swan.

Furthermore, a recurrent self-analysis in the dual narrative detracts from the vibrancy of both worlds, and from Carey’s own impressive control of pace and narrative voice, dominated by the longevity and introversion of the grieving process.

Benedict Anderson called museums “a kind of necrological census”. One of Carey’s early stories described a world where people were visibly disappearing, either because the ‘census takers’ had failed to adequately document people’s existence, or because people weren’t truly loved. In the ‘necrological census’ of the museum, The Chemistry of Tears discusses the same dilemma: whether to hold onto people through the technology of memory, or simply to love them.

Ben Osborn benosborn.blogspot.com

“Once you break a knuckle,” says John Crease, “you will break it again.”

The eponymous line from D.W. Wilson’s Once You Break a Knuckle sets a precedent for his collection of twelve short stories. The collection includes The Dead Roads, a fleeting tale of friendship, jealousy and missed opportunities, which was the recipient of the BBC’s National Short Story Award last year. Consequently one would expect it to be the pinnacle of the dozen tales; remarkably, it isn’t.

Each of the stories is set in Kootenay Valley in western Canada, a small town with a small-town mentality. Wilson’s prose is concise, subtle and sparing; like clustered communities worldwide, the twelve stories gradually interconnect, making tributaries between characters and the consequences of their actions. Characters appear as children, as awkward teenagers, and later as disaffected parents. As the reader pieces together tales which underpin the community, Wilson artfully navigates suspense, humour, heartbreak, violence and betrayal with an unerring, terse style.

The book is undisputedly masculine; each narrator is male, and though female characters are an addendum, only a couple of them feel fully fleshed-out. Interpret this as you will; but Wilson’s depiction of male relationships, tensions and paternities is majestic. The stories bear more than a passing similarity to Raymond Carver; but at his most fluid, Once You Break a Knuckle is reminiscent of Hemingway’s shorter works; loaded and visceral, yet remarkably retaining an acute sensitivity.

The relationship between John Crease and his son, Will, is perfectly pitched. Crease senior, an all-American policeman who nicknames his fists ‘Six Months in Hospital’ and ‘Instant Death’, scarcely has the means to muster compassion towards his son; instead their affection is teased out in a series of physical battles, be it judo competitions or a tug-of-war.

Will, a promising scholar at his father’s behest, secretly longs to follow in John’s footsteps and join the police; he turns, returns and re-returns to Ash, the playful sister of his best friend Mitch, who, incidentally, narrates the collection’s closing tale, a musing upon families, mobility (mechanized and social) and the multifarious, convoluted fissure that separates generations.

Danny Arter

How easy is it for a nineteen-year-old to bring up a child? Far from the tedious, tired tales of teenage parents that are found in the ‘real-life’ magazines from which Stephen May’s latest novel derives its title, Life! Death! Prizes! follows Billy, who is thrust into playing parent for his six-year-old half-brother, Oscar. The unlikely relationship occurs after the two boys’ mother is killed in a mugging gone wrong; the culprit, a drugaddled teen entirely befitting the pages of such magazines, haunts Billy with increasingly regularity – but this is only one of his problems.

Balancing recreational drugs, booze, the school run and computer game ‘Empire’, Billy has to negotiate Oscar’s brutish father, Dean, whose ill-managed attempts to gain custody of his son are met with increasingly blunt (and comic) rebuttals; his aunt, Toni, whose wellintentioned visits more often than not spiral into alcoholfuelled film marathons; and Lucy, a spunky, gothic school teacher who gives Billy an education which exceeds the national curriculum.

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Billy narrates the book exceptionally; the teen voice teems with clarity,wit and passion His job at a local museum (patronisingly visited by local schools intermittently) – which a local councillor tries to sex-up in a particularly comic scene – fails to pay the bills, and a diet of takeaways, archaic movies and glossy magazines does little to stimulate Billy, much to his own chagrin. He takes comfort in stories more unlikely, tragic and bereft than his own; and while his fluctuating moods mean he is scarcely among the ‘PTA parents’ that patrol the primary school playground, his relationship with Oscar is vividly realistic and utterly compassionable.

Billy narrates the book exceptionally; the teen voice teems with clarity, wit and passion, scurrying the narrative to a conclusion whose briskness is Life! Death! Prizes!’s most prominent shortcoming in an otherwise marvellous read.

Danny Arter

Stephen May

the insider

Our Man In...

Our book industry insider gives his thoughts on the latest trends, news and views.

The publishing industry was left well and truly spellbound by the recent launch of Harry Potter e-books. Yes, we’ve all read them before (admit it), but Amazon’s concession to redirect consumers away from their site (and into J K Rowling’s ‘Pottermore’ sphere) to purchase the books is a first; and it’s significant. At times Amazon can seem the inconquerable behemoth; but the deal suggests that a well-written, wellplotted book that captures the imagination can level the playing field.

In other news, Jamie Oliver will be bringing his ’15-minute meals’ to you this Christmas (we might just be able to make these ones in half an hour), and comedian-cum-Herculean madman David Walliams’ autobiography will also pop up in many a stocking. For those of you more inclined towards literary fare, Zadie Smith’s new novel, NW, looks set for an October issue.

Keep an eye on Karen Thompson Walker’s The Age of Miracles.

Bought for half a million quid by Simon & Schuster, the book is premised upon the earth’s orbit slowing (thus throwing the 24-hour day into flux). The book is receiving big backing and early reviews are favourable, too. The book will be published on 21st June; the longest day of the year—be sure to make time for it.

Pleased to Tweet You

Stephen May Stephen May is an award-winning novelist, playwright and TV writer.

You can read from his new book Life! Death! Prizes courtesy of Bloomsbury at: http://bit.ly/xnYyJh. Books Editor Danny Arter conducted a Twitterview (That’s twitter, and interview of course) via @KCReview. @KCReview: How did you get into writing? @RealStephenMay: Wrote as a kid. Had it knocked out of me at school and uni. But the writing virus is a strong one and came back with a vengeance about ten years ago.

How about soap operas; did your ‘Emmerdale’ experience help?

Emmerdale is a beast ravenous for story. Needs feeding constantly.

Writer's block on a show like that will just get you sacked.

Life! Death! Prizes!:what’s the story?

Single mother killed. Oldest son, Billy, 19, has to become mum, dad and everything for Oscar 6. It's uplifting not bleak, a hopeful kind of ghost story...

How are you promoting the book?

By talking to every single potential reader in the world - or trying to. I intend to spend the whole next year in libraries and bookshops. The last public places left where no one will insist you buy a blueberry muffin.

Why the title?

If you know your Chat magazine (and I'm sure you do) then you'll know why...

What next?

