Issue 1 by MOJEH Men

The Modern Gent is Born

Collections

SS 13

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EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

Associate Editor SHERI IZADPANAH

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ART

LOUIS FOURTEEN FOR MOJEH

Producer LOUIS AGENCY

Digital Director AMIR AHMADI KHALILI

Art Director AMIRREZA AMIRASLANI

Concierge Service Management ASSMA AHMED

Senior Designer MEHDI GHAREH MOHAMMADI

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Contributing Photographers Dinah Hayt Jean Francois Aloisi Sebastien Jardini

Published under HS Media Group FZ LLC Registered at Dubai Media City Building 10, Office 345 P.O.Box 502333, Dubai, UAE

Cover shot by Stefano Galluzzi | Model: Maximiliano Patane | Maximiliiano wears macro check cotton shirt, grey cotton trousers, suede belt and soft, all BRIONI | styled by BRIONI | SS13 collection

A supplement of MOJEH magazine WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine, www.shopmojeh.com, info@shopmojeh.com MOJEH Executive Office: Burj Khalifa, Floor 129, P.O. Box 888777, Dubai, UAE MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Jashanmal National Company LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessary those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the readers particular circumstances. The ownership of trademark is acknowledged, therefore reproduction in whole or in part without written permission is strictly prohibited. All credits are subjects to change. Copyright HS MEDIA GROUP FZ LLC 2011

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Mojeh men Contents

18 Take One Ali The creator of the first ever Emirati feature film, Ali Mostafa is a film director with a vision. We talk to him about how heâ&#x20AC;&#x2122;s made his mark on the industry.

Shake Those Tail Feathers MOJEH MEN investigates how the dandy has adapted to living within a 21st century world.

Trend Reports Bringing you all of this seasonâ&#x20AC;&#x2122;s most stylish trends from all four of the fashion capitals.

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Let There Be Light Explore the realms of the Dior Homme SS13 collection and learn about the genius behind the brand, designer Kris Van Assche.

72 Brioni: In Forward Flux

We take a look at this timeless brand and their continual quest to reinvent the modern man. - 12 -

Mojeh men Contents

75 The Quiet Man Creative director Massimiliano Giornetti opens up about the label he calls home, Salvatore Ferragamo.

128

On Watch Browse through our selection of watches, from country gent to city slicker there’s one to suit every type of man.

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112

Work, Your Personality Standing out as an individual at work isn’t always a bad thing. We tell you why.

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154

Able Weisz Find out what makes actress Rachel Weisz tick.

159 Urban Nomad, Copenhagen If you’re thinking about taking a trip to the capital of Denmark this year – don’t forget to take our trusty guide with you.

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Editor’s note

Welcoming

You In

Let There be Light Dior Homme SS13

t’s with pleasure that I invite you to the MOJEH Men SS13 Collections issue. The last few years have been an engaging and endearing time in the world of men’s fashion. Designers have upped the ante at fashion weeks competing on a level that seduces even the sartorial taste buds of the most discerning of clients and on a regional level, it’s near impossible to ignore the changes taking place. Our cities have become major hubs for the dynamic and globalised male, merge that with a pre-existing community of wellaccomplished, sharp and tasteful men and the result is one of innovation and excitement. Luxury fashion houses have been careful to ensure their men’s collections are rightfully given a large stage in the region’s most lavish malls and as a result footfall from the male shopper has exceeded expectations. Square metres don’t lie and nor do sales figures, proof indeed of your burgeoning interest in panache. Of course, style is something that surpasses the four walls of a boutique extending out to your entire way of being – from culture and travel to business and sport – and it’s with that in mind that we’ve addressed your requirements, as modern and pioneering as you are. Combining precision of thought with a commitment in taste, this is designed specifically for the man who is now watched internationally as an emblem of a sharp and thoughtful lifestyle. Enjoy it - it’s well deserved.

Mojeh Izadpanah Editor in Chief

Follow me on Twitter @Mojeh_I

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The Day That Was Photographed by Dinah Hayt

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Unlock the Extraordinary

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Season’s selections

Freshly Seasoned From the crisp freshness of spring to the languid warmth of a summer’s day, the new season reignites our passion for the outdoors and engenders a sense of carefree placidness. Keep track of time during long seasonal lunches with a classic timepiece, capture memories for posterity with a portable camera and combat the stifling humidity with a rich, heady scent. Dress for the season of ‘occasions’ and keep a weekender at hand for jaunts cross-continent as sun scorched climes replace snowy peaks.

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Seasonâ&#x20AC;&#x2122;s selections

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Photo by Gareth Cattermole/Getty Images for amfAR

man of society

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man of society

Take One Ali Ali Mostafa is a director, brand ambassador and ultimately a pioneer. Crafting the first bona fide Emirati feature film, Mostafa not only entered the history books of regional cinema but swept the awards circuit and garnered international attention as a man of style and charisma, picking up contracts with the likes of Dunhill and Hublot along with the coveted gongs. MOJEH Men caught up with Ali to talk the business of filmmaking, the impact of his work and how confidence is the key to looking good.

hen City of Life debuted on cinema screens in 2010 it was a revelation. A feature film that tackled the realities and complexities of Dubai life, there was no attempt to sugarcoat a story that explored the intersecting tales of three of the city’s residents – a disillusioned Indian taxi driver, a young Arab male struggling to find his identity and an Eastern European ex-ballet dancer turned flight attendant. ‘I wanted to convey that we are not living in some amusement park or fairytale,’ explains Ali, ‘I wanted the world to see Dubai as a real city like New York or London. It has its good and its bad and we are a confident people.’ Despite this honest approach to the subject matter the film still became the centre of controversy when regional cinemas initially refused to show it, believing it portrayed the city in a negative light. It was a source of some frustration for the director who, even now, becomes visibly impassioned when discussing the initial reservations about the film. - 19 -

