LE KAP - Winter 2015 edition

VINTAGE CLOTHES MADIBA’S RETREAT THINK INSIDE THE BOX

ELON MUSK SA’s BACHELOR BILLIONAIRE THE LURE OF COLLECTING

WINT ER 2 0 1 5

R40.00

THE BOND GIRLS

SOUTH AFRICA’S PREMIER LIFESTYLE MAGAZINE

®

Welcome to

Deciding where to go would only slow you down.

The Continental. The luxury of spontaneity.

Continental GT Speed Convertible fuel consumption in mpg (l/100 km): Urban 12.5 (22.7); Extra Urban 27.2 (10.4); Combined 19.0 (14.9). CO2 Emissions 347 g/km.

Bentley Johannesburg, Corner William Nicol abd Bryanston Drive. Tel 011 361 6500 www.bentleymotors.com/johannesburg Bentley Cape Town, 10 Hospital Street, Harbour Edge Building. Tel 021 419 0595 www.bentleymotors.com/capetown The name ‘Bentley’ and the ‘B’ in wings device are registered trademarks. © 2013 Bentley Motors Limited. Model shown: Continental GT Speed Convertible

Eduardo Novillo Astrada, polo Champion, Winner of the Argentine Triple Crown.

Grande Reverso Night & Day watch

Open a whole new world

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editor-in-chief l Steve Swanepoel automotive lifestyle editor l Richard Webb creative l Le Mag Publications Group proofreaders l Moira Theart l Marion Pfeiffer photographers l Various wine route correspondent l Margi Hoffe international research & correspondents Howard Linsee-Tutill l Liz Webber advertising enquiries l sales@lemagpublications.com editorial enquiries l info@lemagpublications.com event enquiries l info@lemagpublications.com website l Warren Richardson

editorial contributors l Richard Webb, Liz Webber, Steve Swanepoel, Daniel Snyman, Brian Shofer Lilly-Ann Tonner, Sarah Woods, Moira Theart, Pieter Van R, Marion Pfeiffer. Reni Hildenbrand. publisher l Le Mag Publications Group editor l editor@lemagpublications.com email l info@lemagpublications.com web l www.lemagpublications.com tel l 021 829 7120 l 021 829 7205 fax l 086 554 5580

FRONT COVER l DANIEL CRAIG 10 FROM THE EDITOR 14 ELON MUSK 20 VINTAGE CLOTHING 26 LE KAP SELECT

COPYRIGHT Š 2015 - LE MAG PUBLICATIONS GROUP The opinions and views expressed herein are not necessarily those of the Le Mag Publications Group. The publisher and editor regretfully cannot accept any liability for omissions or errors contained in this publication. The ownership of registered trademarks is duly acknowledged. No part of this publication or any of its content may be reproduced, digitally stored or transmitted in any format without the express and written permission of the publishing editor.

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CONTENTS

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CONTENTS 36 THINK INSIDE THE BOX

72 CITY VINEYARDS

42 EXCALIBUR

75 CLASSIC BOND

44 SUPERSONIC SWAN

78 THE LURE OF COLLECTING

50 A SUCCESS STORY - STRAUSS & CO

82 LA FASHION

54 IT’S BETTER TO TRAVEL

86 CONCIERGE

60 THE BOND GIRLS

88 SOUTH AFRICAN EXTRA VIRGIN OLIVE OIL

66 BUYING AN EXPERIENCE

92 MADIBA’S RETREAT

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From the Editor We release this edition of Le Kap during ‘the season of the short days’, as the American Apache tribe would have said.

As the editor of this quarterly publication I have become well attuned and live and plan according to the four seasons, due to the publishing dates of every edition running concurrently with each season.

This segmentation of the year into four equal milestones, with each quarter being like a mini-year, has two significant effects. For one, breaking the year up into four equal chunks makes 365 days seem exceedingly short, which is the negative part - and secondly it has made me micro-aware of how diverse each season in South Africa is - which is the positive part.

One tends to lose sight of the seasons as each season seamlessly unfolds into the next. I remember as a junior school pupil how the teachers would drum the four seasons, with graphic illustrations of rain, sunshine, flowers blooming and brown leaves falling from trees, into our heads. As a child I had great difficulty to understand the significance of their boring and ongoing emphasis on the seasons - I do understand now. We are truly blessed to have four such diverse seasons in South Africa, with each of the seasons offering much, but only if one stops to notice.

In this edition of Le Kap we have again included a broad spectrum of editorials. My personal favourite is the epic success story of Elon Musk, who at the age of 17 set out to conquer the world. It is an inspiring read and one that emphasises that nothing is impossible, providing that the belief in oneself is great enough and that failure is not an option to consider.

Enjoy the read.

Steve Swanepoel Founder & CEO - Le Mag Publications Group

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Falcon 9 with Dragon on top

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ELON MUSK ‘South Africa's Billionaire Bachelor’ 'We should be on a path to creating a self-sustaining civilisation on Mars. … It will ensure the continued existence of humanity and life as we know it if there is a calamity on Earth, and it will be the greatest adventure in history - 'Elon Musk'

BY STEVE SWANEPOEL

The above quote underpins the extraordinary mindset of Elon Musk, who set off from Pretoria, at the age of 17, to conquer the world and life beyond...

Twenty-seven years later, Elon has an estimated net worth in excess of 120 billion Rand and is one of the richest men on earth and by a significant margin wealthier than any other South African. The 44-year-old billionaire revolutionised two key industries, unsettled car manufacturers with his electric car Tesla and reshaped aerospace technology with his company, Space Exploration Technologies Corporation ( SpaceX ) based in Hawthorne, California.

In January 1996, Elon persuaded a venture capital company, to invest USD 3.5 million in Zip2. To secure the investment Elon had to forfeit the bulk of his shares, as well as his position as Chief Executive Officer (CEO) to Richard Sorkin, the then vice president of Creative Technology.

For the next two years Zip2 continued supplying maps to newspapers for their online readership. In April 1998, following a dispute with Elon, Sorkin was replaced with Derek Proudian, who sold the company to Compaq for USD 307 million in February 1999.

Elon's shareholding in Zip2 earned him USD 22 million.

An apt description of Elon comes from Dolly Singh, one of his staff; 'Elon is brilliant, dynamic, charismatic and an exceptional freak of nature. In my humble opinion, Mr Steve Jobs in all his greatness has nothing on him. Elon is Wernher von Braun, Howard Hughes, Henry Ford, Bill Gates, Steve Jobs and every other badass all rolled into one'.

Elon was born in Pretoria in 1971 and matriculated at Pretoria Boys High. As a teenager, Elon showed a keen interest in science and taught himself computer programming, which appears to have shaped his future. His academic brilliance became apparent when at the age of 12 he wrote the code for a video game named Blastar and sold the usage rights of the game for USD 500.

In 1988, when he was 17, he moved to Canada. When he turned 19, Elon entered Queen’s University in Kingston, Ontario but two years later he transferred to the University of Pennsylvania in America in 1992 after receiving a scholarship. There he obtained two degrees - one in physics and the other in economics. In 1995, he moved to Stanford University in California to study for a Ph.D. in applied physics. However, after only two days at Stanford Elon decided he wanted to be part of the new emerging phenomena - the Internet, renewable energy and outer space - and left.

That same year with USD 2000 in his savings, Elon started his first company, Zip2, an internet-based ‘city guide’ providing content for the publishing industry, including the New York Times and the Chicago Tribune. He persuaded a digital mapping company, to permit him to load their city maps on the Internet, which he linked to a business directory that he bought for a few hundred dollars.

In doing so, he essentially created the first Internet yellow pages.

Elon’s brother, Kimble and a friend joined him, and together they rented an office, which doubled up as Elons’s accommodation. In the mornings he would clear his bedding away before the staff arrived.

Elon Musk

The Compaq deal fuelled Elon’s desire for success and he started an online financial services company, X.com, which facilitated Internet purchases and online payments.

Early in 1999, a venture capital company, invested USD 25 million in X.com and in March that year, X.com merged with Confinity, who had a similar product called PayPal. During October 2002, eBay bought PayPal for USD 1.5 billion in stock. Elon, the largest shareholder, received USD 165 million for his 11.7 per cent stake in PayPal.

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WINTER 2015 On the 24 March 2006, the first Falcon 1 was on its launch pad on Omelek, a small island not far from Hawaii. The rocket launched perfectly, but a minute into its flight a fuel line leak caused a fire in the engine room and the rocket fell back to Earth. In the same year, NASA announced that SpaceX had been chosen to develop a spacecraft (Dragon) to supply services to ISS. Work on Falcon 9, a much bigger rocket, had already begun, with NASA funding via COTS (Commercial Orbital Transportation Services program). Falcon 9 would enable launches into low earth orbit and geostationary Earth orbit, as well as deploy Dragon to transport crew and cargo to and from ISS. In March 2007 and August 2008, two subsequent Falcon 1 launches were partially successful, although they did not reach orbit. Elon was now facing potential insolvency. If he could not get Falcon 1 into orbit with the next launch, his investors and NASA would lose confidence. Fortunately, SpaceX received a USD 20 million equity investment in July 2008 from Founders Fund, a technology venture capital company that belonged to his former PayPal partners.

On 28 September 2008, Falcon 1 was back on the launch pad. This time Elon silenced his critics that had assumed SpaceX was just some dot-com millionaire’s flight of fancy when it became the first privately funded company to launch a rocket into orbit and return it to earth. A subsequent launch on 13 July 2009 saw Falcon 1 deploy the company’s first contract satellite into orbit on behalf of the Malaysian government.

The incalculable experience the SpaceX engineers gained from developing Falcon 1 from the ground up resulted in the extremely successful maiden launch of Falcon 9 on 4 June 2010 from Cape Canaveral. The payload it carried was placed into orbit within 1 per cent of the planned position.

First Falcon 1 launch

The PayPal deal made Elon a very rich man, which placed him in a financial position to pursue his childhood dream of making humans an interplanetary species and to colonise Mars.

To achieve this dream, Elon founded SpaceX in 2002. Its primary objective were to develop 'next-generation' reusable rockets or launch vehicles, to deliver payloads to space at a fraction of the cost of those produced by NASA and other aerospace legacy rockets.

These first two launch vehicles are named Falcon 1 and Falcon 9.

The rockets would also launch the first SpaceX spacecraft called Dragon that could carry astronauts into outer space.

So the development of the first SpaceX rocket, Falcon 1, began.

From the outset, Elon did things differently. Computer scientists and design engineers shared the same workspace as welders and machinists. Instead of sourcing parts, SpaceX would also build most of the components required for their rockets.

In the beginning, Elon funded SpaceX himself to the tune of USD 100 million. It was crucial for Elon to get his rockets into orbit for SpaceX to secure lucrative contracts. These vehicles were to deliver satellites into orbit for both governments and private companies.

NASA was also looking for cheaper alternatives to deliver and return payload and astronauts to the International Space Station (ISS). Towards the end of 2004, SpaceX starting development of the Dragon spacecraft, which would be carried into space by a bigger rocket, Falcon 9.

The June 4 launch was followed by another successful Falcon 9 demo flight on 8 December 2010, but this time with a Dragon spacecraft on top of Falcon 9. After a perfect launch, Falcon 9 successfully deployed the Dragon spacecraft into orbit. Dragon reentered earth’s atmosphere after orbiting twice around the Earth and was recovered off the coast of Mexico.

Elon had defied all odds, but now it was for the biggest test of all - the first attempt for Dragon to berth with the International Space Station to deliver a payload of provisions and equipment. This was Elon’s big moment - and did he deliver!

Elon inside the Dragon, adapted to carry astronauts

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‘Dragon’ docked with the ISS

On the 23 May 2012, Falcon 9 topped by the unmanned Dragon capsule cleared the launch pad as the world watched. At an altitude of 340 km above earth, Dragon was ejected into orbit and it marked a new era in space exploration. At 12:02 pm EST on May 25th, 3 days and 6 hours after the Falcon 9 had lifted off from Launch Complex 40 at Cape Canaveral, 2012 NASA announced that the remote-controlled Dragon had docked with the USD 100 billion ISS research complex. Dragon spent a few days attached to the ISS for the astronauts to remove the 460 kg of cargo and to reload 620 kg to be returned to Earth. Dragon returned as scheduled and splashed down in the Pacific Ocean on 31 May. On August 23, 2012, NASA Administrator Charles Bolden announced that SpaceX had completed all the required milestones under the COTS contract and was cleared to begin operational re-supply missions to the ISS. All four subsequent launches by Falcon 9 were successful and three of the launches saw Dragon docking with the ISS to deliver and collect payload. On the back of the successful launches, NASA confirmed a USD 1.6 billion USD contract for Falcon 9 to carry supplies to and from ISS over at least 12 missions. SpaceX is currently also developing a crew-carrying variant of the Dragon under an additional 2.6 billion with NASA, which wants Dragon to start ferrying astronauts to and from the orbiting lab by 2017.

International Space Station

Falcon 9 has now been replaced with a second version, Falcon 9 v1.1, with a payload capacity of 13 150 kg and successfully completed its maiden launch in September 2013. At the time of publishing this article, SpaceX has made 13 launches of the new Falcon 9 v1.1, with a combined total of 18 total launches of any Falcon 9 rocket since 2010. All 18 have successfully delivered their primary payloads to either Low Earth orbit, Geosynchronous Transfer Orbit or ISS. SpaceX is currently developing the Falcon 8 Heavy, which is expected to launch in 2015. It is a variation of the Falcon 9 v1.1 launch vehicle and will consist of a standard Falcon 9 rocket core, but will have two additional strap-on boosters, which will increase the low Earth-Orbit payload to about 53 tons, compared to the 13 tons for a Falcon 9.

Elon’s remarkable achievents with SpaceX has resulted in a company valued at USD 12 billion, with more than 3 000 staff members in little over 10 years.

ISS astronauts inside the Dragon

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As if building rockets is not challenging enough, Elon whom CNBC has recently named the most influential businessman in the world during the past 25 years, is also the CEO and product architect of Tesla Motors in California. The Tesla Roadster, presented at the San Francisco Auto Show in 2006 and produced between 2008 and 2012, was the first highway-capable-all-electric car available in the United States. More than 2 400 of these battery electric vehicle (BEV) sports cars were sold in 31 countries. This model averaging a speed of 40 km/h established a world distance record of 501 km on a single charge. The first upgrade of this model emerged in 2010, as well as the Roadster Sport with new and updated features. Tesla started delivery of the four-door Model S Sedan in 2012 and also introduced the Model X that same year, scheduled for production in early 2015. To overcome the range limitations of electric cars, Elon states that they are vastly increasing their network of supercharger stations. Also, he favours constructing a sub-USD 30 000 subcompact and making components at affordable prices so that other manufacturers can provide electric vehicles at more economical prices.

Elon with a Tesla Roadster and a ‘Dragon’ spacecraft.