Another book called Wake Up Happy Every Day. And then more books after that. I've procrastinated too long already to hang about now...

Is the fibre/plot of L!D!P! Inspired by ‘real-life’ magazines?

Not inspired exactly. Those mags - what Billy calls traumaporn in the book - provide some of the texture, some of the weather of the book...

And finally... how much ‘Empire’ did you play?

I invented the Wings of Empire PC game for the book. Game playing experts (ie all male teenagers) tell me it sounds cool. Maybe I should develop that as an alternative income stream. Know any designers?

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Olivier - and Let Die? Alan Fielden speaks to Julian Bird and wonders what the traditionally prestigious Olivier Awards means for the changing face of performance words: Alan Fielden photography: Images from RSC’s Matilda the Musical

Ah, the Oliviers! Jewel in the crown of the theatrical calendar.

And how it sparkled, resplendent with song and dance aplenty; “In difficult financial times, people still wish to be entertained - perhaps even more than ever”. Or so says Julian Bird, Chief Executive of the Society of London Theatre (SOLT), organisers of the Olivier Awards. This year’s Oliviers, perhaps foreshadowing that other London 2012 event, was a wildly successful exercise in bold celebration with deserved recognition going to home-grown talents Ruth Wilson, Benedict Cumberbatch and Edward Watson among others, and a new, prestigious venue; “For the first time ever the [Awards] were held in the spectacular setting of the Royal Opera House. As well as broadcasting live coverage on BBC Red Button, BBC Radio 2 and online we held simultaneous celebrations on Broadway for the theatre industry and for free in Covent Garden for the public. I was delighted we could deliver the evening’s entertainment to such a wide audience around the world.”

For the first time, the greatest of British theatre livestreamed worldwide. Not a trace of thrift could be found in the

starry cavern of the ROH, and rightly so; “The annual Box Office figures show that attendance of plays continues to grow, year on year. In particular in the past year we have seen comedy plays drawing in the crowds [...] and musicals continue to thrive with a current trend for classic nostalgic musicals such as Top Hat, Singin’ in the Rain and The Wizard of Oz” says Julian.

On the surface theatre is in rude health, but whose theatre?

The ‘West End Theatre Awards’, as they were called back in 1976, were designed to champion commercial creativity, in direct competition with the Evening Standard Drama Awards' assumed bias towards subsidised work. Yet this year’s ceremony was almost a paean to the success of subsidised drama, nowhere more so than with Matilda’s record breaking 7 awards, now staring out from the Royal Shakespeare Company’s mantelpiece. Elsewhere were scores of awards for productions at the National and the Donmar Warehouse with only three awards going to commercially originated work. Whilst this year’s Oliviers spell disappointment for the Theatreland’s creative ingenuity, it’s great validation of taxpayer funding. Let’s hope the Olympics follows suit.

K&C Review Recommends Caligula English National Opera 25 May- 14 June Awaken by the truths of morality and mortality following his sister's death, Emperor Caligula embarks on a spree of sexual depravity and reprehensible violence as he seeks to free himself from his greatest enemy- grief. Based on Camus' existentialist response to Hitler and Stalin, but resonating with today's tyrants, young director Benedict Andrews’ production carves himself out as one of our brightest talents.

From £10-£60 www.eno.org Opera's Greatest Stars Royal Albert Hall 6 June For the first time in history, three of Opera's most renowned stars take to the stage in unison. Jonas Kaufmann, Anna Netrebko, Erwin Schrott come together for a sublime gala of their favourite arias and music by Puccini, Verdi, Mozart and many more.

From £25-£185 www.royalalberthall.com Boys Soho Theatre 29 May- 16 June Following his acclaimed production of Romeo and Juliet, Robert Icke returns, this time with Ella Hickson, one of the UKs most promising new writers. Boys follows four young men waking up on finals day, and their fight to come to terms with growing up in a world they're not sure wants them.

From £10-£20 www.sohotheatre.com The Suit Young Vic 21 May- 16 June Theatre innovator Peter Brook returns with an altogether more international project. Joining Marie-Hélène Estienne in the director’s chairs, The Suit takes the dusty claustrophobia of the South African 1950’s township in which the production is set and communicates it perfectly into a story of adultery and pitiless punishment. £10-£30 www.youngvic.org

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Oz wa l d B o e t e n g

A Cut Above the Rest Ozwald Boeteng is a busy man. One of the youngest tailors on Savile Row, he singlehandedly reinvigorated the art of the suit, catapulting it onto a worldwide stage. He is regularly voted one of Britain’s best dressed men, he’s collaborated with Coutts and Givenchy, and has even had his own biopic created. When he’s not acting as a living-breathing icon he runs his own social enterprise project, Made In Africa, a multi-million pound initiative that seeks to finance fledgling African companies, normally denied from the business infrastructure.

Coco Khan caught him between breaths words: Coco Khan photography: Jamie Morgan

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I once said that “Style is an extension of yourself” and I still live by that. A beautifully cut suit can transform a man’s very being

One of your greatest achievements was reintroducing a dying art - primarily the tailored suit - to a younger generation. You added the flair of fashion to what is essentially, a trade. What was the biggest challenge in bridging this gap?

It was an organic process. My Paris 1994 show was a defining moment in fashion, I took suits based on Savile Row traditions to the world stage. When I first moved to the Row there was a real challenge there, people were apprehensive but they embraced it in the end and naturally, others followed.

You have a ready-to-wear range. How do you marry this ideologically with having been the spokesman for bespoke?

Even in the ready to wear ranges I stay true to the same design philosophy. I actually started out as a designer so it¹s not an alien concept for me to work like this. It was my chance meeting with Tommy Nutter [tailor] that first started my love affair with tailoring.

What is it about the suit as an object itself that has drawn you to it?

I once said that “Style is an extension of yourself” and I still live by that. A beautifully cut suit can transform a man’s very being, he exudes confidence.

Your Made In Africa project is truly one of the most ambitious projects by a fashion designer.

Does the work you do with Made In Africa spill over to your design? How do the two influence each other?

Africa itself is a huge influence in my work. Of course, being on Savile Row I will always appreciate the elegant beauty of British tradition. But the flair in my pieces is definitely rooted in my African heritage; that is what makes my suits stand out from the crowd.

The recently released A Man’s Story was clearly a very personal account of your rise to fame. What was it you sought to achieve with the movie?

It explores the trials and tribulations of what it is to be a man. Every man has his aspirations, his dreams, and every man has to find a way to make that happen all the while balancing that with life, family. It¹s the way he deals with these things that helps him to grow as a person.

What are your plans for expansion, where will the man (and the brand) Ozwald Boateng go next?