For Ali however, the story was what mattered most. ‘I wanted to also show that you can change another person’s life without ever knowing it, through a formula that exists in cinema that I love,’ he says. Although originally provocative, the film went on to win Ali numerous awards including Best Emirati Filmmaker at the Dubai International Film Festival. Born in London to an English mother and an Emirati father, Ali’s background is decidedly international considering his role in sculpting the emergence of Emirati cinema, but when speaking of how the merging of his European and Middle Eastern heritage affects how he tackles story telling, he is very clear as to where his heart lies. ‘I do have this duality,’ he explains, ‘but I don’t think I feel this way because my mother is British, it’s mainly because I have been blessed enough to travel frequently that I can relate to many cultures. As a filmmaker this has made me very open and versatile to different ideas and styles. That being said, my identity will always remain as Emirati.’ It is this pride in his national identity and in what his chosen homeland has left to tap, that blazes in Ali’s face when he talks about the past, but also the future of his industry locally and the changing face of the region. ‘I think Middle Eastern cinema is growing very fast. All eyes are on us at this stage and the talent is definitely here as well,’ he says. Something Ali can testify to, both as someone that lit the touch paper on the excitement surrounding Emirati cinema and as a personal friend to most of the area’s most notable filmic talents. ‘I am proud of my peers for the work that is being put out and know that this region will eventually grow to be an industry hub.’ It was his success with his full-length debut that saw Ali become a focus of attention. Suddenly appreciated not just for his directorial abilities but for his potential ability to become an ambassador in the region, what he looked like in front of the camera soon became as important as what he created behind it. Snapped up by the likes of Dunhill, Land Rover and Hublot and finding a place on the Mr Porter Style Council, Ali is now recognised as a man of polished suave. ‘I am very honored to have been selected by such prominent brands,’ he says of his role, but it is the ease of his dress

man of society

Ali on the set of City of Life

‘I have definitely matured as a filmmaker over the years. Not just technically on set but I’m also more knowledgeable about the industry as a whole.’

that is perhaps what makes him most appealing for luxury labels. Even in a tux Ali is relatable, uncontrived and a reflection of the dapper modern man, a sentiment he agrees with when coaxed on his opinions of the flighty world of fashion. ‘I think for one to have a comfortable style is very important. Not too conscious, but enough to make you confident in what you are wearing. How you feel is everything to do with ‘style’,’ he says. Award winner, inspiration to his contemporaries and dedicated father - Ali describes his children as his ‘proudest achievements’ – it would be no surprise if Ali were feeling pretty sweet. Then again, sudden success can mask the fact that, for Ali, the journey to break new ground as a director has just begun. It’s somewhat apt then that his latest project, From A to B, is a road movie in the most traditional sense. A comedy adventure that charts the journey of four male friends as they travel from Abu Dhabi to Beirut, - 20 -

it has the same vague geography as Ali’s breakout film but replaces kidnapping with kidding around – albeit with an emotional core. ‘I’ve always wanted to make a road film,’ says Ali, ‘and I love the uniqueness of this journey and the ideas and information we can tackle with it.’ Although of course the importance of City of Life and the hype surrounding it mean that, years after it played on the silver screen, Ali is still learning from the experience. ‘I have definitely matured as a filmmaker over the years. Not just technically on set but I’m also more knowledgeable about the industry as a whole. I have gained quite a lot of contacts through the years that have also shared their experience with me. There is nothing without experience,’ he offers. So where does Ali hope this experience will take him? ‘I hope to grow my company, to have completed my second feature film and perhaps developed my third,’ for which the buzz is already generating. Although details are thin on the ground, Ali reportedly wants to make a bigbudget biopic of a major historical figure. As to who, he is remaining tight lipped and, despite being the question he has been asked more than any other recently, when we pry for details we’re met with a very well rehearsed, ‘I am afraid that is still information I cannot disclose,’ and a wry smile. One has to admit, the man is a pro.

MOJEH.COM DAILY AT YOUR FINGERTIPS

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124 Seconds Withâ&#x20AC;Ś

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man of style

Khalid Al Qasimi

Menswear designer and Central Saint Martins alumni, Khalid Al Qasimi may have royal roots but his future is all his own. As the founder of Qasimi Homme – the brother label to his successful womenswear line – he has transitioned from dressing the likes of Florence Welch and Lady Gaga, to focusing his efforts on sharp, contemporary menswear and sitting comfortably on the schedules of London and Paris fashion weeks. When I was a boy I wanted to be… Hidden talent…

A fashion designer, photographer and architect. Photography and ceramics.

Languages I speak…

Arabic, French, English, Spanish and Italian.

Biggest vice…

Black coffee.

Website I can’t live without…

Mr Porter and SoundCloud.

Favourite book…

The Prophet by Kahlil Gibran.

Favourite films…

Midnight In Paris, The Hours, The Skin I Live In.

Favourite place in the world…

Paris.

If I were a superhero I would be…

Batman, he’s quite the hermit.

My style is…

Relaxed.

Favourite designer…

Kim Jones.

Early bird / Night owl…

Night owl.

Favourite artist…

My favourite meal…

Being able to travel.

Bang & Olufsen BeoPlay A8. A Waterman fountain pen.

Vétiver Extraordinaire by Editions de Parfums, Frédéric Malle.

If I were to invent one thing…

A time machine.

Favourite weekend activity…

Museums and the cinema.

My watch is a…

Boucheron.

I am happiest when…

I am with my family.

Steve McQueen or Steve Jobs…

Steve McQueen.

Loafers or brogues…

Brogues.

On my iPod…

I want to be remembered as…

MenScience exfoliator.

Gadget I couldn’t live without…

Time it takes me to get ready…

The seafood at Barrafina, London.

Grooming secret…

Favourite aftershave…

Richard Serra.

Luxury I couldn’t live without…

On my desk I keep…

The Weekend. Quite a while! I like to take my time. Going against the grain, and following my passion.