Tesla Roadster Sport.

Top speed 200 km/h 0 - 100 km/h 3.7 seconds Range on full charge: 400 km

The Tesla Model S is the first electric car to top the monthly new car sales ranking in any country in the world - twice in Norway.

Top speed 250 km/h 0 - 100km/h 4.4 seconds Range on full charge: 440 km

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Tesla’s primary mission and objective is to accelerate the world’s transition to sustainable transportation. To achieve that goal, Tesla must produce electric vehicles in a large enough quantity to force change in the automobile industry. With Tesla’s projected production rate of 500 000 cars per annum, in the latter half of this decade, Tesla would require the entire worldwide production of lithium ion batteries. As this was not possible Elon decided to build his own battery factory.

In 2014, Tesla announced that it would build the worlds largest battery factory - Elon calls it a ‘Giga factory’ - in Nevada. Costs for construction, which are already underway, are expected to be in the region of USD 5 billion. The scale of the ‘Giga factory’ is unequalled.

Its production capacity will be more than the sum of the combined production of all the Lithium-ion manufactures in the world.

In May 2015, Elon caused fireworks when he announced that Tesla would soon start selling batteries to power homes and businesses.

Powerwall home systems priced at about USD 3 500, and Power Pack business systems costing USD 25 000 are expected to be available soon. These batteries will assist in saving money on electricity, encourage people to change to renewable or naturally replenished energy and those driving a BEV vehicle will be able to store their solar power for driving use. Competition in the market will reduce prices of similar products and many big companies are already interested in retailing the batteries produced by Tesla.

The concept of Solar City, another one of Elon’s ground breaking

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companies, was provided by Elon, as well as financed by him. Elon, the chairman of Solar City, co-founded the company together with his cousins, although he remains the major shareholder. It is the second largest provider of solar power systems in the US and the incentive is to combat global warming.

Elon is chairman of the Musk Foundation, which aims its philanthropic efforts on the production of clean energy. An example of the programmes it has created is that which focuses on donating solarpower systems for critical needs in disaster areas. The first of these was donated in response to the hurricane centre in Alabama.

Like his rockets, Elon’s riches continues along an upward trajectory due to the increasing stock of Tesla Motors and the rising value of SpaceX shares. SpaceX recently raised a further USD 1 billion from new investors, Google and Fidelity. SpaceX is valued over USD 12 billion and Elon’s net worth is currently an estimated at USD 13.3 billion as of May 2015 according to Forbes, which incidentally is nearly three times Sir Richard Branson’s estimated net worth.

To quote Chris Anderson from Wired; ‘When a man tells you about the time he planned to put a vegetable garden on Mars, you worry about his mental state. But if that same man has since launched multiple rockets that are actually capable of reaching Mars—sending them into orbit, Bond-style, from a tiny island in the Pacific—you need to find another diagnosis. That’s the thing about extreme entrepreneurialism: There’s a fine line between madness and genius, and you need a little bit of both to really change the world’.

Digital impression of Tesla’s ‘Giga factory’ being built in Nevada

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Vintage Clothing Past, present and perfect ...

BY MARION PFEIFFER

In a time where modern and new designs are considered better than the old, what is the obsession with vintage clothing? Many of us are familiar with the term but most are probably not sure what era this refers to exactly or the inspiration behind it. There are three defined styles of clothing from past years: antique referring to that over 100 years old, vintage from the 1920s to about 20 years before today and retro, which refers to those items created from modern materials to look as if they come from another era. However, this can be the subject of different opinions.

The obsession with vintage apparel amongst younger individuals, both male and female, and the wearing of obviously outdated items seem to be contrary to what is expected, as most pieces are old and have been previously worn. One fashion philosopher, Francis Bacon said, Fashion is the only attempt to realize art in living forms and social intercourse’. An individual’s style will, therefore, project an image or at least part of it, whether this be a role or an era. Increased demand for vintage clothing in recent years suggests a renewed interest in older styles, while at the same time it has resulted in increased prices. Buyers seeking vintage attire are appearing from regions such as the Far East and Africa where vintage is scarce, and this trend seems likely to continue. It seems that fashion, unlike technology or drugs, does not follow the theme that newer must be better.

For those who love contemporary fashion and keeping up with the newest styles, in other words non-vintage wearers, it may be hard to imagine why anyone should wish to present themselves wearing old clothes! Also vintage and grunge are not the same although there are some similarities. Both are available in second hand shops and at bargain prices; grunge at cheaper prices. Grunge refers to 90s styles, and most grunge-wearers were playing in playgrounds in the 1990s while those who wear vintage today did not live through the 1920s. Vintage fashion celebrates historical pride in style and nostalgia, possibly an escape from our twenty first century lives.

For the would-be collector, there is little to guide you on the Internet. Selective and sophisticated collectors have many different

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Clark Gable 1930

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reasons for accumulating vintage clothing. Firstly, of course, they are fun and often very beautiful. There is prestige from owning these special garments, the challenge of knowing what is of value, aesthetic pleasure and financial reward in the longer term. Vintage items, sometimes even those numbered couture pieces by famous designers, will sell for a fraction of their original cost and well below their current value. The lucky buyer acquires a couture treasure for a minimal price, the original designer and the piece have both passed the test of time and in this case, what survives longest is what is best.

The vintage markets exaggerate the discount on vintage items due to wear and tear – real or not. An item of clothing that is well worn would require a larger discount, such as 80 percent, whereas a numbered couture dress worn infrequently, reflecting extraordinary design and intricate work in excellent condition, would be subject to a discount of perhaps 10 percent. Another important factor relating to discounts and, therefore, bargains in vintage wear is that when a current designer, such as Karl Lagerfeld showcases his work in a runway show, it is well publicised and the huge prices are mostly derived from the attendant publicity. Vintage couture from years ago is not affected by this.

At the core of vintage fashion are the designs of the 1920s, a decade of indulgence, growth and change. Cinema, with the newly introduced sound effects, was an instant success. Cars became more available, travelling became easier and artists and musicians flourished. Women gained new rights and it became a revolutionary

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decade where they celebrated their freedom in rebellious attire. Lace and velvet, shimmering fabrics, above-the-knee skirts, bobbed haircuts and garters with silk stockings, amongst others, were adopted by Flappers and their followers. Many saw this as the beginning of contemporary society. Coco Chanel, the Queen of the 1920s style, encouraged women to make their own choices, in dress, work and lifestyle and stated, ‘The most courageous act is still to think for yourself. Aloud.’ The wearing of vintage clothing can be regarded as the living art of fashion and the superior quality, fabric and design has always been appreciated, but this awareness and the resulting demand for the clothing has increased substantially since the early 1990s. Some of this is due to vintage clothing adorning well known top models

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and celebrities, such as Julia Roberts and Kate Moss, and of course, period films set in the mid 20th century have contributed to its popularity. The internet has allowed many to enter the market in the search for fine vintage pieces with the money to collect and the knowledge to discriminate and evaluate it for value and collectability, as well as easier access, compared to actually attending vintage clothing shows. Some designers are particularly recognised for their vintage garments, particularly if they are from the right era, for example, Ossie Clark, Christian Dior, Coco Chanel, Yves Saint Laurent and Mary Quant.

The provenance of a vintage garment is an important factor related to its value and many record the background of an item, the previous owners for whom it was designed, when and for which event. All of this results in one problem. Vintage apparel, especially that which is pre-1950s, is becoming difficult to find and most expensive.

More recent clothing is easier to locate and restore, and usually more affordable. Fashion design has always regarded history as an important source of inspiration and vintage styles retain their value as they are from a past era, made authentically and individually with attention to detail that is very difficult to create in modern items.

These creations are the real stuff, and inexpensive if you know where to search.

Vintage must be defined as representing high-quality items from the past and does not represent anything that looks old, even it the item itself is new. Retro styles, frequently mass produced, are often created to look like the real thing from another period, while in reality they use modern fabric and combine vintage and modern styles. The terms ‘vintage inspired’ or ‘vintage style’ may be used, but these are not the real thing. Whether vintage styles are on the rise or on the decline most agree that items from the 1950s attract many who are seeking an escape as there was an exuberance about that time reflected in the clothing.

Today, vintage fashion collectors and those who simply appreciate the style of that bygone era, seek out these sought-after vintage garments, sacrificing time and perhaps travelling long distances in their search for that exquisite piece or pieces of clothing.

RANGE ROVER

ONE COULD BE FORGIVEN FOR NOT GETTING OUT IN A HURRY. landrover.co.za

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Le Kap

Select A fine selection of desirable items for our discerning readers to consider for this season

Montgrappa cufflinks

Berlutti

Jaeger-LeCoultre Master Calendar

Louis Vuitton ‘Louise wallet’

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OMEGA Seamaster Diver 300M ETNZ

Annick Goutal Eau d’Hadrien Eau De Parfum

Louis Vuitton Acte V Apotheosis bracelet

Mayback-Manufaktur

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Drawing upon the success of two previous power catamarans, the expert team of Leopard Catamarans has collaborated to produce an all new luxury PowerCat with the focus on stability, blue-water performance and efficiency.

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BY DANIEL SNYMAN

T

he Leopard 51 PowerCat brings with it a multitude of exciting features, including a sleek design, a large forward cockpit, multiple lounging areas, an expansive flybridge and a completely redesigned interior upgraded with modern appliances.

This yacht also features an outside lounging platform, directly accessed from the flybridge, which is perfect for relaxing and sunbathing. In addition to the exterior helm station located on the flybridge an interior steering station is optional.

This contemporary catamaran is economically efficient, using less fuel than her predecessors, which is due to the superior performance of the two Yanmar 8LV 370hp engines and a redesigned underbody. A brilliant ergonomic layout makes manoeuvring around the yacht comfortable, whilst spacious side decks and the open plan concept allows for easy passage between the front and back of the yacht.

The 51 PowerCat integrates the best from the Leopard sailing fleet combined with the ease of a power yacht. Designed by Simonis Voogd Design and built by world-renowned Robertson and Caine, this PowerCat is built to the highest standards. The sleek hulls allow the yacht to achieve a top speed of 25 knots and she has the capacity to easily navigate through turbulent conditions.

The yacht boasts a large and open saloon, a galley with the latest appliances, three cabins and three heads, with the entire starboard hull being dedicated to the owner’s suite. The enormous flybridge includes enough seating for up to eight and has an outdoor kitchen.

Alexander Simonis recently went out for a sea trial in Table Bay during a severe winter storm with swells as high as 7 meters.

Alexander felt these were ‘Ideal conditions to show the power and ability of the Leopard’. He went on to say, ‘We headed out into the swell going full bore (20+ knots). The boat had nice dynamic >

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stability at the speed and was launching off the crests, landing smoothly, keeping up to speed and taking on the next one. There was no water coming over the deck and only minor spray could be noticed at the bows as we were riding down the waves’. The Leopard 51 PowerCat is unsurpassed in comfort by traditional monohull powerboats. Owners can choose a three or four cabin layout, with the option of separate crew cabins. The yacht’s interior can be personalised to individual requirements. The three cabin layout features a master cabin in the starboard hull with a queen sized bed. A private en suite head is located just outside the master cabin in the forward part of the hull. Also located in the starboard hull is a comfortable lounge area and desk with an abundance of hanging lockers, drawers and shelves.

Well-ventilated guest cabins with opening hatch ports are located in the port side hull and have been designed with comfort and practicality in mind. They offer an abundance of storage, excellent lighting and full-sized hanging lockers. The forward guest cabin also features a storage area in the forepeak or an optional berth.

The heads are spacious with separate shower stalls, Corian washbasins with mixer taps, a mirrored vanity unit and a domesticsized marinetoilet.

The interior of the yacht centres on spacious open plan living and comfort. Recessed lighting under the cabinets and bench seating, as well as new cabinetry, appliances and additional storage space in the galley, are just a few of the exciting luxury’s that this PowerCat has to offer.

The saloon area, with seating in a wide U-shape, is filled with natural light from the panoramic windows and has enough room for eight guests. This area also promotes outdoor living with direct access to the forward and aft cockpits.

The galley offers you a sophisticated and complete kitchen; enjoy prepping for each meal in this modern area with Corian countertops and deep side-by-side sinks. With plenty of storage and cabinet space, one can have all the luxuries on board.

The Leopard 51 PC clearly offers advantages far outside the scope of a traditional monohull power boat – this together with its pedigree and remarkable amount of usable space makes for exceptional value at a base price of $ 619,000.

Length Overall: 15.54 m - Waterline Length: 14.96 m Beam: 7.64 m - Draft: 0.98 m - Displacement: 18,500 kg - Fuel Capacity: 1,500 L - Fresh water Capacity: 780 L - Engines: 2 x 150 hp (Optional 370 hp)

NEW BR 03-94 ORANGE · Limited edition of 500 pieces · Montres du Monde · Official Distributor Tel: +27 (0) 11 783 8813 · info@montresdumonde·co.za · www.bellross.com Available at: Adara | Big Five Duty Free | Bellagio | Makgalas | Peter Gilder | Roma Gioielli Download the BR ScAN app to reveal exclusive content AD-Spread-BellRoss-BR03-94 Carbon Orange-Afrique-Sud-2015.indd 3

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The face of astronomy The new Master Calendar of Jaeger-LeCoultre is distinguished by the virtues and indeed, the very face of astronomy. Endowed with all the attributes that have forged the success of this line, it is also imbued with a seductive appeal exercising its own laws of gravity, thanks to the choice of meteorite stone to compose its dial.

Whether it comes to fragments from asteroids or even more impalpable origins in the comets wandering through the solar system, meteorites lend themselves to all manner of inner fantasies.

Their ages, estimated at millions or hundreds of millions of years, defy our imagination. Their rarity is equally fascinating, since very few of them actually manage to reach the surface of the earth. Known as ‘shooting stars’ when they light up summer nights, or ‘bolides’ when they are large or bright enough to be seen by day, meteorites leave a characteristic luminous trail when entering the atmosphere. An authentic invitation to make a wish…

Once they have landed on or been buried several centimetres into the earth, meteorites often remain unnoticed, but not by the experienced eyes of those who make a profession of finding them. Meteorite hunters distinguish between those they have actually seen falling and those that are lucky finds. Connoisseurs have long considered Antarctica as a sort of Eldorado, since the ice cap fosters a concentration of these stones that rise to the surface when blue ice is eroded by katabatic (down-slope) winds. This continent is however now the exclusive preserve of scientific meteorite hunters and any commercial exploitation is prohibited.

The fascinating meteorite stone used for making the dial shakes up the traditional understated aesthetic of the Master Calendar. The block of meteorite, which comes from the asteroid belt between Mars and Jupiter was discovered and officially registered in Sweden, However, this material is difficult to shape due to its iron content.