I want to take the brand global. We¹re at a turning point at the moment and I¹ve been looking at new sites for stores London, New York, Paris; all I¹ll say is that it¹s a very exciting time for us right now. page. 33

Heeling Hands Bespoke footwear is the latest trend in a burgeoning landscape of tailor-made and custom designed outerwear. Shula Pannick interviews Lady Gaga’s shoe designer, and finds out what it is to be a well-heeled individual words: Shula Pannick portraits: Ben Ottewell of O.W.H. Creative

David Beckham swears by them. And Lady Gaga just can’t get enough. The economy may be feeling a pinch but today’s bigspenders are unwilling to extend the same discomfort to their feet.

Bespoke (or custom-made) shoes are the new way for the sartorially savvy to stand out and find the perfect fit to boot.

With finances uncertain, consumers are investing their hardearned cash in quality that will last a lifetime. And so we see a demand for made-to-measure footwear and a concerted move away from the ‘Ugly Sister’ moment of forcing toes into a coveted Cinderella glass slipper that just won’t fit.

The luxury bespoke industry is long synonymous with the suit. Distinguished gentlemen, from Churchill to Napoleon III, have flocked to London’ Savile Row for centuries. But the opulence of altering style, colour and fit to one’s exact specifications extends far beyond clothing. George Cleverley is one of London’s most famous bespoke shoemakers, with a shop on the Royal Arcade, Bond Street and boasts a client list that spans over half the men in ‘Vanity Fair’s International Best Dressed Hall of Fame’. But, the perfect fit and total design control of made-to-measure is not only the reserve of minted males. Shoes took centre-stage at 2012 Fashion Shows, encouraging women to imitate Alexander McQueen’s studded embellishments and flashy brights and metallics at Christian Louboutin. But, as foot focus becomes de rigeur this season, women are left searching for the perfect shoe.

Natacha Marro, a much-lauded bespoke footwear designer, can make your shoe dream a reality at her London workshop.

With her creations featured on the pages of Vogue and Harper’s Bazaar (as well as heel-less versions on the feet of Lady Gaga and David Bowie), she’s adamant she doesn’t only cater for superstars. “The beauty about my business is that we have all different kinds of customers; different ages and different backgrounds”. The common thread between clientele is an appreciation for quality and the art of fancy footwear. “They enjoy the custom made experience” which can be an addictive one. “It is almost like a drug; you can escape and get some happiness from the pleasure of luxury. Regardless of career or budget, people are willing to save up for this special pleasure!”

In a world of one-click internet purchases, a hand-made ‘process’ might seem too arduous a prospect. However, for Natacha, it is the start-to-finish involvement that makes the shoes all the more enjoyable. “My customers can choose from beginning to end, from height to colour to material. It takes between one to two weeks for the entire process and they are left with shoes that fit their personality as well as their fashion purposes”. With prices ranging between £340 and £600, her shoes are competitively priced. And of course customers walk away in heels they can actually walk in.

Natacha has seen many clients suffer from forcing their feet into ill-fitting mass produced shoes. Trends may dictate extreme shapes and high heels, but Natacha’s customers are put back in control through a pampering fitting experience for a unique item no one else can have. “I take High Fashion into consideration and concentrate on the construction of the shoes.

Each pair will not only look like you wanted but have enough support, be hard-wearing and extremely comfortable. They won’t go against your walk but will follow it”.

As shoes are hand lasted without machinery, Marro asserts “good bespoke shoes should last forever”. Produced with the best leather and tools, they can be repaired and even reconstructed at any juncture, and thus trump factory-made shoes Marro denounces as ‘pretty much disposable’. Whilst the bespoke industry may be misconstrued as a frivolous indulgence, are the made-to-measure gang having the last laugh? After all, the sage spender knows it’s value for money rather than price that really counts. If the shoe fits…

For more information visit www.natachamarro.com

Photo, left: Lady Gaga on Jonathan Ross, wearing Natacha Marro shoes; courtesy of ITV and Rex Pictures page. 34

The perfect shoe transforms you. It’s like flawless make-up making you more beautiful.

The shoe should bring out the best in you and give you the perfect silhouette. Flat or high heeled, it is about feeling sexy, attractive, and comfortable! The shoes should feel like they were made only for you and be the star of the show. You don’t need anything else...

Natacha Marro

A Royal Flush With the Jubilee upon us, commemorative items are rife- but getting into the spirit doesn’t mean eggcups and teatowels. We look at some of the most luxurious Jubilee items on offer 1.

2.

3.

5.

6.

10.

4.

7.

9.

8.

1. BoBelle Limited Edition Jubilee Clutch, £850 www.bobellelondon.com 2. Christopher Ward C60 Trident Automatic Watch, £350 www.christopherward.co.uk 3. Noble Macmillan Luxury Leather Backgammon, £595 www.noblemacmillan.com 4. Mappin & Webb Jubilee Stackable Eternity Rings, £1,750 www.mappinandwebb.com 5. Jimmy Choo Soho Union Jack Scarf, £265 www.jimmychoo.com 6. Kir Imperial Gift Set, £35 www.waitrosewine.com 5. East India Company Jubilee Tea Blend, £75 www.eastindiacompany.com 7. Darlings of Chelsea Stamp Rug, £765 www.darlingsofchelsea.co.uk 9. Rule Supreme Style Bikes, £595 www.rulebikes.com 10. Clive Christian No.1 Imperial Majesty, £650 www.harrods.com page. 36

You Are Your Own Guru With yoga as a method of beautification becoming increasingly ingrained in wellness routines, what place does its spiritual aspect have in the modern world? Kundalini Yoga is one of the most advanced forms of the practice, with heavy influence on meditation on spiritual awareness. Maya Fiennes, Kundalini’s most famous teacher tells Marta Mura why ‘finding the silence’ remains our greatest reward words: Marta Mura photography: Glenn Aitken

I used to think of a yoga guru as someone with a scruffy beard living in a remote mountain, but when I first heard about Maya Fiennes I quickly realised I had it all wrong.

If Kundalini yoga, which she masters, helps us look as beautiful and fresh as she does, then I suggest we all roll out our yoga mats and start with our breathing techniques.

Make no mistakes, Maya is no hermit. Like each and every one of us, she has a career, family and friends. What she can do that we can’t, yet, is using Kundalini yoga to improve life quality.

“Kundalini has become my lifestyle,” Maya explains.

“Although being the most ancient type of yoga, its principles fit perfectly each aspect of our modern lives. We live in a busy world, that’s why it is important to meditate and find some silence within us.” It’s precisely why she wrote her book Yoga for Real Life in 2010: undertaking a journey through the seven chakras, she guides us to love, sex, maternity, career, relationships, nutrition and awareness. Chapter by chapter Maya generously shares her own story in a lively combination of exercises, mantras, recipes and practical advices. But when did she start embracing Kundalini?