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From top to bottom, left to right all images courtesy of: Bettmann/CORBIS

man of style

George Bryan Beau Brummel

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man of style

Shake those tail feathers Oh to be a dandy. The quintessential stylish man with his feathered cap and his jaunty stride. With no rules or regulations he heeds no other’s advice but how has this peacock of a man adapted to the modern day 21st century world? MOJEH Men finds out.

t was 1778 when the first official Dandy came to this outlandish and at times idiosyncratic attitude that be in London, England. Christened George Bryan became his calling card throughout his life - a feature Brummell – but known as Beau to his friends – still mandatory for the dandies of the world today. With he was a man that has left many a legacy behind his a guttural desire to set himself apart from the masses statured self. Revered the world over as the mind to Beau worked his way up the social ladder, spurred on by thank for introducing the well suited, style conscious the attention that being immaculately and differently man to the streets of Regency England, he is often coined dressed attracted to him. Becoming chums with the as the King of all dandies for his effect on sartorialism Prince Regent was perhaps the most iconic moment of and his number one rule of understatement. ‘Beau his ‘career’ be as it may that this friendship opened up Brummell’s belief was that if people turn to look at you the echelons of high society to Brummell and allowed in the street you are not well dressed, but either too him access to those who had the power to influence stiff, too tight or too fashionable,’ as James Sherwood, the masses. A dandy in social standing, opinion and dress, the Beau Brummell author of Savile Row: The Master Tailors of British that is revered to this day is Bespoke puts it. Such was a man who put appearance the fate that met many over and above everything men who crossed his path. else but it his is attitude A self-made man Brummell towards how he should be shunned the intricate perceived that has stood nuances and flamboyant the test of time. ‘Men today style of his upper class have Brummell to thank for counterparts and instead building the foundations strove towards creating an of British formal dress: a aesthetic that was not only cut that flatters the male tailored and pared back form, a refusal to bow to but also perfectly fitting, the caprices of fashion, an high-quality and detailed almost obsessive attention as well. ‘He banished excess to detail and an attitude COR SINE LABE DOLI from Regency men’s dress,’ that projects effortlessness’, continues James, ‘the as James puts it. foppish powdered wigs, silk court dress, lace jabots The question on everyone’s lips, however, is who and cosmetics – and introduced the heroic, masculine, could take this heady title today? There are a few close-fitting London Cut of British bespoke tailoring elements that must be pondered over before we can that Savile Row is still famous for today.’ In other words, come to any sort of conclusion. Firstly, you won’t be the suits that adorn the Wall Streets of the world are finding the 21st century dandy riding through the thanks to a chap that advised boots be polished with streets of London on horseback, dressed up to the champagne and who insisted the thumb of his gloves nines complete with cravat and tails. Nor will they be were made by a different tailor to the fingers. It was spending five hours getting dressed every morning from this moment that the dandy attitude was born. as Brummell used to do, yet their attitude towards Despite his opinion on gaudy attire, Brummell was the clothes and persona they choose to wear stays never one to shy away from the limelight and it was the same. ‘A dandy intentionally sets himself apart,’ - 25 -

From top to bottom, left to right all images courtesy of: Stuart Wilson/Stringer, Ian Gavan/Stringer, Scott Wintrow/Stringer, Scott Gries/Staff. All Getty.

man of style

Tinie Tempah Jude Law

Lapo Elkann Tom Ford

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man of style

says James and those that call themselves one today style mavericks of today. For a wider inspirational have just as many quirks and quibbles to achieve scope, one can also look towards the likes of Jude Law this as Brummell. ‘Dandies are men-about-town and – the approachable dandy - as well as idols like Tinie should be as at ease eating sushi in Tokyo as they would Tempah who bring an urban twist to the aesthetic. tearing a pheasant leg at Brummell’s old haunt Rules Unsurprisingly this lifestyle choice is not for everyone’s in London’s Covent Garden,’ continues James. They are taste as it takes a certain sort of person to give as men whose attitude towards dress is to be impeccable much dedication and time to what some deem an or not to bother at all and do so by frequenting the inconsequential aspect of life. As James puts it, tailoring giants of the world in the form of Savile Row ‘dressing in one’s best whatever the time of day or and their rich history of artisanship. ‘Henry Poole & the occasion demands commitment, confidence and Co, Anderson & Sheppard, Huntsman,’ elaborates self-respect. This takes time and it takes money,’ not a James - all places where a dapper dandy can be found luxury that every modern man can afford. As a result around every corner, yet they are just as comfortable the reception that dandies receive is not always a warm wearing a concoction of high street names if the one and a scathing and somewhat comical stance has overall look is perfected. As Diana Vreeland, the late been taken towards them over the years. Caricatures editor of US Vogue put it, ‘elegance is refusal’ and this aplenty and jokes in myriad forms have been made; is the core belief of a dandy, ‘the refusal to be over the results of being a minority in a sheep driven world. or under dressed according to his own standards.’ ‘There will always be a certain amount of animosity As with the clothes they choose to wear the modern towards a person who chooses to ignore the herd day dandy adheres to a fairly strict set of social rules mentality and doesn’t dress like the rest of the tribe,’ too. Never one to be seen with a hair out of place elaborates James. ‘Suffice to say that the language of or a button undone (unless intentionally so) he is clothes communicates an awful lot in a very short a man that makes time time and a sharply suited, to change between work immaculately groomed and dinner and would man will antagonise as not be out of place dining many people as he attracts.’ at the top restaurants in Despite this adverse the world then segueing element the 21st century into a downtown revelry. has seen the dandy brand ‘Dandies do tend to be come to the forefront once urban animals’ says James, more. Paying thanks to the ‘and enjoy the passing rapidly declining standards show of street theatre. of dress that are seen the They also travel in packs world over – sportswear so you’re going to find and tracksuits in particular them in the latest private have a lot to answer for – clubs, premier parties the younger generations SALVATORE FERRAGAMO and of course in late night are choosing to rebel not boltholes the world over.’ against the flamboyancy of the Regency era like The image they portray is of upmost importance, who they are seen with and Brummell but rather against the lack of concern where they are seen being the icing on top of the cake. and effort put into formal menswear dress in day to For modern influences a 21st century dandy has many day life. ‘I find the young generation in particular a chap to choose from. Certain high profile men of appreciate the rules of formal dress as laid down by today are consistently shunted into this category, Mr Brummell,’ says James. ‘There is simply far too whether desirably so or not, and throughout the much choice and too little quality in mass market spectrum of society one can always find a man that clothing and the fast fashion arena.’ Style and class adheres to the rules of Brummell more than others. have been left behind in favour of comfort yet this ‘Fiat heir Lapo Elkann’ is one such example says James, small pocket of men are determined to keep tradition who ‘knows how to mix colour, cloth and textures alive, a fact not gone unnoticed by designers the that few other men could wear with such ease and world over who are responding by sending reams of elegance. Tom Ford, too, has a genius for making peacock males and tailored giants down the catwalks. formal dress contemporary, sharp and seductive.’ With this in mind it is clear to see that the legacy On the other end of the spectrum, we have those of Beau Brummell’s mission lives on to this day. that few may perceive in the Beau Brummell light The foibles and tales that made him so revered and yet when dissected and analysed, adopt the same respected have been adopted by men for generations, headstrong and defiant attitude towards dress as looking to set themselves apart from others. Although their Regency idol. Prince Charles, for instance, different on the surface, they come from the same ‘gives a master class in understated English bespoke school of ideas as Brummell and have a deep seated tailoring that never appears excessive or overdressed’ belief that there is no excuse, come hell or high yet he would never be the first port of call for the water, to be seen without style. Long live the dandy. - 27 -