To get an aesthetically perfect dial, this block of meteorite is cut into several thin plates in a process, involving countless precautions, until the exact plate corresponding to the demands imposed by Jaeger-LeCoultre is achieved. Still in its rough state at this stage, the meteorite must undergo several preparatory phases before revealing the structure of its stone that features a unique pattern shown by each cut. At the end of a lengthy and delicate procedure, it can at last express the beauty of the meteorite that has been created over several million years.

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The earth’s spinning on its axis determines the length of the day, while its rotation around the sun defines the year. Likewise, moon phases – and the 29-day approximate gap between two new moons – determine the duration of the week and month. Each major civilisation has sought to convey the various celestial movements it has observed by means of a calender.

Calendar-related indications are among the most useful a watch can offer. Representing the iconic calendar complication, the complete calendar of the Master Calendar model displays the perpetual calendar by means of a long hand tipped with a moon crescent sweeping around a scale around the dial rim graduated from 1 to 31. It also indicates the day of the week and the month in twin apertures at 12 o’clock. Featured on certain Renaissance pocket watches before being more widely used in the 19th century, this numerical display principle serves to catch attention and focus firmly on the present.

Finally, a complete calendar indicates the various moon phases – new moon, first quarter, full moon and last quarter – in the traditional form of this emblematic heavenly body emerging from between two clouds and rising up against a star-studded sky. The cleverly designed dial, with hours and minutes indicated by dauphine hands, is easy to read. The watch also has a small-seconds subdial located at 6 o’clock.

The case, 39 mm in diameter and 10.6 mm thick is designed to match the curve of any wrist. Its subtle discretion could easily make one forget about the considerable efforts deployed by the master artisans in fitting an automatic movement with a full calendar inside such a pleasantly sized case. This meticulous attention to detail runs all the way to the very heart of the watch.

The sapphire crystal case-back of the Master Calendar reveals the intricate workings of a Jaeger-LeCoultre Calibre 866 movement, which stands in testimony to the patience and rigorous discipline of the Jaeger-LeCoultre artisans.

For more information visit: www.jaeger-lecoultre.com

TECHNICAL CHARACTERISTICS

Jaeger-LeCoultre Calibre 866 mechanical automatic winding movement.

43-hour power-reserve • 305 parts • 32 jewels • 5.65 mm thick • 26 mm in diameter.

Functions: Hour, • Minute • Seconds • Day • Date • Month • Moon phases.

Case: Steel or 18-carat pink gold • Diameter: 39 mm • Thickness: 10.6 mm • Polished finish • cambered sapphire crystal • Water-resistance: 5 bar Dial: Meteorite • Applied hour markers. Hands: Hours and minutes : Dauphine-type.

Strap: Alligator leather, steel folding clasp or 18-carat pink gold pin buckle.

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Think inside the box ...

BY STEVE SWANEPOEL

T

o most of us a shipping container is just an unattractive metal box used for the transportation of goods. We see them on cargo ships, on the back of trucks or mountains of them in shipping container yards, but at best they go unnoticed due to their lack of aesthetic appeal.

The idea of converting used freight containers into building site offices and even as basic accommodation is certainly not a new concept and has been common practice in many countries for some time. However, with some creative thinking applied these freight containers can be converted into very trendy and functional homes with relative ease, whether it is a one-bedroom weekend getaway cottage in the mountains, a guest cottage in the back yard or a sprawling high-tech mansion.

The most popular container sizes for the construction of freight container homes are 20ft (6.06 m) and 40 ft (12.09m) containers. but in some cases a combination of both of these sizes are used. The standard width of containers is only 2.44 m, but the width limitation is easily solved by joining two or three containers side-by-side.

The use of multiple containers as giant ‘Lego’ building blocks is a passage to endless permutations in terms of what can be achieved.

The use of containers significantly reduces the time and labour required to build a home versus the construction of a traditional brick

When containers are welded together, any size aperture can be cut through the adjoining panels, for just a door or much larger openings. In some cases, the entire section between containers is removed to create a vast open living area. It is, however, advisable to add additional support, such as beams or pillars to compensate for the weakening of the container structure when big sections of the container walls are removed.

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‘The house dresses and undresses according to how you want to use it,’ María José Trejos. and mortar residence. The reduced labour cost and the savings on traditional building material can be significant.

I have been fascinated by ‘container architecture’ for quite some time and have done extensive research on the topic. One of the more inspiring designs I have come across is an interesting home designed by the Costa Rica-based architect, María José Trejos. I recently contacted Maria in Costa Rica about the impressive 400 sq m double storey home featured in this editorial. Visually and architecturally this stunning design is a harmonious blend between modern ‘industrial style’ and contemporary residential architecture.

Maria aptly named the home, ‘Casa Incubo’, which she designed by incorporating eight recycled shipping containers.

Central to the design brief was the importance of abundant natural light, as the owner of the home is a work-from-home photographer,

who requires a reasonably sized area that can be used for both work and relaxation purposes. To achieve this objective, Maria created a double-volume central area of nearly 100 sq m, as the main living area, but can also be used as a photographic studio. Besides being visually pleasing this central module very effectively weaves together the palette of freight containers to create a harmonious fluidity to the three levels levels of the house.

An added feature to this area is a full sized industrial roller shutter door, which nearly opens up the entire side of the open-plan living area. One can basically drive one’s car into the living room if need be - certainly a very practical feature after a shopping spree!

‘The house dresses and undresses according to how you want to use it; as a living room, an audio-visual space, a photographic or advertising studio,’ says Maria. >

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PHOTOS BY SERGIO PUCCI

Another equally important aspect of the design was to construct a home that would be as self-sustainable as possible, with a limited negative impact on the environment.

‘The idea of using containers also had to do with sustainability - while the inside walls of the containers are clad in gypsum, the exterior of the containers are left in their original state,’ states Maria.

The entire west facade of the roof structure, as well as the ground and first floor, is glazed to benefit from natural light, which practically eliminates the use of lights during the day.

The roof, covered in heat reflective material to minimize heat, is also designed to collect rainwater, which is used for the toilet and irrigation systems. Solar panels are used to supply hot water throughout the home.

Numerous aspects were factored into the design of ‘Casa Incubo’ to achieve a maximum eco-friendly footprint. This included the use of renewable and durable low-maintenance building materials, as well as the effective application of energy conservation systems.

The lower level of the home is the general living area, with the double-volume central area serving as the main living room. A freight container on the one side of this open-plan living area serves as the entrance hall and a container directly opposite is being used as a photo gallery, complete with an office.

In keeping with the eco-friendly theme, Maria has designed the roof to derive maximum benefit from nature and the various weather elements. Maria says that the roof acts as a lung and due to the very effective cross ventilation, the home does not even require an air conditioning system.

Two 40 ft containers were joined together, side-by-side, to create enough space to accommodate both the kitchen and dining room. The open-plan kitchen and dining room feature big sliding doors that open to a wooden patio deck made from renewable sources mixed with recycled plastic. >

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cross ventilation

rainwater harvesting

reflective roof

The deck is built around a huge cedar tree, which was already on the property at the time of construction. It was decided from the outset that instead of removing the tree from the property, the cedar tree would become an integral part of the home. The tree is visible from anywhere in the house and is seen as a piece of living art.

A stunning 6-seater dining room table stands proudly on its chunky legs constructed from some of the branches of the cedar tree that had to be cut back to make space. The top of the breakfast bar in the kitchen is made from these same branches, as is the high-tech glass-encased staircase, which provides for ease of access to two en-suite bedrooms, as well as a study located on the first floor.

The roofs of two of the containers on the second floor have been covered with lawn to form a roof garden. This garden is reached via an exterior walkway and is a lovely multi-purpose area that can be used for picnics, outdoor dinners or as a discreet tanning area.

The ingenious use of retractable bamboo panels protect the interior of the house from direct sunlight and keeps the metal structure of the containers cool during warm sunny days.

Another interesting and fun feature, added as a finishing touch, is a stainless steel pole fitted between the ground and the first floors.

The pole allows one to slide down to the ground level for speedy access - certainly every teenage boy’s dream. (See photo) Should you ever decide to explore the options of building a container home, it is advisable to first check with your local municipality in terms of building regulations. In some countries, the regulations are quite flexible, whereas in others a solid concrete slab is required as a base on which the containers are placed, amongst other restrictions.

What is attractive about this modular building concept is the freedom. It allows one to expand as and when finances permit,or as the family grows.

Happy building!

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Excalibur Knights of the Round Table II THE SWISS LUXURY WATCH MANUFACTURER ROGER DUBUIS IS RENOWNED FOR BEING AN ANTI-CONFORMIST AND BOLD WITH ITS WATCH DESIGNS.

A

perfect example of their unique design concept is the creation of ‘Excaliber Knights of the Round Table’, a 28-piece limited edition watch first released in 2013. The watch design was inspired by the noble legacy of the mythical King Arthur and the Knights of the Round Table.

Legend has it that Merlin, King Arthur’s adviser, declared: ‘around this table, the bravest knights will gather as equals. They will set forth in search of adventure, righting wrongs, protecting the weak and humbling the proud’. Thus began the adventures, as the 12 Knights took the oath of allegiance to King Arthur, swearing to spare no effort, overcome any obstacle and return triumphant.

From the Middle Ages to the modern day, the universality of the legend of the Wizard and the Knights of the ‘Round Table’ has remained popular.

Each of the 12 knights, requiring one day of work to complete, is only 6.5 mm in height and unique in its own right in representing one of the legendary knights.

These miniature knights, entailing a three-dimensional casting in bronze, are individually hand finished under a microscope. It is a tedious process and it takes a day for each knight to be crafted to perfection, before they are mounted on a circular satin white gold flange. The flange is engraved and slightly patinated to look like the cobblestones of the castle’s interior.

In contrast to the 2013 edition, which had gold knights, this is the first time that bronze has been used for micro engraving. Despite the need to manage additional complexities, the slight patina of the bronze accentuates the contrasts of this unique masterpiece.

These are much the same aspirations that motivate Roger Dubuis in its ongoing desire to make people dream and its quest for its own particular Holy Grail: the uncompromising excellence epitomised in its 100 per cent ‘Poinçon de Genève certification’. Product Design Director, Lionel Favre explains that in this standout model, the motto of the mythical knights, ‘Courage and generosity’ reflects the Roger Dubuis approach to its craft. It is nobly represented by the artists and watchmakers working in close collaboration to create an alliance of both traditions.

A mechanical self-winding Calibre RD821 movement, with a 48hour power reserve, is nestled inside a 45mm diameter and 15.7mm thick white gold case. The movement is identical to the one used in the first edition of this masterpiece.

As with the 2013 ‘Knights of the Round Table’ collection, the 2015 release also comprises of a 28-piece limited edition. The delicate miniaturisation of the 12 knights is the work of highly skilled artisans.

Emphasising the artistic DNA of this unique timepiece, the plain ‘gold case back’ frames a blue-lacquered coat of arms and has the solemn oath proclaimed by Merlin, engraved in a circle, which

Like with all Roger Dubuis timepieces, the 172 components of this calibre are hand-finished and stamped with the prestigious Poinçon de Genève, a guarantee of exclusivity, origin, expertise, performance and durability, worthy of the brave knights of old.

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echoes the bravery of the ‘Knights of the Round Table’ figures appearing on the dial.

Roger Dubuis has been at the forefront of contemporary Haute Horlogerie since 1995. Its audacious creations, firmly anchored in the 21st century, bear the mark of all the savoir-faire and expertise of the finest watchmaking mechanisms combined with powerful and daring designs. Boldness and extravagance are the brand’s signatures, and determination its engine.

The Roger Dubuis collections La Monégasque, Excalibur, Pulsion, Velvet, and Hommage are distributed worldwide through an exclusive sales network and boutiques. The quest for excellence, the long search for the right gesture, the development of unique skills are all constants of the Geneva based Swiss Maison.

The fully integrated manufacture Roger Dubuis is the only watchmaker in the world to have all of its precious timepieces embossed with the Poinçon de Genève, a guarantee of finest craftsmanship.

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Supersonic Swan

BY BRIAN SHOFER

'The only thing that tells you that you're moving is that occasionally when you're flying over the subsonic aeroplanes - you can see these 747s, 20 000 feet below you almost appearing to go backwards. I mean you are going 800 miles an hour or thereabouts faster than they are’ - John Hutchinson, Concorde Captain.

On 21 January 1976 at 11:40 am, Air France ‘Concorde F-BVFA’ and British Airways ‘Concorde G-BOAA’ took off simultaneously from Paris Charles de Gaulle and London Heathrow airports to inaugurate the era of commercial supersonic air travel. From that moment, the world was captivated by the supersonic phenomenon. Between 1976 and 2003 Concorde was the airliner of choice for wealthy passengers.

Concorde was jointly developed and manufactured by Aérospatiale, the French state-owned aerospace manufacturer and the British Aircraft Corporation (BAC). The unique collaboration between the two countries was subject to an Anglo-French treaty, with heavy financial penalties if either were to back out.

Construction of the first two prototypes began in February 1965.

The engineers were faced with a plethora of design and engineering challenges, as Concorde was required to be highly efficient with the ability to fly long distances at heights of over 55 000 feet. One feature, particular to Concorde, was its ‘tilting nose’. This could switch between being aerodynamically streamlined in flight to being lowered during takeoffs and landings to avoid obstructing the pilot’s view. Even by today’s standards Concorde is still regarded as an engineering marvel.

Concorde 002 (UK-built) had its first test flight on the 2 March 1969 and Concorde 001 (French-built) on the 9 March 1969. Initially, Concorde attracted a lot of interest and more than 100 orders were placed by various airlines. However, excessive operational costs and the supersonic boom, amongst other factors, resulted in cancellations. The supersonic boom prohibited Concorde from flying over populated areas, so it flew subsonically (at the speed of normal airliners) over these regions.

Eventually, only 20 Concordes were built and only 14 flew commercially, seven by Air France and seven by British Airways.

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Four Rolls-Royce/SNECMA Olympus 593 Mark 610 Turbojets, each producing 38 000 lbs of thrust, gave Concorde its capability of Mach 2.2, more than twice the speed of sound, or 2 160 kph at 60 000 ft. This aeroplane could seat 100 passengers and had a maximum range of 6 667 km. Customers were offered superb food and champagne, but alas, no in-flight entertainment! The mere marvel of flying Concorde was deemed to be entertaining enough by passengers, particularly as flying times were so short.

become unprofitable due to increasing maintenance costs. However, rumour has it that Air France Concorde was losing money and the French demanded the simultaneous grounding of both fleets.

Flying at supersonic speed enabled passengers to travel between London and New York in 3 hours and 30 minutes, while a normal subsonic flight would take between 7 and 8 hours. This meant that one would actually arrive a couple of hours before you took off (local time)! Concorde holds the record for the fastest time ever achieved for this route. Captain Leslie Scott set the record of 2 hours and 52 minutes with ‘Concorde G-BOAD’, flying from New York to London on the 7 February 1996.