Macedonian born, 49 but looking 35, Maya started her career as a pianist and moved to London in 1990 where she became an acclaimed musician and composer. She met her husband in 1995 (music producer Magnus Fiennes, brother of the actor Ralph Fiennes) and they had two daughters. Although having all the reasons to be happy Maya felt something was missing, and a friend of her, who “sensed the unease that was eating away at me”, introduced her to Kundalini: “At first I

thought it all a bit weird but during my third class I managed to silence my mind and listen to my spirit. It was a very emotional experience and in that moment I understood that Kundalini was my path,” she explains.

Maya got her Kundalini teacher diploma in 2005 and soon realised she could marry her passion for music to yoga: she composes and plays the music in the CDs and DVDs of her Kundalini sessions.

Certain traditional yoga positions can be difficult to perform depending on age, body shape and size, but Kundalini is for everyone, including children. Maya herself often does yoga with her two daughters, aged 12 and 14. “Many children love Kundalini because it’s playful. It’s a great way to spend some time with your kids but we must remember that they have to be left free to choose. My husband and I provide our daughters with several opportunities and when they find something they enjoy we encourage them to continue.”

So how does she find a balance between her career and her private life? “You always find time for what you love. It’s important to not over stress, let your loved ones free and be there to support them when necessary. We don’t want to create dependence but harmony.”

Maya does indeed look like the embodiment of what she teaches. So, can Kundalini be considered the new fountain of youth? “Yes! It definitely keeps your body young and strong but we shouldn’t be ashamed to show our age in a healthy way as every wrinkle is testimony of our wisdom. Life has cycles, we all want to have some changes at some point and we should page. 37

follow that instinct”. She tells me that when she turned forty she felt there was a change coming: “We decided to move from London to Santa Monica and we started a new life.”

Her living in L.A doesn’t stop her from travelling for work: Maya has planned several Kundalini retreats around the world this year. She started in January at the One&Only Reethi Rah Resort in the Maldives, a breathtaking hotel immersed into the natural elements, and she’s just back from a four-day Detox Yoga retreat in Germany. The next months will also see her in Spain, France and the the UK. Many people with physical ailments (from cancer to back pain and overweight-related problems) thanked Maya on her website telling of how Kundalini healed them or considerably improved their condition. Is Kundalini an alternative form of medicine, then? “Absolutely. There are many doctors, in particular neurologists, that attend my lessons because they want to learn how Kundalini affects the brain.”

And perhaps talking about Kundalini a few months before the much-dreaded December 21st prophecy is particularly timely. No apocalyptic theories though: “When we enter a new age there is a shift and in this case it’s about regaining power” Maya says. “We will be in control of our life and our destiny, there will be more awareness.”

Do we need a guru, then, to guide us through this? “You are your own guru,” she says, “you have all the answers to your questions, they lie within you. You just have to find them.” www.mayaspace.com

B e a u t y R e vi e w

Recommended:Hydration A roundup of the latest products to revitalise dry skin Nutrifill, from Bakel, combats dry skin with a blend of Baobab Oil, Mango Seed Butter and Moringa Seed Oil and has gathered a fan base from Natalie Portman, Anne Heathaway and Demi Moore.

Available from Fenwicks, Bond Street, Nutrifill is priced at RRP £130 for 50ml. Pictured below

Angelica Hydration Cream, L’Occitaine, uses oils and waters from the organic Angelica root for the first time in cosmetics. The Angelica plant is known for its ability to extract large amounts of water from the soil and this cream improves circulation of moisture in skin by stimulating the skins natural water channels. www.loccitane.co.uk

Clinique’s new Moisture Surge Intense Skin Fortifying Hydrator is an oil free moisturizer containing barrier strengthening and repair ingredients to reduce water loss with noticeable results after just eight weeks.

A snip at RRP £30 per tub www.clinique.co.uk

For the chaps The Hydrating Lipids Complex, NuBo, is a concentrated serum to make sure that skin stays intensely moisturized. The silky formula is ideal for sensitive skin, and is free from parabens, sodium and fragrances.

RRP £50, www.nubobeauty.com

Spring Cleansing As the harsh winter subsides, Annie Vischer visits the Chelsea Day Spa Boutique to find a replenishing bespoke facial solution

The Expert: Richard Ward Chelsea based celebrity hairdresser Richard Ward, hairstylist to the Middleton family (including Kate on her big day) gives us his insight into the Spring Summer trends According to Ward, hair trends of SS12 take their inspiration from age old Hollywood glamour: ‘Whether your hair is long or short, it should be styled with volume, body and sophistication, giving the impression of thickness, lusciousness and richness.

This season’s long hair trend is all about confidence and glamour. Boldness and graceful class should radiate as tresses incorporate long, soft layers which elongate the face and encourage natural movement. Wear hair in a centre parting but try to incorporate a strong focal point like a long, choppy fringe to bring the look back up to date. For celebrity inspiration look to long-haired beauties such as Helena Christensen and Olivia Lawrence.

For shorter hair the priorities are texture and versatility.

Cuts should be kept strong and bold, but left with some flexible styling ability, incorporating longer layers which can be tonged, curled and formed into finger waves. Stars currently flaunting this look include Carey Mulligan and Michelle Williams. Shorter hair looks fantastic styled with a long sweeping fringe, so if you are thinking of taking the plunge, ask your stylist to talk through the best options to suit your lifestyle and face shape. page. 39

It is finally that time of year. The candy pink blossom is blooming across London, ice-cream vans can be spotted testing the waters and there is finally time for a glass of Rosé before the skies become dusky. I am a summer girl through and through, and though it may be a little soon for sunbathing, I am thrilled to be rescued from winter by the knight on a sunny white steed that is spring.

Whilst fabulous for spirits, such seasonal change is not so kind to skin. With temperatures often up and down skin, becomes dry and dehydrated. According to Pedro Catala, independent pharmacist and cosmetologist, and founder of natural skincare range TWELVE, “Seasonal weather change can affect skin, so we need to adjust beauty regimes accordingly. Skin should always be kept moisturised to avoid dry skin, which can feel tight, itchy, crack easily and most importantly, become vulnerable to harsh external elements”. As we ditch the heavy knits and furs ready for a Spring-Summer S12 wardrobe, we must also revitalise our skincare routine to hydrate as we swirl into spring.

For a luxurious skin saviour look no further than The Chelsea Day Spa Boutique, the tranquil sister location to the popular Chelsea Day Spa on Kings Road. Within skipping distance of the art galleries and cafés of Hollywood Road, new beauty hideaway The Chelsea Day Spa Boutique offers seven Darphin Facials that use the French skincare collection made from plant extracts and botanical aromas to provide bespoke skin treatments.