Season Report

Anything but Standing Still A season of both extroversion and reflection, SS13 was a fusion of complex ideas and oblique references. Whether quiet or flamboyant each collection was dramatic in its own way. Here we explore the coming season that was.

Time, concept and a reference to movement, three themes that perhaps most encompass SS13 and its grandiose spirit, but – just like the collections themselves – not in the way you may first expect. For SS13, time manifested itself as an approach to period. It seemed that for the man of ‘now’, the only ways to look were either back or forward (far forward), but that standing still was not an option as, frankly, he’d have nothing to wear. In looking back it was apparent just how much movement, or more to the point, ‘movements’ had played a role in influencing designers who – for the most part – put culture at the heart of their collections. Not the swing of a model’s toned arm or the thrust of a thigh on the runway, but a social or artistic movement, designers looked to the progressive for inspiration. For labels like Ann Demeulemeester, Etro and Damir Doma that meant The Bright Young Things of the 20s and a frivolity straight out of Evelyn Waugh’s Vile Bodies. Models glided the catwalk in whimsical silks, traditional prints and with a rakish glint to the eye that suggested they were likely to get to the end and just keep walking, en route to some stylish hangout. In the painterly prints and impressionist colours of the season, there was an echo of The Bloomsbury Group and McQueen’s Sarah Burton reportedly had the likes of Lucian Freud and William Powell pinned to her mood board. If the inspirations weren’t from the period they were nonetheless cut from the same cloth. But if the flap and intellectualism of the past was one half of this melting pot of concept, then notions of the future was the other. Jil Sander’s much anticipated return brought with it an expected minimalism whilst Prada’s modernist approach was infinitely less expected. Who knew that Miuccia would shrug off her usual historic references in favour of the kinds of sharp lines and colour bands that could have come straight from a Le Corbusier design? One of the biggest surprises of the season, it divided opinion but united viewers in conversation. This was, after all, a season that got people talking. More, however, than just a modernist approach, this was a season that explored essentialism. There was, in collections like Dior Homme and Givenchy the seed of uniformity, whilst throughout the collections of labels like Lacroix, Vuitton and Miyake, the athletic element presented itself in pieces that were putting function back into fashion and utility at the helm. This was the future. Overall SS13 was one of the most consistently purposeful of the 2010s. The concepts felt fresh and interestingly tackled, even the collections that didn’t feature combat print – few and far between – were militantly unapologetic in their treading of new ground. It was a season with vision and one which, whether looking to the past or imagining a future, was consistently forward-thinking in channelling the spirit of change. - 28 -

Season Report

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trend Reports

Armed and Ready 1

An opportunity to show off the shirt or the gym membership? Directional tailoring means going sleeveless. A less restrained take on the traditional suit jacket, formality still remains in styles that are slickly double-breasted or crisply cut and teamed with courtly trousers. Keep the â&#x20AC;&#x2DC;smartâ&#x20AC;&#x2122;, just lose the sleeves. - 30 -

trend Reports

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trend Reports

James Dean Scene 1

Whether subverting a fashion faux pas by doubling-up or giving a formal suit an unruly blast of retro defiance with an indigo jacket, this season denim is the material making all others, well, immaterial. From Marlboro Man stone washed to Elvis deep navy, every shade, in every way, goes. - 32 -

trend Reports

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trend Reports

Slumber Party 1

Not sleep walking but street walking, SS13 sees a night staple turn to daywear. Never an excuse to forgo dressing at the ring of an alarm clock, the look is more about relaxed, loose shapes and easy, comfortable fabrics in classic stripes, checks and gentle intricate prints. - 34 -

trend Reports

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trend Reports

Sports Luxe 1

Go-faster stripes, athletic materials and sporting details take casualwear to active territory with high-end labels like Prada and Louis Vuitton banking on a fusion of fit and fashionable. With an air of the tastefully testosterone-fuelled, the summer of sports may have been 2012 but the summer of sporting style is 2013. - 36 -

trend Reports

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trend Reports

The Tin Man 1

Less sci-fi and more postmodern panache, metallics have replaced texture as the statement element â&#x20AC;&#x201C; chemical or not â&#x20AC;&#x201C; for the SS13 wardrobe. Expanding beyond the trio of gold, silver and bronze, high-shine cobalts, pastels and primaries are offering variety and versatility with pieces that cross the spectrum from street to soirĂŠe. - 38 -

trend Reports

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trend Reports

The Wild Life 1

Turn over a new style leaf with prints in masculine florals and foliage. Brazen abstract motifs stamped with confidence and understated blossoms that inch around trouser legs are the nouveau take on the garishly explosive patterns of yesteryear. Itâ&#x20AC;&#x2122;s a jungle out there so get involved. - 40 -

trend Reports

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trend Reports

Urban Combat 1

Careening out of the fashion trenches and into the wearable wardrobe, wage war on the city with military. Combat prints, meshed fabrics and down-and-dirty greens signpost your credentials as a soldier of style. Think an officer as well as a gent, with neat lines, razor sharp detailing and a Top Gun attitude. - 42 -

trend Reports

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Colour Reports

Beyond Blue If boys wear blue then so too do men. As the predominant colour of the collections from Dior to Hermés, for summer shy away from baby brights and stick with the warmer end of the blue spectrum with inky tones, Prussian blues and ultramarines. A debonair alternative to corporate grey and black.