The development of the TU-144 was a controversial topic and many believed that the Russians copied the Concorde. In 1963, the UK Minister of Aviation, Julian Avery, visited Russia and during his visit, the Soviets proudly exhibited a model of the TU-144. Avery realized that it looked extremely similar to the early Concorde design and informed the Concorde developers.

During its first years, Concorde, famed for its impeccable customer service, operated at a loss. In 1981, Lord King of Wartnaby was appointed as Chairman of British Airways to transform the airline into a profitable company and to prepare it for privatisation.

Amongst numerous changes, King increased ticket prices significantly and Concorde soon began making money. In 1984, ownership was transferred to British Airways who operated the aircraft at a profit. The official reason for Concorde being retired in 2003 was that British Airways and Air France found that it had

The complexities of building supersonic aircraft are immense. No other country besides the Russians with their competing supersonic TU-144 was able to build and operate a comparable aircraft. TU-144 was dubbed ‘Concordski,’ due to its similar appearance to Concorde.

The French and British believed that Sergei Pavlov, posing as the head of ‘Aeroflot’, the Russian national airline operations in Paris, was, in fact, a KGB agent in charge of Russian aviation espionage.

Counter espionage tactics were applied and Pavlov was given incorrect design information on the Concorde to hamper the Russian supersonic project. In 1965, the French arrested Pavlov.

They found a complete copy of the blueprints for Concorde’s landing gear in his possession and he was immediately deported.

A second Soviet aviation spy escaped detection and continued to feed the Soviets information until his arrest and deportation in 1977.

Concorde was not the first supersonic commercial aircraft. The fruits of

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Aerion AS 2

Lockheed Martin N+2

Soviet industrial espionage paid dividends when TU-144 became the world’s first supersonic airliner to take to the air on the 31 December 1968, two months before the first Concorde prototype was completed. To the irritation of the Concorde developers, the TU-144 also became the first commercial aircraft to go supersonic. It exceeded Mach 2 on the 5 June 1969, whereas Concorde only went supersonic on the 1 October 1969. From the 26 December 1975, TU-144 operated commercial flights, transporting cargo between Moscow and Alma-Ata. Commercial passenger flights commenced on 1 November 1977.

Although faster and deemed superior to the Concorde in some areas of design, such as the fitting of two retractable ‘canard’ wings for added stability, the TU-144 was plagued with technical problems.

Three disastrous crashes, one at the Paris Air Show in 1973, sealed the fate of the Tu-144; it was permanently grounded in 1983 after only 102 commercial flights.

Until July 2000, Concorde was considered to be the world’s safest aircraft with no crashes or fatalities. This position changed dramatically when an Air France Concorde crashed after a metal strip, believed to have fallen off a DC-10 aircraft, caused one of the Concorde’s tyres to rupture upon takeoff. Pieces of the burst tyre impacted upon the wing, rupturing a fuel tank. Flames engulfed the rear of the aircraft. As the Concorde had already reached takeoff speed, the pilot could not abort. Minutes later the stricken aircraft crashed into a nearby hotel killing all 100 passengers and nine crew members, as well as four civilians on the ground.

Concorde lost its Certificate of Airworthiness and only regained it on the 5 September 2001, after fitting Kevlar linings to the fuel tanks and ‘tyre deflectors’ to the undercarriage of the French aircraft (BA had already fitted these).

However, after 27 year’s service, Concorde was permanently grounded in 2003, with the final flights flown by Air France on the 31 May 2003 and British Airways on the 24 October 2003.

A subsequent offer by Sir Richard Branson to purchase the remaining Concorde fleet, to be operated by Virgin Atlantic, was rejected. Concorde would never fly again.

Since the retirement of Concorde, jet travel has not progressed very far, but many have not given up the dream. Some aircraft manufacturers continue to focus on developing supersonic passenger aircraft. Some are still in the planning stage while others are already embarking on test flights, which might indicate that air travel is destined to remain subsonic for some time.

Concept plane from Lockheed Martin NASA’s research solicited a concept plane from Lockheed Martin.

The N+2 concept plane has a tri-jet configuration with one engine mounted on the top of the aircraft and one underneath each wing to reduce supersonic boom reaching the ground. The inverted-V at the tail attempts to further reduce the effect by altering the flow of air over the plane. It is still to be tested. >

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Aerion AS 2 The Aerion Corporation is ahead of most and already working with the ‘Federal Aviation Administration’ to test its Supersonic Business Jet, the Aerion AS2, which it expects to enter the market by the end of the decade. The jet will hold 8 to 12 passengers, but the technology can be applied to larger aircraft. It will have two ‘sweet spot’ speeds at which are most efficient: Mach 0.95 and just below Mach 1.5.

JAXA Concept from the Japanese Aerospace Exploration Agency (JAXA) is working on developing a high-speed aircraft that is quiet, economical and environmentally friendly. Working with NASA, it is focusing on 'sonic boom modelling', which involves wind tunnel testing of concept aircraft. JAXA doesn't give an exact date for completion but says that its goal is the end of the century.

SonicStar

ZEHST ZEHST or 'Zero Emission Hypersonic Transport', developed by EADS (European Aeronautic Defence and Space Company N.V.) will not be complete before 2050. Demonstration flights are anticipated by 2020. The ZEHST will fly 36 km above the earth, rendering sonic boom inaudible. Travelling at more than Mach 4, it could travel from Tokyo to Los Angeles in 2.5 hours.

HyperMach's SonicStar A hybrid gas-electric turbine engine will power this business jet. HyperMach predicts its 'electromagnetic drag reduction technology' will dramatically reduce, or eliminate, the sonic boom.

The SonicStar will have room for 10 to 20 passengers and cruise at Mach 4.0 at 65 000 feet. HyperMach counts executives as its customers, but believe the jet could transport cargo and racehorses.

ZEHST

Lynx XCOR is pioneering point-to-point space travel, crossing the planet by leaving the atmosphere altogether. It hopes to make it a reality by 2030. The first step is getting a ‘stepping stone vehicle’ into space.

The two-seater Lynx will use a runway like a conventional plane, but will fly outside the atmosphere, fast enough to get from London to Sydney in three and a half hours. XCOR is booking ‘up and down’ flights in the Lynx for $95,000. Once it has a reliable safety record, it will develop a larger spacecraft making this a reality.

Let's hope that supersonic passenger travel is not too far in the distant future. Like with Concorde, the retired 'Supersonic Swan of the Skies', we can expect to travel between continents at speeds that would seem to be an unbelievable dream come true!

Lynx

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Strauss & Co a success story ...

Strauss & Co, a proudly South African auction house specialising in fine and decorative arts, opened its doors in Johannesburg in September 2008. From the outset it was clear that it would become the force to be reckoned with in the South African art auction industry. Its vision was clear and attainable: to encourage connoisseurship and passion at the top end of the local market with an emphasis on quality, service and excellence. Six years down the line, Strauss & Co continues to soar to dizzy heights achieving the seemingly unachievable and outshining its rivals whilst increasing its market share.

Not only is Strauss & Co South Africa’s premier auction house, but also the global leader in the South African art market. At every auction new records are set, fantastic pieces change hands and renewed energy and confidence is injected into the art market.

The last seven years have been remarkable in the history of the South African art auction industry and Strauss & Co has played a significant role.

Strauss & Co is the creation of two celebrated figures in the business world, Elisabeth Bradley of Toyota fame, and Conrad Strauss, exChairman of Standard Bank. Both seasoned collectors, their passion for South African art prompted them to approach art doyen, Stephan

Welz, with a view to opening a new auction house. Welz was the perfect choice - the longest practicing fine art expert and auctioneer in South Africa with over 35 years of experience with Sotheby’s in London, Amsterdam and South Africa. His vast knowledge of South African art and antiques makes him the most respected ‘generalist’ in these fields. Their goal was to create a sleek, solid and successful operation with the purpose of placing auctioneering on a plane worthy of the best South Africa has to offer in both the fine and decorative arts. Strauss & Co opened its head office in 2008 in the heart of Houghton in Johannesburg, followed immediately by the launch of the Cape Town office at The Oval in Newlands. Stephan Welz was joined in Cape Town by key staff from his former company, Ann Palmer, Vanessa Phillips and Bina Genovese, all with extensive experience and expertise in the auction world.

Their offices exude an air of sophistication and embody the company’s vision of excellence. Inspired by the marked move of international auction houses away from the traditional Victorian image, they created a gallery-style minimalism that places the artworks centre stage with optimal hanging and lighting consideration.

The company and the individuals within it are guided by strong ethical principles and a sense of responsibility to both buyers and

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sellers, where integrity counts as much as expertise in building and maintaining client confidence. The Art Department, headed

by Stephan Welz, features hand-picked professionals, whose knowledge and experience is difficult to match. They work in tandem to curate their sales around a rich variety of the highest quality works and the most coveted South African artists in order to serve their broad base of collectors in their quest to find the next iconic work. Their hard work and passion, coupled with strategic marketing, has attracted South African and international buyers to their sales and has resulted in setting record prices and historic sales. Auction stalwart, Ann Palmer, heads up the Paintings Department in Cape Town. She works closely with highly regarded Senior Art specialist, Emma Bedford. In Johannesburg, the young and dynamic Senior Art specialist and auctioneer, Ruarc Peffers, who has extensive experience in the South African art auction industry, holds this position. Vanessa Phillip, whose broad knowledge in her areas of expertise is unmatched in the local auction industry, runs the Decorative Arts Department.

It is difficult to imagine a self-respecting millionaire without an art collection. South African art continues to beguile the public eye, achieving consistently high prices for outstanding works. Major works by Irma Stern, the ‘grande dame’ of South African art and

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JH Pierneef, the master of the South African landscape have undoubtedly contributed significantly to their annual turnover of over R160 million. In September 2011, Strauss & Co made history when Irma Stern’s important Zanzibari portrait, Two Arabs sold for a record R21 million constituting the highest price ever paid for a painting in South Africa and a South African auction record for the artist. The packed auction room was abuzz with excitement and broke into rapturous applause as auctioneer Stephan Welz knocked down the painting to a determined local collector.

Strauss & Co continues to hold the world record for JH Pierneef having sold Extensive View of Farmlands for R12 million in November last year. These two artists, however, are no longer the only ‘top performers’ achieving six-digit figures. There has been an exponential growth in many artists’ prices, which has contributed towards the long-awaited broadening and strengthening of the art market. The portfolio of leading South African artists that are commanding high prices and achieving world records includes Alexis Preller, William Kentridge, Robert Hodgins, Walter Battiss, Stanley Pinker, Wolf Kibel, Maggie Laubser, Frans Oerder, Ezrom Legae, Sydney Kumalo and so the list continues.

The demand for Contemporary Art in South Africa is on the rise

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and Strauss & Co is ideally positioned to nurture this growing trend, thereby strengthening the secondary market, which, in turn, contributes to the confidence in the primary market. Seminal works by highly regarded contemporary artists feature repeatedly in their top ten lots. In 2013 a record for esteemed artist, Jane Alexander, was set for her sculpture Untitled when it sold for R5,5 million.

Strauss & Co has handled major works by William Kentridge recently achieving a South African auction record for Drawing for Stereoscope: Soho at Desk on Telephone, which sold for R4 million.

Other contemporary artists that are performing exceptionally well include Penny Siopis, Walter Battiss, Diane Victor and Robert Hodgins for whom Strauss & Co holds all ten records. Their success also extends into the international art market. In March this year an important work by the acclaimed Belgian artist, Berlinde De Bruyckere, topped the sale selling for R3,4 million.

Strauss & Co’s Cape Town sales also feature high-quality furniture, silver, ceramics, glass and jewellery holding numerous records in this area, with particular emphasis on Cape furniture and silver.

Jewellery auctions are always popular and well worth visiting - the pieces range from Victorian through to contemporary.

Strauss & Co has also been entrusted with the sales of important private collections. These include the Harry Lits Collection of Works by the Amadlozi Group, the Edith Dodo Collection of South African Art, the Johan Bolt Collection of Cape Furniture, the Professor Walter Beck Collection, the Diana Stuttaford Collection and the Vivienne Linder Collection of Jewellery. Adding another string to its bow, Strauss & Co also handles House Sales. One of the highlights of 2012 was the sale of the entire contents of Keerweder, regarded as one of the finest Cape Dutch properties in the Franschhoek valley. The collection, comprising 662 lots sold for a total of R9,5 million. Despite the inclement weather, avid collectors flocked to the venue and bid enthusiastically in an endeavour to be part of this historical event.

Continuing in the vein of international auction industry developments, two years ago the company decided to join the booming online art world revolution and introduced Strauss Online - a solely online bidding platform offering affordable art and decorative arts in time-limited auctions to anyone, anywhere in the world. After five successful online auctions, the response by buyers, old and young, local and international, has been phenomenal, reaffirming this worldwide shift in shopping preferences. Keep an eye open for the next online auction scheduled to take place from 13-27 July (www.straussartonline.co.za).

EDITOR’S NOTE: Forthcoming Auctions at Strauss & Co Important South African and International Art, Decorative Arts and Jewellery Cape Town, 12 October, The Vineyard Hotel, Newlands Important South African and International Art Johannesburg, 9 November, The Ballroom, The Wanderers Club 011 728 8256 | 021 683 6560 | www.straussart.co.za

Robert Hodgins, J’accuse SOLD R2 500 960 WORLD RECORD

Now inviting consignments of South African and International Art Forthcoming auctions in Cape Town, Monday 12 October and Johannesburg, Monday 9 November, 2015 Entries close 10 weeks prior to the sale 021 683 6560 | 011 728 8246 | ct@straussart.co.za | jhb@straussart.co.za | www.straussart.co.za Strauss & Co is the global leader in the South African art market

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It’s better to travel ...

Journeys are the midwives of thought. Few places are more conducive to internal conversations than a moving train, ship, car or plane.

BY RICHARD WEBB

I owe a lot to Alain de Botton. His book, the Art of Travel, is not just a thought-provoking book; it also forms the inspiration to write this story. In this book he says, ‘there is an almost quaint correlation between what is in front of our eyes and the thoughts we are able to have in our heads; large thoughts at times requiring large views, new thoughts, new places. Introspective reflections which are liable to stall are helped along by the flow of the landscape’.

‘At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestic setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are,’ he wrote.

The pleasure we derive from a journey is often more dependent on the mindset we travel with, than on our destination. So, if mobility were a precursor to inspiration, what would be my most beautiful ‘yesteryear’ way to travel? De Botton again: ‘What we seek, at the deepest level, is inwardly to resemble, rather than physically to

possess, the objects and places that touch us through their beauty.’

Nostalgia, romance and the glamour associated with rail travel get my heart going ‘clickety-clack’. The Flying Scotsman, named after the rail service running between King’s Cross station in London and Edinburgh in Scotland and operated by North Eastern Railway, is surely the most memorable train journey ever.