In the aid of a new SS12 beauty regime I popped by to discover what the Darphin Facials could impart. My therapist Shugar opted for the Chamomile and Honey Facial, a soothing treatment aimed at hydrating and reducing redness to reveal a smooth, even complexion.

Shugar began by cleansing, first with a gentle milk then with a foaming cleanser. Next came exfoliation followed by toner, then a massage developed specifically to stimulate the collagen deep beneath the skin to lift and increase radiance. Shugar also massaged my neck and décolletage, emphasising that it was important to treat them as an extension of the face, to cleanse and moisturise them in the same manner.

Shugar then applied the Darphin Sensitive Skin INTRAL Serum and a moisturising crème before layering a hydrating masque containing kiwi, mango and vitamin E with a Shea Butter and honey masque. Shugar left the masques to work their magic before gently removing them and applying the serum and moisturising crème to end the facial. I did consider pretending to be asleep in the hope that Shugar might be inclined to while away the time by repeating the process, but I was too eager to see the results of that blissful 60 minutes.

The mirror revealed a smooth, silken complexion, blemish free and aglow with vitality. The Darphin Facials on offer at The Chelsea Day Spa and The Chelsea Day Spa Boutique are the perfect introduction to spring for skin. All that remains is to let your dewy self enjoy the pastel hues of spring and wait for a balmy British summer to approach.

Darphin Facials, £85 for 60 minutes at The Chelsea Day Spa Boutique; 53 Hollywood Road, London SW10 9HX; 020 7351 4555; www.thechelseadayspa.co.uk

My inspiration was the British love for gardens; I was transfixed

R ay m o n d B l a n c

Food for Thought The name Raymond Blanc is synonymous with excellence and integrity. We caught up with him during his hectic schedule for a chat about Maman Blanc, the fight for sustainable fishing and gardening‌. words: Linda Cooke & Coco Khan

page. 40

You’ve spent a long time in the UK. Whilst Britain has had a renaissance in its own cuisine, what attracted you to our humble isle with its reputation for terrible food? Has the UK influenced your cooking?

No one would argue that Great Britain had a terrible reputation for food. So much so that in 1949, Raymond Postgate of the Good Food Guide started his campaign against cruelty to food. Great Britain became a factory of intensive farming and heavy processing which led to nutritional, societal, social and environmental problems. Now, it is a completely different story.

Living in Britain has had a huge cultural impact on my style of food. Today, British chefs are amongst the very best in the world. They are a truly exciting bunch. I have also integrated spices and techniques from other cultures that enrich me. There’s so much to celebrate here - fish, shellfish, poultry and cheese – wonderful cheese (and for a Frenchman, that’s not an easy thing to say.)

You are a self-taught chef, yet run a cookery school. Could the two facts not be perceived at odds?

Yes, I am indeed self-taught - thank God! I say thank God because I’ve been able to keep my freedom and remain open to ideas, textures and flavours. My cookery school is a testament to that fact. It was the very first cookery school which actively welcomed children and the first to create a full nutritional programme. I always strive to be at the forefront of modernity but also keep in mind that at the heart of everything I do is Maman Blanc’s [Raymond’s first eatery inspired by his mother’s cooking] approach to simple home cooking – simple, light and clean.

I don’t think that a self taught chef running a cookery school is at odds at all. The Raymond Blanc Cookery School is a place of total excellence - with fun. The best way to share values and make sure they stick is to do it with laughter and good times.

Of TV chefs you are one of the most well known faces. Do you agree the UK is becoming more food-literate because of television personalities? Twenty years ago, truffle oil was unheard of and now it’s stocked in supermarkets.

It is true – 20 years ago, truffle oil in the UK was unheard of – but then again so were chervil, fennel, and tarragon. This is how far the UK has come!

TV cooking in the past led to a kind of voyeurism. It became a past time – with an almost rock n roll aspect – all about the image, nothing about the heart – of food and of cooking.

After five years of television appearances I can see we are now addressing the real thing. TV programmes now have the possibility of reinventing food culture, understanding it more deeply and making it possible to connect with history, geography, provenance and climate as well as culture.

You also run a number of events, from gardening to wine tasting. What’s next for the Blanc Empire?

When it comes to Le Manoir [a Quat’ Saisons – Raymond’s hotel and restaurant in Oxford], I like to ensure that it is so much more than a restaurant. It sits at the heart of culture, of all that is elegant and beautiful.

At the moment we’re creating a medicinal herb garden and an organic garden using heritage seeds and these will help to form the basis of a new gardening school, which will celebrate all that is good about Britain.

There will be hundreds of the rarest British varieties which will re-introduce some of the most wonderfully British vegetables. My inspiration was the British love for gardens; I was transfixed – the functionality of a Briton’s garden is key for them whereas the French are more interested in how their garden looks.

Which three ingredients could you not live without and why?

That’s a difficult one, but if I have to choose – bread, cheese and wine. I’m very French still, you see!

There is nothing like wonderful home baked bread. We create 12 varieties twice a day at Le Manoir. Add to that a wonderful cheese, something like a Comté from my region (Blanc was born in Besancon in the Franche-Comte region) or good stilton or mature cheddar cheese from Britain – there’s nothing like it. The wine has to be French, from the Jura or Burgundy. A bottle of good Pinot Noir simply can’t be beaten.

You’ve been quite vocal about sustainable fish in restaurants. Have you got any advice for the Kensington and Chelsea Review reader on how to ‘tackle’ this issue?

I am very vocal because it is so important. I am astonished that so much of our food is imported. Where is the local produce and our interest and knowledge of provenance? I am on the London Food Board, as well as being the first Michelin starred chef to bring MSC (Marine Stewardship council) and MCS (Marine Conservation Society) issues to light.

Everyone should look for and buy fish from sustainable fisheries and educate themselves about the seasonal varieties. I would suggest learning more about what to do with beautiful fish such as Grey Mullet, Hake and Pollock. Yesterday, there was no haddock in the Atlantic and now they are back on menus. This is because more fisheries are reviving stocks differently and taking responsibility.