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Colour Reports

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Colour Reports

Earth Tones For palette inspiration start from the ground up. The classic array of browns meet rich greens, deep maroons and burnt oranges as designers assert their collective force to drag the tones of autumn into the present. With considered combination the feel is more dashing than dull.

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Colour Reports

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Colour Reports

Fresh Gelatos All the ‘fresh’ but not too sweet, gelato colours are the cool breeze of the SS13 collections. Barely-there tints meet zesty, refreshing shades that feel tranquil but impactful. From mint greens to subtle light pinks, designers have dipped their spoons into every tray for a flavour that truly channels the season.

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Colour Reports

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Colour Reports

White Heat The boomerang of fashion, white has come around yet again. In classic formal pieces and preppy summerwear, the most pristine of colours is as undeniably appealing as it is ubiquitous. This summer feel free to venture slightly off the track with only-just off-whites – ivories, creams and seashell neutrals.

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Colour Reports

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Accessory Reports

The Formal Sandal Forget casual slip-ons, SS13 calls for a sandal that conveys a raffish masculine polish, quality detailing and the weighty substance of a tasteful substitute for brogues or wingtips. - 52 -

Ermenegildo Zegna

Accessory Reports

Dolce & Gabbana

The Skinny Belt Slim and understated, the skinny belt is more refined than its broader counterpart, offering a transitional piece that works as well with chinos and formal shorts as with tailored suits or dress trousers. - 53 -

Accessory Reports

The Statement Shopper A lightweight alternative to a heavy structured bag, the shopper lives to be slung over your shoulder with charismatic ease. Be it about the print or the detail, it should make a statement. - 54 -

Burberry Prorsum

Accessory Reports

Giorgio Armani

The New Fedora Once the mainstay of the classic male wardrobe, the reimagined Fedora is making its comeback. Capitalising on associations with adventure, new styles shirk the traditional felt in favour of hessians. - 55 -

Ideas of Grandeur Lanvin SS13 Before a single model had stepped onto the runway, Lanvin was already doing its best to set the tone. Held in the house’s perennial favourite location – a disused railway station in the east of the French capital – a raised runway seemed a perplexing proposition, particularly as the usual sets of tiered seats were gone in favour of standard chairs, a few rows deep and all on one level. Once the models began to strut, however – a series of slim, boyish types with impossibly square jaws - its purpose became clear, at least depending on your viewpoint. Whilst after the show Elbaz proclaimed how the high runway was a symbol of it being time to ‘elevate fashion’, the crick in our necks suggested a more imperceptible notion. Throughout the show the audience, all placed with egalitarian evenness at ground level, were forced to look up to the passing collection in near reverential fashion. This was elevating fashion, yes, but it was also Lucas Ossendrijver reminding us of the importance of his statement and of the house’s significance at large. The soundtrack, a beat led techno track from 80s band Soft Cell, hinted at the ‘synth’ theme – although more

synthesis than synthesizer – as hard met soft and black met white in structured tailoring and clean separates. Jackets and coats were wide in the body, whilst underneath sat high-waist trousers and skinny ties in a merging of overstatement and understatement, both equally fetching. What Lanvin has always excelled at is producing menswear that is consistently desirable, consistently inventive but ultimately without reinventing the wheel. All of the classic male staples were there - a versatile, military inspired coat, a formal trouser – but there were also surprises that are destined to be nestled in amongst those staples come summer; a relaxed, shirted jumpsuit springs to mind - insouciant enough to be worn with sandals and shades on a seasonally warm city street, but with enough crisp reserve to transition to evening. Lanvin understands the power of concept, of wearability, but for SS13 they also demonstrated their knowledge of power itself, of positioning their brand highly – literally as well as figuratively. In a collection that demonstrated a label with self-assurance and commitment to its aesthetic, they didn’t just raise the runway they raised the bar.

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Show Reports

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Washed Ashore Mugler SS13 Mugler’s Formichetti was apparently inspired by the aquatic this season but, thanks to his signature razor sharp lines and sculptural silhouettes, the vision read more modernist Atlantis than 20,000 Leagues Under the Sea. Even his colour descriptions – oyster, sea foam and coral – seemed a thinly veiled pretence to stick to the palette he knows best, which was predominantly black and white. Yet strangely it was in his use of colour that Formichetti – who quite fittingly plays the piano – most displayed a feel for the melodic. The very occasional flourish of an all-coral or aquamarine look served to add a sporadic note of drama to an ocean of monochrome, but were arguably less a crescendo and more of an off-beat and to the purist unnecessary. It was in the classic blacks and whites that his exquisite skill for detail was most able to take centre stage. Cut-outs and crisp layering were the running themes of a collection that was ambiguous and open to interpretation – with some lines as much art deco as fish fin – but all executed impeccably. There wasn’t a lapel to be seen, necklines were predominantly round

and shoulders were tailored with a masculine authority, something the Italian in Formichetti does so well. In an age of androgynous, super slender male models, the Mugler show bucked the trend with well-fed, athletic guys so that overall – even in tailored short shorts – the collection had a mannish clout, and a surprisingly wearable one at that. For SS13 Mugler has toned down its more subversive qualities in favour of presenting fashion that manages to feel both high-concept and relatable, whether that be an understated Chinese collar or a glossy trench. Mugler is a label that straddles both the avant-garde and the traditional world of tailoring, producing pieces that take an old craft into dynamic new territory. In many ways their SS13 collection – a menswear label that was only birthed in 2011 - was conceptually as much an ode to classic menswear as would be expected from the most established suiting brands. Age aside, under the singular vision of Formichetti, this could genuinely be the face of things to come.