From the 1920s the train was considered to be the height of luxury, with first-class restaurant facilities, a cocktail bar and radio equipment, so passengers could listen to the BBC. In 1928, it was re-worked to enable a new crew to take over without stopping the train, allowing it to haul the first ever non-stop London to Edinburgh service, reducing the journey time to eight hours. It also became the first locomotive to clock a top speed of 160 km/h. In 1928, the train broke the record for the longest regular non-stop train journey in the world, when it ran an express service for the entire 393-mile route.

This 3-cylinder locomotive carried 8 tons of coal, 19 000 litres of water and had racked up 4 million kilometres. But in 1958, in a historic move, which would signal the decline of steam, The Flying Scotsman was hauled by a diesel locomotive for the first time.

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Some 90 years ago, a legend that rivaled anything Hollywood could dream up at the time, ‘Bentley Boy’ Captain Woolf ‘Babe’ Barnato provided the South African connection. A financier and racing driver, Barnato divided his early life between London and Johannesburg as the heir to the Kimberley diamond mines. His first Bentley, a 3 litre purchased in 1925, so inspired him that he bought the company from owner W O Bentley just 12 months later. Barnato won many important races in Bentleys and became the only Le Mans driver with a perfect win-to-start ratio. He profoundly influenced the most quintessentially British automotive brand in history – Bentley.

For some, cars like Bentley are an opulent and ostentatious display of wealth – even a cry for attention, perhaps. For others, and I include myself, they are a thing of beauty and craftsmanship of a bygone era. Yet they have a future, as the latest models are cleaner, more frugal, safer and faster than ever and therefore are worthy machines to covet. By road, there may be no other more satisfying way to travel. >

1929 Bentley Blower

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A HEART LIKE NO OTHER CONTINENTAL GT V8

Bentley Motors SA

The new Bentley Continental GT V8 redefines Grand Touring with an exhilarating twist of innovation: A 4.0-litre twin-turbocharged engine. Its turbochargers are mounted within the ‘V’ for efficiency and weight reduction, and variable displacement allows for a seamless switch from a visceral V8 to an effortless V4. It makes an awe-inspiring sound and gives the 8-speed transmission, all-wheel drive Continental GT V8 the power to combine dynamic sports performance with best-in-class Grand Tourer range.

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Suggested Retail Price: R3 300 000.00 (incl VAT), price excludes delivery fees and optional equipment, please contact your nearest dealer to book a test drive.

BENTLEY JOHANNESBURG

Corner William Nicol & Bryanston Drive, Johannesburg, Gauteng, South Africa For information call +27 (0) 11 361 6500 or visit www.imperialcollection.co.za

BENTLEY CAPE TOWN

10 Hospital Street, Harbour Edge Building, Cape Town, Western Cape, South Africa For information call +27 (0) 21 419 0595 or visit www.imperialcollection.co.za

JOHANNESBURG | CAPE TOWN

Fuel consumption figures for the Continental GT V8 in mpg (l/100km): Urban 18.4 (15.4); Extra Urban 36.7 (7.7); Combined 26.7 (10.5). CO2 Emissions (g/km): 246. Fuel consumption figures are provisional and subject to Type Approval. The name ‘Bentley’ and the ‘B’ in wings device are registered trademarks. © 2011 Bentley Motors Limited. Model shown: Continental GT V8.

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For me, the Queen Elizabeth 2, often referred to simply as QE2, is the transatlantic liner I would have chosen as an object of ocean going beauty. Queen Elizabeth 2 was built by the John Brown Shipyard in Scotland on the same plot as the Lusitania and was launched by the Queen in 1969. This vessel was a luxurious place to be. In excess of 600 000 litres of beverages, including 70 000 bottles of champagne, were consumed on board annually. The ship has circumnavigated the globe 25 times; every year the pampered passengers consumed 20 tons of lobster and a ton of caviar. The ship crossed the Atlantic 801 times in its lifetime whilst shoppers indulged in its luxurious shopping arcade with 11 boutiques, including Harrods. Silver plaques commemorate the visits of every member of the Royal Family, as well as our own Nelson Mandela.

However, by the mid 1960s, transatlantic travel was dominated by air travel due to its speed and low cost relative to the sea route, and expansion of air travel showed no signs of slowing down. My favourite aircraft was designed and built in California by the Douglas Aircraft Company. The DC-3 was originally designed as a luxury airliner for American Airlines for a 14-berth sleeper service from New York to Chicago complete with dressing rooms, a ‘honeymoon cabin,’ and a galley, serving hot meals.

Easy to fly, simple to maintain and suitable for short take off and landing from dirt strips and grass runways, the 28-seat Douglas DC-3 was known affectionately as a ‘Dakota’. Sixteen thousand were built and around 2 000 still fly today. Some of these sleek aircraft are used for crop spraying and rescue work, research and exploration, and others for joy flights and of course, freight. These loveable aircraft were also among the heroes of the Berlin Airlift of 1948-9 when the Allied Forces provided food relief to Berlin as Stalin tried to blockade the city into Soviet submission.

It has been described with some affection, as ‘a collection of parts flying in loose formation,’ but both pilots and operators believed that the only alternative for a DC-3 was another DC-3. The versatile DC-3 also served the North and South Poles with skis as landing

gear and floats fitted to operate as seaplanes. This beautifully designed and engineered aircraft still has a long life ahead of it. In the 1942 film, Casablanca, Humphrey Bogart ensured that Ilsa and her lover, Victor, boarded a DC3 to safety, and one cannot get more evocative than that. Here’s looking at you, kid!

The last word again goes to Alain de Botton: ‘If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.’ I couldn’t say it any better.

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Ursula Andress

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‘The Bond Girls’

BY MOIRA THEART

W

hen the English author, Ian Fleming, wrote the first of 12 novels about James Bond, the fictional spy of the British Secret Intelligence Service (M16), he did not realise that his books would become the third-highest grossing film series in the world.

The James Bond character created by Fleming is a cocktail of the personalities of various secret service agents Fleming met as a naval intelligence officer during World War II. Bond, also known as 007, also inherited many of Fleming’s own personality traits, such as his golf handicap, his preference for scrambled eggs and his love of gambling and of course, the fairer sex.

Interestingly enough, Fleming wanted 007 to be a boring and unexciting personality. To achieve this Fleming, borrowed the name ‘James Bond’ from an American ornithologist, who wrote ‘Birds of the West Indies’, a respected bird-watchers guide. Ian Fleming, an ardent bird-watcher himself, had a copy of the book. He later explained to the ornithologist’s wife:

Ursula Andress appeared in the first big screen James Bond film, ‘Dr No’, in 1962. The scene where Ursula, or ‘Honey Rider’, walks onto the beach in a white bikini with a diving knife attached to her hip caused a sensation. As an indication of the impact it had at that time, the bikini worn by Ursula subsequently sold for GBP 35 000 at a Christie’s auction in London.

However, the very first ever Bond girl was actually Linda Christian, a Mexican actress, but she starred in the relatively unknown television adaptation of Flemings book, Casino Royale, released in 1954. But it was Ursula Andress, in Dr No, that set the benchmark for all future Bond girls to the extent that the role of a ‘Bond girl’ became one of the most sought after in cinema history.

‘It struck me that this brief, unromantic, Anglo-Saxon and yet very masculine name was just what I needed. When I wrote the first one (Casino Royale) in 1953, I wanted Bond to be an extremely dull, uninteresting man to whom things happened; I wanted him to be a blunt instrument ... when I was casting around for a name for my protagonist I thought by God, James Bond, is the dullest name I ever heard’.

Fleming failed dismally to create the dull personality he envisaged for 007, as he has never been boring. The name, James Bond, is synonymous with the words intrigue and excitement, as with the selection of ‘Bond girls’ we feature in this editorial.

Similar to the James Bond character, the leading Bond ladies are also typecast and carefully selected. Most of the Bond girls are in their early 20s or at least 10 years younger than 007 and all are extremely beautiful. Some of them were created with clichéd and at times frowned upon names with double entendres, such as Xenia Zaragevna Onatopp, Holly Goodhead, Honey Rider, Plenty O’Toole, Pussy Galore and Octupussy.

Ian Fleming

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Daniela Bianchi Daniela Bianchi, an Italian actress plays the part of ‘Tatiana Romanova,’ a Soviet consulate clerk, in the second James Bond film, ‘From Russia with Love’ based on the 1957 Fleming novel of the same name. Before being cast as the Bond leading lady at the tender age of 19, she was the first runner-up in the 1960 Miss Universe contest. Daniela still remains the youngest actress cast as a leading Bond girl to date.

Honor Blackman Honor Blackman was mostly known for her role as ‘Cathy Gale’ in ‘The Avengers’ television series before she was cast alongside Sean Connery in ‘Goldfinger’ in 1964. Her double entendre name, ‘Pussy Galore,’ caused significant controversy in the 1960s and is one of the key factors that made her character so memorable. Honor, at 39, was by far the oldest Bond girl to date, which was unusual as Bond girls are normally half 007’s age. James Bond first meets her as he awakens on a private jet after being rendered unconscious by a dart from a tranquilliser gun. She leans over him and introduces herself; ‘My name is Pussy Galore,’ and in typical James Bond style he responds - ‘I must be dreaming’. In another scene Bond says to her; ‘you’re a woman of many parts, Pussy’, again playing on the double entendre.

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Jane Seymour Joyce Penelope Wilhelmina Frankenberg, known as ‘Jane Seymour’, starred as ‘Solitaire’ opposite Roger Moore in ‘Live and Let Die’, the eighth Bond film. Seymour was raised in London and her first love was ballet. At 13 she made her debut at the London Festival Ballet, but her dreams of being a prima ballerina came to an end when she suffered knee injuries while performing with the Kirov Ballet. As a result she turned to theatre, adopting the name ‘Jane Seymour’, the name of the wife of King Henry VIII. Jane appeared in her first film, ‘Oh! What a lovely War’ in 1969, which was also Richard Attenborough’s directional debut. During the filming, she met and married Michael, the son of Richard Attenborough. Jane shot to fame with her casting as Solitaire in 1973. As one of the higher-ranking Bond girls, Jane has had a successful career after Bond.

Sophie Marceau Sophie Marceau, acting as ‘Electra King’ in the twentieth James Bond film, ‘The World is Not Enough,’ with Pierce Brosnan was born in Paris in 1966. At the age of 14, Sophie joined a model agency in Paris where French movie director, Claude Gaumont, discovered her and signed her in a long-term contract for a French comedy film ‘La Boum’. In the sequel, ‘La Boum 2,’ Sophie was cast in a starring role, which put her on the proverbial map. She starred in numerous films, including the role of Isabelle in the epic film, ‘Braveheart’, before becoming a Bond girl in 1999.

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Halle Berry Former beauty queen, Maria Halle Berry, whose parents named her after a department store, was cast as ‘Giacinta Jinx Johnson’ in the 2002 James Bond box office hit. ‘Die Another Day’ earned $432 million, to become the sixth highest grossing big screen production of 2002.

Halle Berry was born in Cleveland in 1966. In 1985, Halle was crowned ‘Miss Teen All American’ and in 1986 she became ‘Miss Ohio USA’. In the same year she was second in the ‘Miss USA’ beauty contest and became the first African-American to enter the Miss World competition. After a short modelling stint in Chicago, Halle moved to New York to pursue her dreams as an actor.

In 1992 she co-starred in a film ‘Strictly Business’ and in 1992 with Eddie Murphy in the romantic comedy, ‘Boomerang’. Bigger roles followed in numerous films alongside other well-known actors. In ‘Die Another Day’ Berry had to reintroduce the iconic scene from Dr. No - emerging from the surf to be greeted by James Bond - as Ursula Andress did 40 years earlier.

Eva Green The Paris born French actress, Eva Green, plays the role of ‘Vesper Lynd’ in the 2006 remake of ‘Casino Royale’. The release of ‘Casino Royale’ aslo marks the debut of Daniel Craig, who is on our front cover, as James Bond. ‘Casino Royale’ was first released in 1967 with Ursula Andress cast as Vesper Lynd.

Before Eva became a Bond girl, she had already achieved wide recognition for her role in the erotic and controversial Bernardo Bertolucci film, ‘The Dreamers’, in 2003. In 2006 she shot to international stardom with her superb performance in ‘Kingdom of Heaven.’ Her performance in Casino Royale, opposite Daniel landed her the ‘BAFTA Rising Star Award’. This is one Bond girl who has not fallen prey to being typecast as a typical Bond girl.

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Olga Kurylenko The beautiful Ukrainian model, Olga Kurylenko, was already a star by the time she was asked to act the part of ‘Camille Montes’ in the 22nd James Bond film, ‘Quantum of Solace’.

Olga was discovered at the age of 13 by a talent scout while on holiday in Moscow, which paved the way to the catwalks of Paris.

When she turned 16 she moved to Paris to join the famous Madison modelling agency. Success soon followed and by the time she had turned 18 she had already graced the front cover of numerous international magazines such as Vogue, Elle and Madame Figaro amongst many others.

Olga also acted in a number of films before ‘Quatum of Solace’, most notably, the French films ‘Paris, je t’aime,’ as well as ‘L’Annulaire’ for which she received an excellence award at the International Film Festival in 2006. She also starred in the film ‘Hitman’ in 2007 and played the part of a Russian prostitute in the French film ‘À l’est de moi.’

Monica Bellucci At age 50, the latest Bond girl, Monica Bellucci will rewrite ‘Bond girl’ history as the oldest Bond girl to date. Monica is cast as ‘ Lucia Sciarra’, alongside Daniel Craig in ‘Spectre, the twenty fifth James Bond Film, which is to be released during November 2015.

Monica, considered to be an Italian sex symbol, began her illustrious modelling career at age 13. She is an acclaimed international model featured on many magazine covers. She also posed nude for the Italian Vanity Fair Magazine during 2004, in protest against Italian laws preventing the use of donor sperm, while being six months pregnant with her daughter Deva.

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Buying an experience If money doesn’t make you happy, then you probably aren’t spending it right! ‘Buying an experience improves wellbeing more than buying a possession, and experiences can create lasting memories’ says Richard Webb.

‘Dubai was founded on trade, not oil.’ Mohammed bin Rashid Al Maktoum

So, what’s all the fuss about? Dubai, with its crisp, sky-reaching architecture, spectacular skylines and obsession with fashion and style, is more like Shanghai than Las Vegas. It also has a flourishing contemporary art scene rooted in its Bedouin heritage. And, being a publisher, I was drawn to Dubai’s traditions of storytelling.

Why go to Dubai? To be honest, I went there initially to hear Bill Ford Jr speak about the future of the car, and to witness the new Ford Mustang convertible being hoisted atop the world’s tallest building, the Burj Khalifa - which in itself is a lofty tourist attraction.

Haggling for gold and frankincense sharpens your negotiation skills in the bustling souks, yet Dubai’s futuristic appeal and wide range of western entertainments and sumptuous shopping malls are really as much fun as the simple pleasures of ‘the Orient’.