We all have our role to play in this from consumer to chef and back to retailers – all of us – so we must all take responsibility. visit www.manoir.com for more page. 41

This Month’s Picks For British Great Taste at The Cadogan The Great Taste Awards are the accolades given to British food producers whose foods are a cut above the rest. Instead of highlighting the craftsmanship of chefs, the awards reward the thankless producer role, offering winners a gold sticker to place on their items. These stickers are often seen in Waitrose, Fortnum and Mason, Harrods and more and, with around 10,000 entries this year, the almost 20 year-old scheme is regarded as the ultimate recognition. Head chef at The Cadogan, Oliver Lesnik, has teamed up with various famous foodies to create a menu using near-exclusively Great Taste award-ingredients and after a successful launch collaborating on a menu with Great Taste chair Nigel Barden and Telegraph journalist Xanthe Clay, Lesnik now works with Thomasina Miers (BBC Masterchef winner) and writer Luxas Hollweg (Sunday Times Style Magazine) to serve up something quite extraordinary. With collaborations rotating every eight weeks, The Cadogan will keep visitors on their toes, all that will be guaranteed by the food curators is some truly great taste.

75 Sloane Street, SW1X; www.cadogan.com

THE REVIEW

Notting Hill Brasserie words: Linda Cooke Hungry and hot-footing it along Kensington Park Road at suppertime on a Thursday evening, I did not expect Notting Hill Brasserie to be quite so unassuming. Having walked past it once, perhaps twice, my companion and I entered the charming townhouse to a warm welcome, the tinkle of soft jazz from the piano and flickering candlelight.

Our coats were taken without fuss and we were shown to our table, the dining room just starting to fill up and the ambience relaxed yet fizzing gently like the bubbles of a fine Champagne.

Service was impeccable from the get-go; head sommelier Alessandro took time to discuss the wine menu with us and selected a robust yet light Dinastia Vivanco Rioja for my companion and a slightly more full bodied Felino Malbec for myself.

My entrée was a marvellous dish of seared scallops the size of my fist, cooked to a perfect translucency and served with delicate, dark morels and garlic leaf spaetzle bursting with juiciness. My guest’s plate was just as ravishing – ample rounds of seared, deep rose-coloured tuna served with crisp vegetables, tiger prawn tempura and a sweet chilli mayonnaise. The headiness of the wine mixed with the sheer divinity of our first courses transported us into enchantment.

When the main meal arrived, tiny gasps of pleasure were let out as we observed our stunning plates, followed by furious knife-and-forkage punctuated only by the odd “ooh” or “mmm” and the clinking of other tables’ glassware.

I ordered the herb crusted rack of spring lamb (well, ‘tis the season) which was cooked medium rare and what a melt

in the mouth treat it was. It was served with a navarin of spring vegetables which was light but punchy, the technique of the chef visible in the beautifully turned vegetables and each mouthful an exquisite ballet of flavour. Watching my companion cut into her braised cheek of veal was like watching a knife dive into hot butter; the cut itself tender, unctuous and packed with taste. Her meat was complimented wonderfully by the accompaniments of ravioli of sweetbread, spring greens and an indulgent truffle puree. Sides of potato puree with spring onion and green beans with shallots and bacon were utter comfort.

A satisfied silence descended. A dessert menu arrived. We exchanged glances of the “I couldn’t possibly eat any more” variety.

“We’ll share the chocolate fondant, please,” I said.

“I’ll also take an espresso, thanks,” said my guest.

Alessandro twisted our arms into a dessert wine too, just to round things off. It was abrooding scarlet nectar from the Grenache Noir grape and just sharp enough to cut right through the rich chocolate and balance the flavours on the palate.

Notting Hill Brasserie was a real surprise. Led by Head Chef Karl Burdock, the standard of cooking here is exceptional, the service polished and the style classic. A fantastic, local gem of a restaurant that deserves a space in any little black book of London’s top tips, especially in view of its superb value weekend lunch deals. AA Gill has said of this place, “If it was at the bottom of my street, I’d be best pleased.” Well, quite.

Around £150 for a meal for two with wine, water and 12.5% service charge. 92 Kensington Park Road

from left to right: Brompton Bar & Grill; The Cadogan; Cinnamon Soho

For Fusion Cinnamon Soho ‘Fusion food’ has long been a term bandied around the restaurant game. Used in one context it can mean the blending of two types of familiar cooking i.e. Pan-Asian which fuses Vietnamese and Thai food. Used in another, more experimental context it could mean any number of horrendous concoctions designed to entice eaters by novelty, but traumatising them into never visiting again. One restaurant with a handle on the word ‘fusion’ is Cinnamon Soho, smaller brother to the ubiquitous Cinnamon Club. The reasonably priced eatery in its casual setting, hasn’t the ceremony or range of its elder, but the apple never falls far from the tree, and Cinnamon Soho serves up outstanding Indian food with a European design template.

Have your reservations? Drop in for a cocktail that mixes Indian spice and alcohol in never seen flavours and the Bangla-Scotch Egg which epitomizes the ‘best of both worlds’ outlook. After that, the only reservations you will have are ones for dinner.

5 Kingly Street, W1BL www.cinnamon-kitchen.com For Absinthe Brompton Bar and Grill Escape from the hustle and bustle of Brompton Road with lunch at the Brompton Bar and Grill - but with one particular star on the menu we can’t promise you won’t be seeing stars on the way out. Perhaps the best kept secret on the Brompton Road is the authentic absinthe fountains on offer for customers. Get the full treatment with sugar cubes and book yourself in for lunch with the Green Fairy. Plus, with a selection of Absinthes to choose from, you’ll fine one to take your fancy. It sure beats a grappa to finish.

243 Brompton Road, SW3; www.bromptonbarandgrill.com For Gastropub The Cadogan Arms Complete with Billiards room, and a stuffed Buffalo head on the wall, there’s more than ‘a little something’ traditional at The Cadogan Arms. Run by Tom and Ed Martin whose reign has overseen some of London’s best posh-pubs, The Cadogan Arms is perhaps the most characterful of gastropubs on the Kings Road. This well-known watering hole recently became home to a new chef Scott Tillot who, if he carries on the way he has when we arrived, is sure to turned around the mediocre reception to the food at the venue and bring it up to the standard of other Martin institutes. Tillot is a presentation maestro and his British menu, which features lobster and oysters, has the whiff of top restaurant about it, unusual considering the very reasonable price tag attached to dinner.

298 Kings Road, SW3; www.thecadoganarmschelsea.com For Wine Cloudy Bay Wine Bar at The Royal Albert Hall A bespoke brewery pub is no rare sight. The ‘Sam Smiths’ pubs dotted around London are perfect example; they serve Sam Smiths brewed beer and cider and nothing else - but what about a bespoke vinery bar? The Cloudy Bay Wine Bar at the Royal Albert Hall is the UK’s first bar of this kind from the popular New Zealand label. Enjoy a glass here safe in the knowledge you can find the bottle with ease, and change the way you drink at home.

Kensington Gore, SW7; www.royalalberthall.com

page. 42

T R AV EL : TUN I S I A

The Jewel of the Mediterranean Marta Mura and Roberto Priolo visit Tunisia and discover a unique mix of old sights and new developments that make the country one of the most sought-after destinations in northern Africa words: Marta Mura & Roberto Priolo

Walking around the bougainvillea-lined streets of Sidi Bou Said, a small town in central Tunisia, the Jasmine Revolution feels like a distant memory.