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Show Reports

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A New Starting Line Prada SS13 When it comes to fashion Miuccia Prada doesn’t like so much to be ahead of the curve, as to create her own path entirely. Nevertheless it has been some time since we last saw a Prada menswear collection that felt so modern in the most superficial sense of the word. Where were the rococo prints and the studded loafers, the extravagant colour, or even Gary Oldman, circa AW12? Gone was extroversion in favour of a new directional approach. With SS13 it was as though the artistic Miuccia Prada had painted over the expectations of the label and started afresh on a new canvas with a different model of brush. For a label so associated with aesthetic surprises, perhaps the most unpredicted aspect of the SS13 collection was its relative homogeny. The collection was comprehensively clean, consistently sleek and ultimately rather zeitgeist – whether channelling it or creating it, with Prada one can never quite be sure. There was a starkness to the overall feel, forcing the detail into the limelight and giving the impression of a designer in a more pensive state of mind – her ponderings played out on the runway as dalliances with line and colour. Inevitably the collection was

stripped back to the extent that the markers we use to define clothing – casual or formal, men’s and women’s – were practically non-existent and her use of female models on the runway further emphasized her exploration of the ‘genderlessness’ of apparel. An intrinsically sporty affair, go-faster stripes introduced themselves to tailored trousers whilst wide, roundnecked vests got a makeover in high-end fabrics and careful tailoring. The melding of sport influences and prim structure is a marriage other designers have made themselves synonymous with. Yet, in one fell swoop, Miuccia has taken what could have been her own flirtation with an established juxtaposition and created what feels like a fresh interpretation - all because she went at it with the commitment and focus of a long distance runner. Inevitably the SS13 collection is one that will divide opinion. It would be understandable that if - to some - the quirk of previous collections represents a riotous party, SS13 may feel like a plodding seminar. Alternatively, it could be the much-needed break from the frivolity. A breath of fresh air, a moment for reflection and all conducted with a clear vision and a sense of change.

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Show Reports

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Seasonally Staccato Canali SS13 Canali SS13 was the sartorial equivalent of a bar of whole-nut chocolate - familiar, comforting, probably unsurprising but ultimately with just the right amount of crunch to keep us interested. What this classic Italian tailoring brand does so well is wearable consistency. Whilst that may sound like a diplomatic way of saying ‘dull’, the reality is far from uninspiring as we look to their suave, European dash as the perfect attire for a summer on the golf course, above deck or even holding fort in the boardroom. In the tradition of the best Italian soap operas, Canali took an episodic approach to runway. It presented a cohesive vision that began on the streets of Rome with tailoring in a classic cosmopolitan sensibility, and ended on the Riviera with easy separates and flamboyant dinner jackets designed to be worn with a cigar. But even if the format was ‘episodes’ then the style was undeniably cinematic. Double-breasted suits in crisp whites and pinstripes were paired

with rakish neck-scarves, pocket squares and the classic fedora in homage to The Talented Mr Ripley and summers spent languishing on the continent. A slate grey ensemble with holdall, suede loafers and light mac even provided the ideal airport look, demonstrating Canali had the lifestyle of the SS13 man thoughtout to every detail bar the itinerary. Hinting at the perfect accompaniment to the warmly amorous Mediterranean sun, gelato colours in muted gradients suffused the tailoring with a sense of interest. For the chap who prefers a punch of colour to a blush, zip-up leathers and leisure trousers in red, yellow, cyan and spring green made for a daring break in proceedings and offered a splash of athletic energy the kind associated more with a nine iron than a scrum. Overall Canali gave us a collection that was dependably stylish with enough moments of daring to set it apart. Whilst the avant-garde may set the trends, dependably classic is often just as appealing, in fact it’s ‘molto bene’.

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Show Reports

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MOJEH MEN Style

Let there be Light Dior Homme SS13 is the perfect antidote to a life without form. It’s a jungle out there. A world entirely unprecedented by those that came before. Full of dark corners and unknown futures. Hidden agendas and secrets galore. With every break of dawn come further flights of fancy, seamlessly segueing into rivalries and rigour. For a man that has no alternative than to be surrounded by the madness the latest offering from Kris Van Assche – a pioneer of the calm and collected aesthetic – offers an ideal interlude to an otherwise hedonistic existence. Swimming in the deep blue sea, the chap that opts for the Dior route this spring will find the soothing tones of ultramarine, navy blue and seaweed sapphire a refreshing change from the norm. A palette that evokes the soft nature of the ocean whilst hinting

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MOJEH MEN Style

at the raging power of its waves is the opening ceremony to a ‘complete wardrobe’ collection that enables a uniform visual. A minimalist yet luxurious take on the urban man, he exudes power whilst simultaneously sedating his opponents. With a strong, structured silhouette dominated by the blazer, it is a precise, controlled yet rebellious man that treads this formal line and the hidden streak beneath the cool exterior is not only apparent in the character. Running throughout can be found a hint of violent red – so fierce and jarring against the stealth of the blue that its presence is felt at impact. Juxtaposed against the warmth of naval knits, a luxe sportswear slouch and classic tailoring it adamantly tells the world that this man is not to be taken at first glance. What is interesting, however, is how Van Assche simultaneously exposes the man beneath the clothes by choosing to x-ray many of the garments. Revealing the intricate handiwork that usually prevails on the inside, translucent suits and trenches illustrated with seam lines successfully annihilate any misconceptions that the Dior man is full of airs and graces. Cool, collected and casual this offering is true to form. Enhancing the ongoing ideal from this revered menswear designer that less is always more. With the stage set for a summer of chaos and tidal collisions the Dior man promises to be a burst of calming light set to tame the ravish storm, and he’ll look effortlessly composed as he does it.

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Fashion hunter

Sunday in the Sprawl A colour pop at brunch, understated lines for the gallery and stylish utilitarianism for taking on the thoroughfare, a city weekend means dressing with purpose. With a modernity that echoes the cityscape, cool greys feel urban; silhouettes architectural and the dynamism of a neon or bright hit the energetic note of flickering fluorescents post sundown.