An anonymous thinker once said that travel is the only thing you can buy that makes you richer. In that spirit, I am indeed a wealthy man. Here are a few of my favourite places I’ve travelled to in my role as a storyteller .

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‘Do a Bilbao’ The northern Spanish city of Bilbao has not always been pretty. I could see this as I strolled around the town towards the Guggenheim Museum. Bilbao was a cultural backwater before the museum opened in 1997, but since then, more than 10 million visitors have been enthralled by its sheer architectural audacity and breadth of displays. A collaboration between the Guggenheim Foundation and Basque authorities, the museum put Bilbao firmly on the cultural map and Frank Gehry’s fish-like museum had me awe-struck.

A history of heavy industry had left the town with industrial wastelands during its declining years. But Bilbao’s visionary efforts paid off thanks to this extraordinary shimmering titanium structure nestling on the shores of the Nervión River.

The town has real character and the transformation has been so dramatic that the phrase ‘Bilbao effect’ now describes how investing heavily in the arts can help any city remake itself from an industrial blight into a vibrant tourist attraction.

Guggenheim Museum

It’s the down-to-earth soul of its cuisine and people, rather than its numerous art galleries that are the real attraction of the vital, exciting and cultured city of Bilbao.

‘We leave something of ourselves behind when we leave a place, we stay there, even though we go away.

And there are things in us that we can find again only by going back there.’ Pascal Mercier

Lisbon I arrived in Lisbon not by night train, but in a BMW 4 Series Gran Coupe. I soon parked the car and meandered up the sharply inclined, labyrinthine streets while dodging the shouting fishwives of the ancient Alfama district of Lisbon. The click-clacking yellow trams are a great way to get around to explore Lisbon’s impressive monuments to the Age of Exploration. Europe’s westernmost capital has a charm of its own, and despite Portugal’s troubled economy, it has more than just tradition to attract travellers looking for a transatlantic escape.

It’s adventurous and progressive food scene, haute bohème bars and nightlife continues until dawn.

Take the neo-Gothic Santa Justa lift for fabulous views over the district, or head northeast to Praça de Dom Pedro IV. This is the city’s main square and a people-watching paradise. You’ll see Vespa riding hipsters; buskers, assorted tourists and locals shuttling to and from the Estação Ferroviária do Rossio rail station at the edge of the square.

In a city that’s famed for its nightlife, there are other artistic expressions and fields of thought, and the MUDE – which means change in Portuguese – is the cultural centre and beating heart in the main artery of the city, with areas of exhibition, diffusion, creation, interaction, education and debate.

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‘Sleepless in Seattle’ ‘All those ninnies have it wrong. The best thing about Seattle is the weather.’ Maria Semple Sleepless, I found myself jogging in the early morning rain, using the Space Needle to navigate my way back to my hotel. I was there to drive the Jaguar XF-RS, but also for the coffee and to experience the hip and high-end clothing boutiques. And the food is just about a religion – with the farm-to-table scene taking pride of place.

This Pacific Northwest city in western Washington State is so compact that you can see most things by foot, taxi and boat. The waterfront Olympic Sculpture Park, part of the Seattle Museum of Art has a collection of sculptures and with its the sweeping views of the Bay and the Space Needle, is more than memorable. In Seattle, the water constantly beckons, spoil yourself and book a Kenmore Air seaplane flip, as there is no better way to see the full expanse of water, mountains and city than via a 20-minute aerial tour of the area. Or walk 10 minutes to Colman Dock and board the ferry to Bainbridge Island. But whatever you do, head for Pike Place Market within the heart of Seattle’s downtown. More than the city’s beloved public market, Pike Place Market is a vibrant neighbourhood comprised of hundreds of farmers, craftspeople, small businesses and residents.

The Space Needle

‘Of one thing there is no doubt. If Paris makes demands of the heart, then Munich makes demands of the stomach.’ Rachel Johnson

Munich The Bavarian capital is cracking its conservative shell with travelling art projects and prestigious museums, such as the Deutsches Museum, Museum Brandhorst, Pinakothek, Haus der Kunst and the BMW Welt, which is one of the most compelling large-scale contemporary art installations.

Okay, it was, of course, the city’s beer gardens - a cultural institution in their own right – that attracted me as well. They are as vibrant and lively as ever. Oh, and the gin. It is at the Zephyr Bar where I found a fine selection of German gins with fresh ingredients and bartenders prepared to create fantastic aromatic cocktails.

BMW Welt

The beating pulse of Munich is a great place to explore the delightful specialty food markets; aged beef, handmade chocolates and, of course, the previously mentioned German gins, all of these imbued me with local spirit.

An enjoyable Sunday activity is still a lazy amble through the Englischer Garten for a picturesque lake, beautiful beer gardens and an oversized chewy pretzel with your Weissbier in the sun.

Zum Franziskaner

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Elegant shops and lively markets. Lille is a city that doesn't feel the need to impress Leaving Paris and travelling north, I discovered Lille a little while ago. Part of the charm of this northern French city is that it doesn’t behave in a manner, which is all hauteur and arrogance.

Perhaps unlike the French capital, the slow-moving traffic was patient as swathes of Citroens, Peugeots and Renaults eased their way over stone-paved roads, even though Lille opened the world’s first driverless metro transport system in 1983.

Flemish influenced 17th- and 18th-century buildings are now elegant shops. The former stock exchange is a most handsome building – a Flemish Renaissance of garlands and gargoyles, where now, you >

can buy second-hand books, antique postcards and vintage vinyls.

The Palais des Beaux-Arts is a mini Louvre, with works from medieval artists to the Impressionists.

If you want to pick up a pig’s head or live lobster for lunch, head to the market Wazemme, or for more refined food, try the Place du Concert market with its oyster bar and artisanal cuisine. I took the Metro northeast to Roubaix and the Aux Merveilleux patisserie on rue de la Monnaie, purely to indulge in a not-at-all-Banting meringue and cream creation.

Sir, when a man is tired of London, he is tired of life; for there is in London all that life can afford.” Samuel Johnson

I’ve got so many happy memories of travelling around London on the Tube, for business and pleasure, as a 20-something aspiring publisher. I found London to be a peerless place for revolutionary style, vibrant nightlife, aristocratic architecture and sublime gardens.

Those down-to-earth pleasures are made even better during those seemingly never-ending sunny days of summer.

Vibrant, noisy and wholly multicultural, London is a megacity of people, ideas and buzzy energy. London originally referred to just the once walled ‘Square Mile’ of the original Roman city known as Londinium. The term ‘Greater London’ embraces Central London

together with all the outlying suburbs that lie in the lower Thames valley. As densely populated as it is, London retains its green lungs with swathes of open spaces, even in the city centre. It’s a surprisingly compact city and incredibly well signposted – perfect for walking – to get a unique experience of the capital.

Stroll past Buckingham Palace and then on to the London Eye. Check out the Marble Arch where Oxford St meets Park Lane in Mayfair and head out east to Fleet Street to St Paul’s Cathedral – the Sir Christopher Wren masterpiece – on your way to the Tower of London. It’s unforgettable.

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City Vineyards

BY MARION PFEIFFER

Until the Middle Ages, transport and travelling were problematic for most, so every community aimed to be as self-sufficient as possible. Wine was considered as a necessity and vineyards were established on the poorer soil, as close as possible to the settlement.

With the world population increasing and the first real trends of urbanization, the established vineyards began to be surrounded by the growing cities. This is still happening today, for example, in Constantia in South Africa or the Graves region of Bordeaux.

Originally, most wineries were located safely within the protective walls of the village or town. If a city was besieged and raided by invaders, it was imperative that the stock of wine was inside the walls and did not become a bounty of war. When visiting the Mosel Valley, Burgundy or Champagne, all the historic wineries are positioned in the heart of the cities and only more recent operations have been developed on the farms.

It was only later that customs of defending treasures, such as wine, art and records by keeping them in the heart of the cities was changed in Western Europe. In the new world, such as the USA, Argentina or South Africa, the wineries were always built on the farms. The population density was different and invasion was not the main concern of the farmers and wine makers. During the last century, wine estates in the older regions, such as the Medoc or Bordeaux developed the practice of building wine cellars on the properties. One of the first was constructed on the banks of the Gironde Estuary at the dawn of the 19th century.

Industrialization and improved methods of transporting goods >

photo l gerda louw

Along with civilization came agriculture and with agriculture came the wine! Communities settled near to rivers for fresh water and to provide irrigation for their crops and with easy access to trade routes.

In the Caucasus and the Middle East, vines were first documented more than 8000 years ago. The planting of grape vines has followed human migration and vineyards were usually established alongside villages wherever possible. Wine is still symbolic in the liturgy used by religions, from Dionysus, the Greek god of the grape harvest, to the Scriptures. As a consequence, vineyards were often planted close to temples or other places of worship.

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caused the closure of vineyards close to the cities where the space was needed for the factories during the 19th century. It was the beginning of a change in society, with people leaving the countryside to seek work in towns and cities. Some vineyards became surrounded while others lost the battle and disappeared.

photo l cape towm archives

South Africa’s wine history grew at a slightly different pace.

Nevertheless, all wine farms were originally established in the cities with the first vines successfully planted in South Africa in 1652. The first wine production was recorded in 1659, using grapes from vines propagated in the middle of what is still known as the Company’s Gardens, the green heart of Cape Town. The wine was pressed in the Castle, the first South African winery ever created.

At this time, Cape Town was primarily a huge farm for satisfying the needs of seafarers. It was the Dutch East India Company’s (VOC) refuelling station for ships on their way to the East Indies providing a safe harbour, water and a fresh food supply. Local vineyards also supplied the colony with wine. The planting of vines was also attempted on the Commons, where Green Point stadium is located today, but this was a failure. The wind was so strong that the first botanists recorded that nothing could grow, and the gale force winds shredded even turnips as well as vine leaves. The slopes surrounding the bowl of Cape Town proved to be far more suitable. Vineyards were planted extensively in the areas now known as Oranjezicht and Higgovale and on the slopes of Signal Hill. Gradually the vineyards moved even further out to the slopes of Woodstock, and it is difficult to imagine that today’s buzzing Observatory neighbourhood once consisted of pastures and vineyards.

The arrival of the first steamships changed South Africa’s importance on the world map during the second part of the 19th century.

Increased trade with Asia resulted in Cape Town becoming a prosperous trading hub, attracting many immigrants to the Cape

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and inland, to the gold and diamond rush areas. Soon, the city overflowed its historic borders. Local botanists were able to work to acclimatise plants from around the world, however, with the plants came the pests, and in 1895, Phylloxera was first observed in Cape Town vineyards. Originally from America, this soil aphid made its way in potting soil and destroyed the un-grafted vineyards of the Cape in the same way as it had done to European vineyards in 1840.

At the time that vineyards were succumbing to Phylloxera, urban pressure forced most farms to become residential areas to accommodate the increasing numbers of immigrants. Early Cape photographic prints show the inner city wine farms, such as Welgemeend farm, now replaced by the Jan Van Riebeek High School, or the Leeuwenhof Estate which is now famous for being the official residence of the Cape Premier. Its decommissioned cellar appears in the pictures of what was then a 12-hectare city wine estate.

The time of city farms was limited. While Cape Town remained the centre of the wine trade, the production centre moved away from the city. Most vineyards were not replanted after the Phylloxera blight and the farms were divided to create the modern City we enjoy today.

The last city vineyards in Cape Town appear on maps dated 1963.

One these was the Schotschekloof farm on the slopes of Signal Hill, just above Bo-Kaap.

In 1999, Bruce Jack established the Flagstone Winery at the V&A Waterfront where they made and matured their red wine. Signal Hill Winery followed this visionary winemaker in 2001 by establishing in the heart of Cape Town. Signal Hill’s owner-winemaker, Jean Vincent Ridon, has been invited to manage the most famous Paris vineyard, the Clos Montmartre. After his first Paris vintage, he decided that the city of Cape Town vineyards needed to be revitalised and he >

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searched for urban land where vines could be planted. Through a public appeal on local radio, he convinced the Andrag family to lease to him the large vegetable garden, which had belonged to their grandfather in Oranjezicht. In 2005, a city wine made from city grapes was pressed. The second vintage achieved the most coveted South African rating; the 5 stars awarded by the Platters Wine Guide.

Clos d’Oranje is the only city vineyard in the heart of Cape Town.

Clos means enclosed within a wall, and Oranje is the tribute to Oranjezicht, the historic wine farm where the current grapes are grown. This perfectly demarcated vineyard of 1200 vines enjoys the status of Single Vineyard, a regulated appellation certifying only 600 bottles per year. Planted with Syrah, the Clos d’Oranje is the only un-grafted vineyard in South Africa, taking the risk of facing the same destiny as its ancestors and succumbing to the Phylloxera pest, still present in the soil. A strict organic farming plan keeps the dangerous insect at bay, offering the City a glimpse of its glorious past.

photo l gerda louw

Signal Hill winery planted another block of vines on the slopes of Camps Bay and is in discussion with municipal authorities regarding the possibility of planting more vineyards around Cape Town. Their ultimate goal is to re-establish the historic vineyard in the Company’s Gardens, where this all started years ago.

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CLASSIC BOND Classic Bond first entered the retail environment by opening a store on the bustling main street, 4th Avenue in Parkhurst, in September 2014. After 25 years of supplying leading furniture and décor retailers in South Africa, this was a natural step for the Classic Bond team, and one that proved to be a rewarding and a significant new direction for the business.

The opening of a second store, our flagship store in Kramerville, was an especially momentous occasion.

Kramerville, also in Johannesburg, is a rarefied design hub, which showcases some of South Africa’s top furniture, décor and fabric companies and is a popular lifestyle destination where design hounds can shop, as well as enjoy good food. It even has its own Palace Bar, Katy’s Restaurant, a unique rooftop venue, catering for the enjoyment of urban royals, fashionable courtiers and aristocrats.

Furniture is a well-established manufacturing industry in South Africa. Experts are predicting that the future is promising with escalating demands and increasing opportunities for niche markets, Classic Bond’s speciality.

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Classic Bond employs local artisans and craftsmen at its factory in Johannesburg and is a proudly South African company. The purchase of Classic Bond products guarantees the employment and livelihood of our skilled artisans. The continued support of our growing customer base ensures the ongoing development of our talented team.

Small businesses are the engines of all thriving economies and yet so many fail to grow beyond the small-business-lifecycle-stage in South Africa. At Classic Bond we understand the importance to constantly innovate and respond to the ever-changing local and international design landscape and market trends.

Classic Bond stores are supplied by its own factory, staffed by their production team and inspired by their dynamic, creative team, which collectively has over 100 years of experience in this field.

‘Our pieces are timeless, authentic and sensibly priced’. We are not just selling furniture, we are selling a lifestyle. Classic Bond’s quirky and unique offering will breathe life into most décor environments.