This is where, not even a year and a half ago, the spark that ignited the protests which spread all over North Africa like wildfire and turned into the Arab Spring, started.

It’s not surprising to know the revolution began here, as Sidi Bou Said – known all over Tunisia as an artists’ village - has always been a cradle of creativity and culture.

The town is easy to reach, through a direct train connecting it to the capital Tunis. Go for a stroll in the streets lined with white houses with blue shutters, and then head to Cafe Chaabane at sunset to enjoy wonderful views of the Gulf of Tunis.

If you prefer the great outdoors, this area of Tunisia represents the perfect getaway, thanks to its proximity to the dauntingly immense expanse of sand represented by the Sahara Desert.

To visit an authentic oasis, stop in Nefta, a small town overlooking a salt lake and located close to the Algerian border. Don’t leave without having stopped at the market (a few miles out of town) to buy a ‘desert rose’, a crystalline rock formation resembling the flower.

Nefta is one of the last strongholds of Sufism, a branch of Islam that is characterised by the worship of holy men, called marabouts, of which the town and oasis have about 100. Pilgrims travel to Nefta from around southern Tunisia, and often from nearby Algeria as well.

If you still don’t feel mystical enough, head to Kairouan, which is known as the ‘city of fifty mosques’ . It is considered one of the holiest cities in Islam, and the many places of worship in town seem to testify this.

The most spectacular sight in town is by far the Great Mosque: believers can replace one trip to Mecca with seven pilgrimages to this large building dating back to the 9th century. The mosque boasts about 400 columns (you can page. 44

count them today if you want, but it was once forbidden and blinding was the punishment). They are made with granite, marble and porphyry taken from the ruins of the ancient city of Carthage.

Other mosques in Kairouan include the Mosque of the Three Gates and the Mosque of the Barber: the first one is famous for its arched doorways, while the second is actually an Islamic religious school where Abu Zama’ alBalaui is venerated. The man – hence the name of the mosque – was thought to be a friend of the Prophet Muhammad, of whom he always kept three beard hairs.

In the wake of the Jasmine Revolution, Tunisia is trying to reinvent itself as a modern tourist destination that appeals to both culture-focused and environmentally conscious travellers and sun-seekers looking for the next up-and-coming resort town.

If you are looking for a cultural weekend in full respect of the environment, you will certainly enjoy a

Dar Hi boutique hotel in Nefta, conceived by French designer Matali Crasset and built outside of town, in harmony with the landscape and with an eco-friendly ethos.

stay at the Dar Hi boutique hotel in Nefta, conceived

by French designer Matali Crasset and built outside of town, in harmony with the landscape and with an eco-friendly ethos. After a day of sightseeing in the beautiful surroundings, take off your shoes, wear a pair of babouches – slippers in true Tunisian style – and prepare to be pampered.

For those who are after a more relaxing holiday and a tan, Yasmine Hammamet represents the perfect solution: the newest resort town in the country, some 50 kilometres south of Tunis, features a long promenade, dozens of hotels and a park.

It is this combination of historical heritage and modern attractions that keeps Tunisia a popular destination, together with its location in the heart of the Mediterranean: from oases to mosques, from luxury hotels to eco-friendly lodges, from city tours to camel racing, Tunisia has it all. Just take your pick.

In the wake of the Jasmine Revolution, Tunisia is trying to reinvent itself appealing to both culture-focused sun-seeking traveller

Return flights to Tunis Tunisair operates five flights per week from London Heathrow to Tunis, prices start from £180, including taxes. For reservations call 020 7734 7644 or go to www.tunisair.com Accommodation Rooms at the four star Tunisia Palace Hotel in Tunis start from £107 per night, based on two sharing on a bed and breakfast basis in a double room. For more information or to book go to www.goldenyasmin.com/tunisia-palace/en Rooms at the five star Palm Beach Hotel in Tozeur start from £171 based on two sharing on a bed and breakfast basis in a double room. For more information or to book please visit www.palmbeachtunisia.com For all your travel needs and for information on what’s happening in Tunisia go to www.cometotunisia.co.uk

page. 45

Journey Gastronomie Simon Steel takes us on a whirlwind tour through Tunisia’s flavours words: Simon Steel

With a short flight from London, Tunisia needn’t be a fortnight commitment. A prime destination for the gourmet traveller, Tunisia stands out. Chilli connoisseurs should not miss out on sampling some authentic Harissa, a type of Tunisian chilli paste of which the strength varies from one eatery to the next.

Another notable dish is the Brik, a triangular pastry which can be stuffed with all manner of delicious foodstuffs although it generally includes an egg with a runny yolk.

The wine is also excellent, and if you like a stronger tipple I have one word for you – Boukha! It is a Tunisian spirit which is produced from figs. According to national folklore, Azraeen (The Angel of Death) does not like the smell of Boukha.

Therefore, the more of it you drink the longer you live.

In Tunisian life the guest occupies a very privileged

cultural position. As such, tourists are treated with a good deal of respect, and you are far less likely to encounter the same level of street touting you might find in other North African destinations.

If the mystery of the desert prompts you to head for the dunes, the International Festival of the Oasis in Tozeur is highly recommended. An all-singing, all-dancing spectacular set in the desert complete with camels and pyrotechnics. The experience is one of total immersion into the Tunisan culture, in a way you are unlikely to encounter in the bigger towns and cities.

Tunisair operates five flights per week from London Heathrow to Tunis, prices start from £180, including taxes. www.tunisair.com.

For further information visit www.cometotunisia.co.uk page. 47

Harissa on sale at a market

m oto ri n g

Your Coach Awaits In every car range there’s a Cinderella, an unsung heroine ignored by the critics but one which knocks your socks (and slippers) off. Adrian Foster drives the BMW 520d M Sport Touring words: Adrian Foster

Elegant and spacious In fact, the BMW took me so much by surprise that when we parted company I was left wondering why you would buy any rival Estate car. The practical boot is just one part of the equation that makes the latest BMW 5 Series Touring so desirable. This elegant and spacious Estate model looks good and offers class-leading build quality. It's comfortable to ride in, and relaxing to drive, while the rear seats in particular offer plenty of space for passengers. The car's large tailgate opening accesses a vast boot area - its largest ever at 560 litres - which BMW has made extra practical with plenty of stowage and lashing solutions to keep bulky loads from moving around.