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Fashion hunter

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Fashion hunter

Country Pursuits Plush fabrics, warm colours and a heritage charm combine for a look content in the country. With touches of eccentric originality, traditional elements such as bow ties and blazers are interpreted in playful paisley prints and dapper checks. A statement weekender sets the tone whilst a pair of wingtips are best accessorised with the waxed parquet floors of a rambling estate.

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Fashion hunter

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Fashion hunter

Dinner Prospects Go streamlined for evening with a crisp, minimal silhouette and barely-there detailing. Think Teddy Boy meets an androgynous Sean Young in Blade Runner with pieces that meld neo-noir with an oh-so current sensibility. Lift inscrutable black with flashes of curt white and blend matte and glossy for a look that feels refined. Cut through the sea of fussy formality like a shard of sophistication.

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Fashion hunter

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MOJEH MEN Highlights

Brendan Mullane

Brioni: In Forward Flux Brioni is a brand in transition. Noted for its classic approach to tailoring and its commitment to tradition, it has been exploring modernity and reinventing itself as a label that feels youthful and contemporary. The appointment of Brendan Mullane last July – Brioni’s first creative director – signals a turning point and a recognition that a concise vision and forward thrust is the key to helping this historic label cement its place in contemporary men’s fashion. Mullane, who was previously a menswear designer for Givenchy, has been for Brioni a significant artistic choice. Having previously worked at Hermés, Louis Vuitton, Burberry and McQueen he has an innate understanding of the modern man and the power of image – working with some of Italy’s most prominent photographic talents to present the Brioni collection in a striking way. Stating that he is keen to ‘develop’ the brand whilst ‘staying true to its roots’, Mullane understands that Brioni is most successful when it reaches for new heights but keeps its footing in the core elements that have helped it develop a reputation for excellence. Whilst ready-to-wear sees Brioni adopting colour, a sleekly tailored silhouette and a development of separates that fall elegantly into the lifestyle of today, personalisation and tailoring will always remain key to Brioni’s ethos. Brioni Su Misura brings together tailor and customer in a way that stretches beyond fashion and into timelessness. The ‘quintessence of exclusivity’, - 72 -

MOJEH MEN Highlights

Su Misura Service

Brioni Eyewear Collection

Su Misura is ultimately about creating a suit that is unique, allowing the individual to express their particular style, taking advantage of the artisanal skill of Brioni’s tailors. Each Su Misura suit is created using the expertise of 180 individuals. Even creating a single hand-sewn buttonhole takes 35 minutes. In this attention to detail Brioni demonstrate its aptitude for luxury, but a luxury that works seamlessly – if not literally – in line with their rejuvenated creativity. In combining its rich heritage with a forward thinking mentality Brioni has begun to define itself as the kind of brand that equally defines the modern man. It is fitting that an ochre jacket paired with above-the-knee shorts and a jaunty pair of suede wingtips are now what greets the modern gentleman in a Brioni boutique. The new Brioni Eyewear Collection and the label’s penchant for desirable accessories have also helped place Brioni as a label with multifaceted ambitions. With the notable change in creative methods from the label, now is the ideal time to shine a spotlight on Brioni. The winds of change are billowing through both the collections and, equally importantly, how these pieces are presented and we have never been more intrigued to see how the label will develop now the breeze has reached fever pitch. - 73 -

The Modern Gent is Born 1

COLLECTIONS

SS 13

MOJEH MAGAZINE BIMONTHLY IN YOUR HANDS

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man of design

Massimiliano Giornetti closes the Salvatore Ferragamo AW13 show

alvatore Ferragamo’s creative director Massimiliano Giornetti is noted for his understated demeanour and dedication to the label he calls home. The Italian designer opens up to MOJEH Men on his inspirations, classic style versus fast fashion and why breakfast is the best part of the day. Massimiliano Giornetti is the quiet face of fashion. As the creative director of prominent fashion label Salvatore Ferragamo he wields the reigns of an Italian behemoth. In the flesh, however, Giornetti is not the flamboyant personality we so closely associate with the nation’s global fashion houses, but an astute and charismatic character who enters the room with little fuss and little entourage. Since joining Ferragamo as a menswear designer in 2000, he has gradually scaled the ladder of success and is now creative director for all of the label’s lines; both men’s and women’s, clothing and accessories. It is quite a progression but one that has come through a commitment to the brand and an affinity with the Ferragamo family. ‘I’ve never been in any doubt about what career I’d choose,’ explains Giornetti, ‘even though I came to fashion in a less direct way. My school notebooks were full of my sketches.’ Interestingly it was in finding a zeal for design in education that opened the door to Giornetti’s current profession, not through career progression or a burning desire to reach the dizzying heights of fashion accomplishment, but a cultural education that he feels is essential to the broader context of his work. ‘My culture and education have enabled me to fully understand and therefore respect the importance of values essential to Ferragamo - like tradition and history,’ he elaborates. ‘These became a platform for a new

The Quiet Man

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man of design

AW12

aesthetic orientation for me. Being very curious by nature I think that everything may be worthy of attention. The street, a newspaper, an interesting conversation, a landscape, a place I visit, everything is filtered through this sensibility and becomes part of my personal baggage.’ When discussing his influences it is clear that there is a romantic element to how Giornetti thinks. For him fashion is an intellectual imperative but, for all of the superficiality of the industry, he thinks deep. ‘What fascinates me in nature is not what you see, but what you do not see, not what the landscape reveals, but what it alludes to; the melancholy pride of the Argentineans, the impression of being at the end of the world when you come to the Cape of Good Hope, the luminous silence of the wide space of Australia,’ he explains. ‘These are the sensations I find in the air and translate into a fashion show,’ and what a show it inevitably is. Ferragamo’s SS13 menswear collection was a vision of brights. More to the point there wasn’t a dress shoe to be seen. Despite Giornetti isn’t afraid to take heed of his creatively heading a label founded on convictions and choose his own direction. classic footwear, Giornetti isn’t afraid to take heed of his convictions and choose his own direction, ‘I don’t like to be labelled,’ he quips when asked about his approach, ‘I prefer to choose my own paths.’ In opting to pursue a more athletic style for spring summer, Giornetti is planting his flag pole in the ground and proclaiming, with confidence, his understanding of the modern man, ‘Men’s fashion is always based on the same items,’ he notes, ‘but the big change in menswear has been the ‘ennobling’ of sportswear. No longer used merely for it’s technical advantages in sport but because its innate characteristics are now appreciated in more urban and formal situations as well.’ - 76 -