DESIGN ON APPEL 14 APPEL ROAD KRAMERVILLE TEL: 011 262 0401

SHOP 2 30 4TH AVENUE PARKHURST TEL: 011 268 0139

W W W. C L A S S I C B O N D D E C O R . C O . Z A

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The lure of collecting ‘Collecting is much more exciting when you've taken the time to learn about the symbolism, the history, and the creators of your object d’art’.

BY RICHARD WEBB

When I was five years old, a kind old aunt handed me a battered biscuit tin containing a motley collection of coins. It filled me with wonder, as I felt the serrated edges of coins from distant lands, as I wondered who had held them in their hands in the years before me – and what their stories may have been.

The seal was broken. I became an avid collector in my pre-teens, not just of coins, but stamps, comics and Dinky cars too. The hobby managed to exhaust the modest pocket money and paper-round income of that small boy. To this day, the world of collections continues to fascinate me.

I suppose there are two basic skills one needs to collect intelligently; the first is an ability to research, evaluate and buy the collectable that attracts you, the second is having the discernment to choose each item so as to form a meaningful grouping. Many of us know how to acquire collectables on an ad-hoc basis, but how about a detailed plan for making multiple acquisitions over time?

And then there’s an almost unlimited choice in subject matters and price ranges. That alone can be confusing, as well as intimidating.

What makes a collector great is the ability to separate out specific object d’art from the millions of pieces out there and curate them in such a way as to advance our understanding of that piece in particular or of the evolution of the genre in general. In any well-managed

collection, the whole is greater than the sum of its parts, and the collector comes to be regarded as a respected authority. In exceptional cases, they go on to set the standards and trends, as well as influence the future of collecting for others.

It’s important to relate one purchase to the next, like the great collectors have done. Take the Rockefeller collection or the Saatchi collection, just to name two. Generally, collectors prefer to remain anonymous, but one of the largest South African car collections is the Franschhoek Motor Museum and it is open to the public. Among the many ‘jewels’ in this collection is a 1938 Mercedes-Benz 500K purchased for a cool R7,6 million a few years back from Stephan Welz & Co. and is now worth approximately R14 million.

In fact, a recent Frank Knight survey shows that within a ten-year period, the increase in the value of cars was higher than that of any other luxury collectable items. ‘Collectable cars are currently experiencing an upward trend both locally and globally. There has been a decreasing supply in good quality collectable cars due to most of them being bought up for museums and private collections.

This is why we have seen a climb in prices worldwide’, says Jack Rosewitz, Car Specialist at Stephan Welz & Co.

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1938 Mercedes-Benz 500K sold for R7.6 million

Ann Palmer, who heads up the paintings department at Strauss & Co auctioneers, believes that it is never too late to start an art collection. ‘There has been a meteoric rise in prices realised for South African art at auctions over the last 25 years. The market for the ‘Old Masters’, for example Irma Stern, Pierneef, Maggie Laubser, amongst others is now well established, and continues to perform well. However, we are seeing an impressive rise in prices for more recent artists, like Robert Hodgins, Stanley Pinker and William Kentridge, who have caught up and in some instances are even overtaking them. Younger people, who are entering the art market, are attracted to the more contemporary works by living artists, and the interest in art generally is on the increase. This is clearly demonstrated by the throngs of enthusiasts who attend the First Thursdays of the Month in Cape Town, when the art galleries stay open after hours’. Her advice is to buy the best that you can afford and what gives you pleasure, rather than be influenced by what other people are buying. It is really all about quality.

Alexis Preller, Red Angel, sold for R 2 842 000, March 2014

JH Pierneef, Extensive Landscape with Farmlands, sold for R 11 936 400, November 2014

William Kentridge, Iris, sold for R 2 955 680, November 2014

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Furniture collections can also be worth a lot of money. According to Vanessa Phillips, who is in charge of the Furniture Department at Strauss & Co, quality pieces, whether inherited or collected over a period of time, should continue to hold their value. However, fashions change and what was possibly once believed to be the prize piece in a collection due to its age, provenance and the type of timber used has been replaced by more modern contemporary pieces using leather, glass and chrome which are more appropriate to today’s life styles.

Victorian furniture has become less desirable in line with worldwide trends whereas Cape furniture has increased in value, particularly if it is adorned with Cape silver mounts. Strauss & Co still holds the record for the highest price paid for a piece of furniture at an auction, a mid 18th century Cape coromandel and silver-mounted buffet, which sold for R1 million in 2009.

An 18th century Cape coromandel and silvermounted buffet, sold R1 058 300, October 2009.

Younger collectors are attracted to the more modern furniture from the 20th century designers, particularly from the Scandinavian, French and Italian schools. Furniture by designers such as Marcel Breuer, Ludwig Mies van der Rohe, Arne Jacobsen, Herman Muller, Le Corbusier and the Memphis schools is highly collectable.

That said, now is a perfect time to buy ‘brown’ furniture as it can be mixed beautifully with modern pieces, which is helping to broaden our definition of what could reasonably be collected. If you expect to have any influence over the long-term future of your collection, start educating your family about what you own and make sure they are aware of the value and significance of your collection – and how important it is to you.

For really good examples of modern design, pay a visit to Eclectica in Buitengracht St in Cape Town, Minimalist in Simon’s Town or visit Jeremy Stephen Antiques in Parkhurst, Johannesburg where you can see wonderful examples of mid-century modern design.

Ultimately, any collector is just the temporary custodian of the works – and the longer you spend working on the collection, nurturing it, the more you will get attached. I have long ago lost that battered biscuit tin my aunt gave me. And what about my coins? Half a century later, I still have them, and a whole lot more besides.

Le Corbusier Style LC1 Strap Chair

It’s silly, I know, but I do hope they go to good homes, one day.

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The Concorso d’ Eleganza is perhaps the most significant gathering of all automotive collections globally, celebrating the mystique of historic cars, the 2015 event was amongst the most memorable I have been to.

Every year – on the banks of Lake Como at of one the world's leading hotels – the Grand Hotel Villa d’Este – the Concorso offers guests and visitors the chance to admire about 50 fantastically beautiful historic cars built between the 1920s and the 1970s, organised into different categories. An exclusive panel of judges led by president Lorenzo Ramaciotti judges for the Best of Show prize – the BMW Group Trophy – is reserved for that extraordinary automobile, which expresses beauty, passion and uniqueness.

This year’s event saw a magnificent display of unique and sensational BMW bodywork designs by artists such as Frank Stella, Alexander Calder, Roy Lichtenstein, Andy Warhol and Jeff Koons.

The Jeff Koons BMW M3 GT2 was aesthetically reworked by the US artist and the car bears the racing number 79 – a tribute to the BMW M1 body work presented by Andy Warhol in 1979.

The striking colours of Koons’ Art Car exuded a boisterous sense of power, motion and energy.

The first time a BMW was transformed into a work of art was in 1975 by Alexander Calder and was inspired by the French auctioneer and racing driver, Hervé Poulain, to produce the first ever BMW Art Car. The US artist only used primary colours and distributed them in broad swathes across the paintwork of the BMW 3.0 CSL.

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la fashion Pilgrimage of ecstasy to the roots of natural elegance and everlasting charm rediscovered in fulfillment of the dreams and desires of fine ladies, draping themselves in the eternal and ageless colours of the Western Cape, in all its simplicity and splendour.

BY PIETER VAN R

Of the three basic designer elements of fashion, line, colour and style, colour is the predominant activator, mentally leading, guiding and above all, inspiring the forthcoming creation of the couturier.

Our visual experience of life is mainly determined by the infinite array of colours, in all their shades and nuances, exponentially omnipresent in the creation, evoking all visualized emotion and mental reflection of human kind on its daily itinerary through life. How spectacularly magnificent the dazzling and breathtakingly colour-rich Hubble space telescope images of the galaxies of our universe are? Whilst spanning millions of light years across, in an infinite spectrum of millions of glittering and brilliant shades and nuances of colours in our universe, they host the origins of fashion – colour!

Colours are psychological ‘triggers,’ continuously and subconsciously directing and mapping our mental state of mind, whilst simultaneously therapeutically influencing our mind and body. Civilizations over thousands of years have claimed (later scientifically proven) the psychologically magic effect and mysterious healing and socially harmonizing power of colours. Whether it finds its application collectively in the uniting spirit of nations, spurred on by the bright colours of national flags, or – in the intimate sensual attraction of elegant colours of the garments for ladies – colour remains central to our emotional experience and the anchor element of beauty and fulfillment.

The invariable key question of a lady is always: what will I wear? The key answer – and without exception – is always: colour! The first requirement of any lady going fashion shopping is: colour, thereafter follows the other considerations of line and style. Designers derive their primary inspiration for fashion from the colours of known phenomena in the universe – or, to put it more ‘we’ –friendly, from the earth around us. Such natural colours are immediately available as natural tools to the designer in the always sparkling images of nature, the festivities of peoples, the cultural objects of societies and sometimes even in abstract thought. However, all of these mental experiences, inclusive of even the abstract thinking process, derive from the observation of nature in its perpetual momentum around us – in its colours.

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The mysterious power of colour originates from the earth in all its splendour – seemingly unchanged throughout the millennia. The diverse colours of nature offer to the artist of haute couture, be it the lady or the designer, the source for imagination, fantasy, romantic desire, thought and dreams. Eventually these colours, sublimed by the corresponding imagination of the designer, will convert into the ultimate design and ‘sculpture’ of the lady in her – perfect garment. The essence and soul of colour is permutationally intensified and emphasised by the subtle lines and style of design to achieve the proverbial profound beauty and visual enjoyment.

The ladies of the berg-region, Tafelberg, Simonsberg, Helderberg and Overberg are very fortunate in being presented with a splendid choice from a festival of colour for the ideal garment. Whether our lady elegantly floats in formal appearance in the halls of chandeliers, locally or internationally or casually strolls in promenade in some shopping centre in daily life, colour forms the basic attraction, always nourishing the eye. It is here where the world renowned tourist and investment region of the Western Cape, boasting our celebrated natural and iconic treasures, undoubtedly serves as the very inspiration and emotional momentum to the designer. Creating

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the dream haute couture in the serene natural splendour of the berg-region, applying the very immaculate choice of colours available, becomes the main purpose of the true designer. The berg region offers an everlasting vibrant spectrum of colour as mental nutrition to the dreams, of both lady and couturier, proverbially said, rendering exaltation beyond the realms of exotic paradise.

The gallery of colours contained by the berg-region of the Western Cape, is shaded and nuanced between the conventionally extreme colours of the adorable glimmering black and white of the penguin couple at Boulders Beach, Simonstown. From the fashion vantage points between these markers are found the seaside and inland rock colours: ebony, coal and charcoal, sometimes giving rise to the rosygrey of the late hour mountains. Invariably these are more than often merged with the soft white-grey of the early morning cape mist in the valleys, projected over the chestnut of the mountain dust roads.

Add to that the dark chocolate cracks in the seaside rocks at Sea Point, the khaki undergrowth of the wild flower fields, finessed with the bronzed mahogany of the cape-faithful hedonists and one is nothing less than pleasantly bedazzled by the “mental” perfume around.

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The inspiration of nature in the world of haute couture is endless and ageless - in fact, it is haute couture!

Following the day as it languishes through the mustard, citron, lavender and talc of wild flowers of the berg-region, ending in the always eagerly awaited furnace of flame and copper sun spilling over the mountain ridges at Franschhoek, sets the scene for the lady in search profound elegance. Traversing the seasons of the berg-region, immediately becomes a pilgrimage of ecstasy and fulfillment of dreams.

For this very reason one can never fail to spot the proverbial ladies night towards the heart of autumn, contra-shading themselves in pre-winter garments. In nuances of dark green, oscillating from deep grape vine emerald, through verdure of the changing white grape, wave on wave over the hills and valleys of the pergolas of the vast wine region, into shades of grape leaf olive, they chat away the chores of the day for a few exciting moments. For a moment they would certainly be reminiscing about the formal display of fashion-of-the-day by the elegant hostess of the early Cape, Lady Anne Barnard. There is no doubt that with such historical images added, it becomes rather impossible to fathom the true potential haute couture to be created from the amazing spectrum of colours available to the designer of this region of our land.

How serene the image of a lady clothed in a formal evening gown based on the solid black of the night sky above the Western Cape, adorned with its glitter of stars around the southern cross: pearls, diamanté and jewellery or for the same occasion, the profound maroon-of-the-late-afternoon cliffs and rocks of the surrounding mountains. Not for one moment to forget the stylish cocktail jacket and trousers of collated of matt charcoal, maroon and blunt turquoise – the mixture of sky and rocks earlier during a Cape day – the berg-region mountains in all their splendour and majesty. What is more divinely sexy at such opulent occasion than a lady, elegantly presenting in the deep purple of a vineyard in all its deep-dark abundance.

Nothing is more intimate and sensual at cocktail hour on a sunny late afternoon on a wine farm than an apple-red or even azur mini suit, completed with a glossy black patent-leather jacket, vividly reminding us of the natural wet black brilliance found on the wet foam-covered

seaside rocks at Cape Point. What about the sudden appearance of the young blonde or brunette dressed in a jacket of the ancient Egyptian sun-yellow of the flower gombos, the hair free-flagging in the wind, rounded off with trousers of purple daisy!

Photographing ladies on a winter birthday breakfast outing, seeking the pale rays of the winter-sun near the restaurant fire place, is so descriptive of our fashion in the berg-region. Whilst parading the warmth and coziness of matt red and crimson of the cape “king” aloe, socially intermixed with a aquamarine felt coat, a sea-green winter jacket and a hazelnut cap, tinted with a line of ivory white Muizenberg sand – the glasses charged of red-brown sherry are toasted to the twinkle and tinkle of laughs of pleasure.

But then the scene changes to the blinding heat of mid-summer: a silver convertible luxury sports car stops on Clifton drive , dropping off, a few sun-and-fun seeking femmes de soleil, dressed in a spread of Chapman’s Peak marine blue-green, berg daisy orange, sky-blue and lemon-yellow wild daisy. Whilst awaiting the return of their parking-seeking male companions, they sport, clearly seabound-“masked”, their rimmed sunglasses of the lively and wild colours of the red gerbera, summer-evening-sky-at-eight o’ clock azur-blue and bright yellow bird of paradise.

And further afield , think of our romantic lady, hair turbaned in a white brand-towel in the Las Vegas Palazzo Hotel, slipping from bath robe into her soft sea foam-laced Western cape wild rose violet lingerie, contrasted against her mini evening dress of profound and deep Cape black grape , reminiscent of the early sunset in the Simonsberg-Pniel area.

‘Clothes are to interact with the environment, reacting to and compensating for the weather conditions. Theoretically there should be no distinction between the man-made and the so-called natural – all should be natural – an everlasting game between nature and technology in pleasing the ever-changing mind and taste of the lady.’