As standard, the 2.0-litre diesel engine comes with a six-speed manual gearbox and stop-start to deliver the combination of 8.3sec 0-62mph pace and CO2 emissions of just 135g/km. The optional eight-speed automatic gearbox, which, without stop-start, pushes emissions up to 139g/km.

Involving drive Performance is a strength on which BMW sells all its cars on and even a car as large as the 5-Series Touring provides a really involving drive especially on smooth, twisty A-roads. However, the steering is a little on the heavy side but plotting lines through corners is an accurate business. There are smoother rides around though and the run-flat tyres only further emphasis the bumps and lumps in any road surface. On the motorway the Touring comes into its own eating up the miles with ease and provides a very stress-free way to cover large distances in comfort. Parking such a large car is made a lot easier thanks to the parking sensors and the steering is light at these low speeds so you don’t feel you are wrestling the car into a space.

The verdict For business executives seeking more practicality than the saloon can offer, the 5-Series Touring is BMW’s answer.

Given that the majority of new 5-Series will end up in the hands of business people with a need to impress, the Touring version isn’t simply a bigger, boxy version of the saloon. The design is intended to shout ‘premium’ and ‘elegance’ and it succeeds with its sleek lines, LED lights and trademark shark fin on the roof. The Touring also improves on the practicality of the last model with an increase in length for more passenger legroom and modified rear seats to increase boot space. With the majority of sales likely to be diesel, BMW has a strong line-up including the popular 520d. But this is a very competitive market with not only other premium estates but also executive 4x4s and large people carriers.

We’d recommend the 520d model for its fine blend of performance and excellent economy. Refined, comfortable and spacious – and considerably more economical to run than its direct competition – the BMW Touring is a about as close to perfection as a high performance Estate car gets.

On The Road price as tested: £35,120 For information visit: www.bmw.co.uk/5SeriesTouring page. 48

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Regarded as one of the most formidable and sought-after divorce lawyers in the UK The Times

Marilyn Stowe is the senior partner at Stowe Family Law, the UK’s largest dedicated family law firm.

She has more than 25 years’ experience handling divorce cases and family law proceedings, and is also known for her highly-skilled investigations in cases where substantial assets are in dispute.

first Chief Assessor and Chief Examiner · The of the Law Society’s Family Law Panel.

Fellow of the International Academy of · AMatrimonial Lawyers: a global association of lawyers recognised for expertise in their respective countries.

out more about Marilyn Stowe by · Find visiting her award-winning family law blog, www.marilynstowe.co.uk

Stowe Family Law is located in WC1. It specialises in family law issues, from divorce to cohabitees’ rights, with dedicated international and children’s teams.

The firm’s specialist in-house forensic accountancy department tracks down hidden assets and can provide immediate advice at the earliest stage.

“A friend gave me the firm’s telephone number and said Marilyn was brilliant.

What an understatement!”

Former Client

“A legal force of nature” The Daily Telegraph

If you need family law advice, early support can be essential.

Stowe Family Law can help.

Contact 020 7421 3300 or email chiefexecutive@stowefamilylaw.co.uk 8 Fulwood Place, Gray’s Inn, London WC1V 6HG www.stowefamilylaw.co.uk www.marilynstowe.co.uk

Rooms with a View Going up? With new penthouse apartments atop the W Hotel now available for lease, the continued renovation of Leicester Square illustrates that for buyers looking at property in the thick of it, the only way is up photography: courtesy of McAleer & Rushe, the main contractors on the development of the W Hotel London

For Times Square in New York, read Leicester Square in London’s West End.

The impressive revitalisation of London’s West End, Leicester Square in particular, continues apace. Now, with 11 sumptuous apartments located atop the area’s iconic W Hotel available for lease, a rare opportunity to be part of it all arises.

Much as it is necessary for London – indeed, any major city of global importance – to look outwards, to continually grow and develop, it is also essential that its central flagship areas retain speed. One only has to look at the turnaround in fortunes of New York’s Times Square district – from its run-down squalor of the 1980s, to the gleaming, globally iconic site it is once again today – to see the possibilities and potential value of city centre revitalisation.

For Times Square in New York, read Leicester Square in London’s West End. Described in a guide to London written in 1925 as a place where “the life of London burns at its highest pressure and restless activity reigns,” this historic and muchrenowned area had, by the early noughties, fallen a tad behind the times. Cue, in 2005, the district joining the ‘Heart of London Business Improvement District’ project, and setting about a

masterplan inspired by, and intent on emulating the successes of, the one that reinvigorated the heart of the Big Apple.

First, down came the Swiss Centre, a 60s deco oddity that had clearly run its course. In its place, up went the area’s new landmark, the iconic W Hotel. Soon after, legendary restaurant brand St John – run by esteemed restauranteur Fergus Henderson and pioneers of ‘nose-to-tail cooking’ – opened up their first ever hotel, just around the corner. With others following and with huge public investment also going into the area on street widening, de-cluttering and a planned total refurbishment of the square itself (designed by landscape architects Burns + Nice), this jewel in central London’s crown is fast regaining its sparkle.

A perfect moment then, for the launch of these prestigious ‘W Residencies’. Offered by Jones Lang LaSalle, together with W Hotels Worldwide, there are 11 two and three bedroom penthouse apartments, each with stunning panoramic views of London from their private rooftop terrace, now available for lease. With Leicester Square located in the epicentre of page. 50

London’s entertainment district – situated just minutes from theatre-land, world famous shopping streets and the varied cultural offerings of Soho – this location could easily be described as ‘world class’.

All apartments are as cool and contemporary as you’d expect with the W brand – designed by renowned international architectural associates Concrete, each has been finished to the highest spec, with Gaggenau kitchens, Sonos sound systems and a dedicated iPhone app accessible by the apartment’s own iPad. Residents will also be entitled to many other W related perks, such as access to the ‘Sweat’ gym, a spa with four treatment rooms, guest list entrance to the W London’s Wyld Bar and DJ nights, room service and the iconic ‘Whatever/ Whenever Facility’.

While globally, W has a select number of residencies attached to its hotels, this is the first time they’ll be available to lease.

With the benefit of keeping ones capital freed up, the option for renting, and the rise and rise of this famous old London district, this could well be setting a trend for the future.

A VERT ANIS OSTRICH `BIRKIN´ BAG Hermès, 2004 · £10,000–15,000 A DIAMOND, EMERALD AND ONYX `PANTHERE´ RING, BY CARTIER £4,000–6,000

Elegance: Jewels, Watches and Handbags London, South Kensington • 30 May 2012 Viewing

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26–29 May 85 Old Brompton Road London SW7 3LD

Jewels & Watches Geoff Young gyoung@christies.com +44 (0) 20 7752 3267

christies.com Handbags Clare Borthwick cborthwick@christies.com +44 (0) 20 7752 3216