The inspiration of nature in the world of fashion design is endless and ageless, in fact, that is the very essence of haute couture.

EST. 1989

COMFORT ZONE

victorianbathrooms.co.za Cape Town Level 1, Cape Quarter, Green Point , Tel: 021 418-0855 Somerset West No. 3 Lourensford Road, Tel: 021 852-3439 Johannesburg Shop 56, Hyde Park Cnr, Craighall Park, Tel: 011 325-5503 Head Office & Showroom 144 Wetton Rd, Wetton, Tel: 021 704-2340

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Concierge ‘My first encounter with the word concierge rendered me quite confused and lost. I was in the Carlton Hotel in Johannesburg, barely out of my teens, when I required some information from the lady at the reception desk.’

BY LIZ WEBBER

Without looking at me, she pointed and mumbled: go to the *%&^*# desk. Too proud to show my ignorance, I ventured to find the *%&^*# desk. The entrance of the Carlton hotel in its heyday was massive and extremely busy, but after some time I established the word was ‘concierge’, when I saw it written on a cubicle. I was greeted and swiftly assisted by a gentleman wearing a smart black suit and white gloves.

The task of a concierge is, in effect, similar today as it was in eras gone by. The origin of the word ‘concierge’ is uncertain; some believe it originates from the Latin word ‘conserves’, meaning ‘fellow slave’. Others claim that the first concierge, Comte des Cierges (Count of the Candles) was in charge of the prison in Paris, namely the Conciergerie, where royalty was kept before succumbing to the guillotine. The word concierge is French and directly translated means ‘keeper of the keys’. During the middle ages, the concierge kept the keys to the rooms of castles and ensured that guests had everything they required during their stay.

The early meanings are now irrelevant as the term concierge is now commonly associated with hotels. A concierge functions independently from other hotel staff. Hotel concierge staff members have their own professional association, Les Chefs d’Or, which was formed in 1929 and has over 3000 members. Their common interest is to promote friendship in order to assist international travellers and tourists by developing a unique hotel society.

The first association included concierges from only the finest hotels in Paris. These concierges recognized that a more effective approach to their customers was required, and if they could join forces, they could make their services indispensable. On 25 April 1952, delegates from nine countries met in Cannes to hold the first congress and created L’Union Europeene des Portiers des Grands Hotel (UEPGH). The forming of the organisation is accredited to Ferdinand Gillet, the Chef Concierge of the Hotel Scribe in Paris, who initiated the movement.

He is known as the father of Les Clefs d’Or. The members of the movement proudly wear a lapel pin of two golden keys.

Up to 1936, concierges were not normally employed by hotels, but were independent contractors. By the early 20th century, particularly in Paris apartment buildings, the concierge usually had a small apartment on the ground floor to monitor all comings and goings.

Early concierges relied on word of mouth to gather information, while today’s concierge has a multitude of communication capabilities to satisfy customer requirements. A concierge provides a wide range of services for guests whilst at the same time plays a significant role on behalf of a hotel’s management.

There is a unique difference between the American and European concierge. It was only in the 1970s that the concierge position emerged in the United States, although hotel bell captains and reception

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reception desk staff had been performing similar duties. The European concierge system benefits from and is based upon an apprenticeship system. This system had not been as effective in the United States during the early years. In Europe, an apprentice developed his skills within the system and was duly promoted to better and better positions such as, chasseur, voiturier, liftier, postier, bagagiste and huissier, ultimately leading to assistant concierge and finally, Chief Concierge.

The American concierge is mostly found in bigger city hotels and performs similar duties to their European counterparts. One significant difference is that American concierge deals primarily with business travellers and, therefore, the need for foreign language skills is of lesser importance to him. The American concierge has a less supervisory role and does not have a large service staff reporting to them for direction. Since there are no concierge schools and no apprenticeships in America, the concierge lacks the opportunity to acquire the skills of the European concierge.

The concierge service has evolved to meet the demands of modern day tourists and to further customer satisfaction. Several hotels groups have developed their own brand of concierge by utilising the Internet, which substitutes the traditional concierge with a sophisticated virtual concierge service, enabling guests to access a wealth of information about local attractions, restaurants, shopping,

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transportation and the weather via the hotels high-speed Internet connection. Other hotels, in turn, are reverting to historical practice and are now outsourcing the service.

Today there are numerous independent and personal concierge companies such as Quintessentially Group and Legatto Group.

These companies provide errand services and information services for members. Services include informational requests, setting dinner reservations, making telephone calls, researching travel arrangements and more. Typically, concierge companies will bill on an hourly rate, and depending upon the type of task, fees can fluctuate dramatically.

Other companies’ bill a flat monthly fee based upon the number of requests a member is allowed to place each month.

Over the last 10 years, in the United Kingdom, the concierge has become a key marketing and loyalty tool in the banking sector and is offered as a benefit on luxury credit cards. This service is also known as lifestyle management. For many executives, the hotel becomes a base of operations for the duration of their stay and the concierge builds a relationship with such executives and their staff.

The traditional rule of the concierge may be changing. However, it remains an integral part of hotels catering for discerning guests.

The *%&^*# will be around for some time to come.

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South African

Extra Virgin Olive Oil How to choose the right one?

BY RENI HILDENBRAND

The Compliance Seal

Different Types of Extra Virgin Olive Oil have different characteristics

During the past few years South African Extra Virgin Olive Oils have regularly received international quality awards, proving that locally produced Extra Virgin Olive Oils can compete successfully with the best in the world.

Of the more than 200 olive cultivars found around the world, at least 20 different varieties are grown in South Africa.

To ensure that the consumer chooses the best quality locally produced oils, SA Olive has introduced a seal to appear on the olive products of participating SA Olive members. For consumers, this Commitment to Compliance Seal means the following:

The better-known types of olives used to produce Extra Virgin Olive Oil in South Africa are: • •

• •

confirmed that the content is 100 per cent South African, the year of the harvest will be prominently displayed, indicating the freshness of the oil

• •

•

the producer is committed to the standards set in the SA

Olive Codes of Practice’, and honest and transparent labelling – if the label states that the content is Extra Virgin, the producer verifies that the content is, in fact, Extra Virgin and not Virgin, or a refined olive oil.

•

•

• •

Leccino – produces an oil with soft, subtle herbaceous flavours Frantoio – a typical Tuscan varietal, with strong green overtones Coratina – can produce a rather bitter tasting oil Favolosa – specially selected for oil production and pro duces an intensely fruity oil Mission – more suited to table olive production, this olive produces a delicate oil with a naturally nutty flavour, best consumed within six to nine months Kalamata – a table olive cultivar makes a very delicate oil Ascolano – rather uncommon, but produces a very fruity aroma

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Unlike wine, olive oil does not mature with age ...

Many producers choose to blend different oils to maintain the consistency of their products every year while others separate varietals, which display differing characteristics with each harvest.

The annual olive harvest takes place between March and June/July, and the fresh oils are available as early as August/September. Unlike wine, olive oil does not mature with age. It should be consumed as fresh as possible, to derive most of its culinary and health benefits.

Health Benefits • Olive Oil contains high levels (65-85 per cent) of monounsaturated fatty acids, which maintain the healthiest cholesterol balance.

This is more than most cooking oils.

• A healthy cholesterol balance protects the heart and arteries from plaque build-up.

• The high levels of polyphenols in Extra Virgin Olive Oil are strongly antioxidant and fight the free radicals in our bodies.

Excess free radicals cause oxidative stress and have been linked to many forms of cancer.

• The antioxidants also maintain the integrity of the oil by protecting it from oxidation.

• Extra Virgin Olive Oil is rich in Vitamin E, A, D and K. • Vitamin E is a powerful antioxidant.

• The monounsaturated fat can be of benefit to non-insulin dependent diabetics.

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The consumer should support the growing SA Olive Oil Industry.

To be sure to buy the best quality, the Extra Virgin Olive Oil should have the SA Olive Oil quality seal.

Extra Virgin Olive Oil is rich in Vitamin E, A, D and K

Three Different tastes Intense Olive Oil: useable for dishes with intense tastes, typical for Tuscany (zuppa alla frantoiana, farinata, ribollita, bruschetta, etc).

Well-balanced Medeon Olive Oil: to enrich the flavour of food, without dominating (pasta, rice, boiled beans, boiled potatoes, salads). According to preferences, it can be utilised naturally, also with more rustic preparations.

Sweet and delicate Olive Oil: for ‘hors d’oeuvres’ and fish and all occasions when it is important to appreciate the natural freshness and delicacy of the food. This oil can also be used in the preparation of mayonnaise, with a more substantial taste.

Why is correct labelling so important?

Classification and Olive Oil terminoligy Extra Virgin and Virgin Olive Oil indicate oils which are completely natural and unrefined. All other oils can be assumed to be refined, or to contain a proportion of refined olive oil. These blends are usually sold as Pure Olive Oil, Olive Oil or Light Olive Oil. Extra Virgin – natural, unrefined olive oil with a free acidity of below 0.8%, no defects and a fruity characteristic.

Great importance is attached to the label of Extra Virgin Olive Oil, as this means that:

Virgin – natural, unrefined olive oil with a free acidity below 2%, with minimal defects.

• the oil is completely natural, with no additives whatsoever • the oil is free of any defects (defects are rancid, winey or fusty) • the oil has a fruity characteristic • the oil has a free acidity level of less than 0.8 per cent • the oil has been cold extracted or cold pressed, not

exceeding 27° Celsius, which means that it has retained

all the natural aromas, antioxidants and minerals.

Cold Pressed/Extracted: indicates that milling temperatures were kept below 27 degrees Celsius, preventing the destruction of the temperature sensitive flavour compounds, antioxidants and vitamins.

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Olive oils, which are imperfect and unfit for consumption, need to undergo a refining process during which they are deodorised and bleached. The result is a tasteless, almost colourless product, which is refined olive oil, and these so-called light olive oils are light in flavour and colour. Each different olive oil contains the same number of kilojoules – no oil contains fewer calories than another.

Olive Pomace Oil is extracted with the help of solvents (chemically dissolved) from the olive pulp after the first press. It cannot be classified as Olive Oil, specifically not as Pomace Olive Oil, which is often stated on labels.

Cold Pressed Extra Virgin, with its full retention of flavour and health promoting constituents, is, therefore regarded as the most superior olive oil. However, as with wines, good quality olive oil is defined by its chemical and physical properties, as well as its taste and fragrance.

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Olive Oil is a blend of the cultivars used, the ripeness of fruit, the area of origin and the climate. All influence the aroma, flavour, colour and mouth-feel of oil. For the best culinary results, it is important to match or complement the specific flavours and aromas of the oil with those of food.

Consumers should support the growing SA Olive Oil Industry. To be sure to buy the best quality, the Extra Virgin Olive Oil should have the SA Olive Oil quality seal. The SA Olive Oil tasting panel consists of qualified Olive Oil Tasters and most of them have obtained their Certificates in Italy. The tasting for the seal is blind (the panel does not know where the oil originates). Extra Virgin Olive Oil with the seal is available in all major supermarkets. The seal should be on the front of the bottleneck but it is often on the back, therefore, be sure to check the bottle.

Don’t go by price, go for the seal!

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Madiba’s Retreat 'The peace, tranquility and natural harmony of Shambala serves to remind us of our own striving for reconciliation and togetherness. I am delighted to share my home here with you and hope that you will feel refreshed and inspired by your visit to this special place.' Nelson Mandela

BY SARAH WOODS

S

ituated in the heart of the pristine Waterberg Mountain Range, just 2½ hours drive north of Johannesburg, lies the magnificent 10 000-hectare Shambala Private Game Reserve. Tucked away in this vast landscape of African bushveld is a place like no other. A place for serene contemplation and inner reflection. A place for reconciling with nature, with family and friends, with oneself. A special place called, Nelson Mandela Centre for Reconciliation.

The Centre was built for Nelson Mandela as a personal retreat by his good friend, Douw Steyn and opened in 2001. A haven of tranquillity and peace, here President Nelson Mandela could receive guests, and parties could meet in the spirit of friendship against the backdrop of secluded natural beauty that is Shambala. It was also a place where Mandela and his family could rest

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Closed as a mark of respect since the former President’s passing in 2013, the Centre has reopened to guests on Freedom Day, April 27, 2015.

For the first time, the homestead will be available to book in its entirety for small groups and families visiting Shambala Private Game Reserve. The house offers its guests an undercover heated pool overlooking a private waterhole, an expansive outdoor deck and lounge area, as well as a large formal sitting room with a fireplace.

There is also a boardroom, a presidential suite with his and hers dressing rooms, private dining area and large living room, and five luxury bedrooms with ensuite bathrooms. Of course, being on the grounds of Shambala, guests will also have access to the Douw Steyn dam and views of the Big Five and other game.

At the specific request of Nelson Mandela, the house is deliberately simple in its design. Hints of local motifs

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can be found throughout the residence by the use of natural materials and fibres to create a uniquely African look and feel. Upon arrival, wooden palisade fencing is reminiscent of a traditional kraal; the thatched roof has the iguana elbow pattern woven into it, a symbol of good fortune. Pillars, fashioned from Leadwood trees, stand at the entrance, supporting the roof of the port-cochère.

The intricately carved Rhodesian teak doorframe adds to the splendour. The Mozambican style of wood carving by master craftsman Matsemela ike Nkoana was introduced as a tribute to Mrs Graça Machal’s heritage.

Using Mandela’s book, Long Walk To Freedom, as a reference, the interiors draw inspiration from his nostalgic reminiscences of his childhood in Qunu and the importance of his African upbringing. Cool and harmonious, filled with neutral tones and fabrics, quietly elegant, but always with the rich roots of tribal design. >

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Some of the furniture was imported from Italy. The Italian designers were so enthusiastic that they created a bespoke Mandela range. Not to be overshadowed, handwoven carpets make a bold African statement.

The art is feminine, the key piece being a large canvas of a gazing African woman, her contemplative mood reflecting all she has witnessed. Photographs of some of the prominent figures, who have visited the centre as guests over the years, also grace the walls.

The house is a true masterpiece of understatement, warm and welcoming – and a fitting tribute to an exceptional, yet humble, human being. With a visit to the Centre, guests reserve their place in history while enjoying an unforgettable experience in these very special surroundings.

The Nelson Mandela Centre for Reconciliation House is available to rent for between ZAR 70 000 and ZAR 80 000 per night, season dependent, for up to 12 people sharing six double rooms. The price includes; breakfast, lunch and dinner, a butler service, soft drinks, wine, spirits, game drives and bush picnics amongst other offerings.

N I N E T E E N R E S T A U R A N T l 1 CLUBHOUSE LANE l STEYN CITY T +27 010 597 1019 l RESERVATIONS@NINETEENSC.CO.ZA

l JOHANNESBURG l SOUTH AFRICA WWW.STEYNCITY.CO.ZA

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