man of design

Yet despite a clear vision, a willingness to depart from the expected and a philosophical approach to the art of design, Giornetti is grounded in pragmatism. ‘Certainly I never lose sight of the fact that my creativity is at the service of Salvatore Ferragamo and not vice versa,’ he states with typically humble reserve. ‘I think designers need to construct a fashion dream, but one that works in real life. There have been times in history when that dream was too far from reality and it was difficult for a man to wear those clothes in his daily life.’ Even on the runway – often a platform for designers to let their eccentricities run wild – Giornetti believes in presenting a collection with genuine relevance to the lives of Ferragamo men. ‘It’s important to build a dream and tell it intensely and passionately in those fifteen minutes, but then each piece should have its own real strength which gives it economic strength as well.’ Elaborating on that synergy between the artistic and the commercial he says openly, ‘It’s such a difficult balance to find that every collection is a test.’ With Giornetti, however, every collection ‘I think designers need to construct a fashion manages to not only be striking and dream, but one that works in real life.’ commercially viable, but push menswear forward in gentle steps. When asked about the gradual shifts in menswear as a whole he pauses for a moment and, with a considered air replies, ‘I don’t believe in revolution but in evolution. Men’s fashions have changed relatively little over the years, becoming softer and at times exploring territories that are not traditionally masculine, for a taste of the new. Then we go back to those limits of custom, which should never be too widely overstepped.’ Far too polite to offer examples or to overtly draw contemporary parallels, it is nonetheless clear that he doesn’t believe in shock fashion or idiosyncrasy for the sake of it, saying simply, ‘Fashion that’s built - 77 -

AW12

man of design

SS13

‘Through the

on excess and ‘easy surprises’ belongs to the past. A lot of people these days are scared off by the term classical, associating it with something old and dusty.’ However, despite forays into vibrant colour, into sporting inspirations and dramatic statement separates, classicism is ultimately what Giornetti is about. In his staple crisp white shirt and dark suit his style is a perfect reflection of the man himself – quietly elegant, traditional but assured. ‘The speed of fast fashion, in which everything is consumed in a moment doesn’t allow you to become attached to a garment,’ he explains as we venture into the territory of ostentatiously ‘trendy’ clothing, ‘but think about an intrinsic aesthetic value, a classic and modern feel that can be updated in unusual combinations. That’s the true spirit of Italian modernity.’ Indeed staying true to the Italian essence of the Salvatore Ferragamo label is one of Giornetti’s primary concerns, ‘Even now, collections I seek to communicate a with the strong influence of minimalism reducing everything to elimination and lifestyle that is typically Italian.’ angles, I think that Italian aesthetics continue to be based on the study of the body.’ When he speaks of his work with the brand it isn’t with a sense of blithe unilateralism but with a weight of responsibility - not just to a name that resides on storefronts and on the collars of suits but to the Ferragamo family themselves, who are still very much present within the brand. ‘I have the deepest respect for the company and for the Ferragamo family,’ says Giornetti with obvious sincerity, ‘as they enabled me to understand and assimilate the values of the brand. Through the collections I seek to communicate a lifestyle that is typically Italian, based on modernity and culture, creativity and craftsmanship; but - 78 -

man of design

above all the philosophy of Salvatore Ferragamo.’ And the future? ‘Our objective today is to work, as it were, vertically, concentrating on detail, on technical and technological aspects that help satisfy SS13 the needs of our modern world.’ As the afternoon edges towards dusk and the sky begins to fade to a dull orange, Giornetti is clearly in a more reflective mood. Sitting with a sense of ease and openness we begin to get an insight into the personality that resides within his discreet façade. ‘In a way I felt the strong pull of destiny to this city,’ the Florence resident murmurs. ‘It is a constant source of inspiration.’ But for the man who dedicates so much of his time in contented service to the fashion house he has made his home, where does pleasure lie? ‘Morning is my favourite time of day. Breakfast – a thing I’d never give up – enjoyed slowly, on an immaculate white linen cloth, browsing through the A complex character, it is clear that Massimiliano paper and sipping my first coffee of the day. It’s a very private moment, only mine, Giornetti is passionate about his work. a re-appropriation of my time and space and the actions that modern life often prohibits. A joy far from the chaos and cacophony of day-to-day life.’ A complex character, it is clear that Massimiliano Giornetti is passionate about his work. He has grown within the brand producing critically and commercially successful collections. At 41 he seems stable but with vision, much like Salvatore Ferragamo itself. With the SS13 collection demonstrating a playful flair and the subsequent already generating rave reviews, it is demonstration that a ‘big’ personality isn’t a prerequisite to doing ‘big’ things and a reminder that there is still a very modern elegance to be found in understatement, classic style or even just breakfast. - 79 -

Photographed by Dinah Hayt, Styled by Yoshiko Tanger at Yumikoto

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Jacket, scarf and trousers, CH CAROLINA HERRERA - 81 -

Shirt, trousers, scarf and belt, CH CAROLINA HERRERA

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Tuxedo Suit, CH CAROLINA HERRERA - 83 -

Suit, shirt, tie, pocket square and scarf, CH CAROLINA HERRERA

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Suit, shirt and tie, CH CAROLINA HERRERA

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Shirt and braces, CH CAROLINA HERRERA - 87 -

Jacket, shirt, trousers and pocket square, CH CAROLINA HERRERA

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Suit, shirt, tie, pocket square and bag, CH CAROLINA HERRERA

Model: Isaac Hub at Marylin | Grooming: Amelie Moutia | Photographerâ&#x20AC;&#x2122;s assistants: Thomas Grillere and Martin Rosengren | Casting: Josephine Little at Goodwork Paris | Production: Louis Agency - 89 -

The New Edition Photographed by Sebastien Jardini Styled by Guillaume Boulez

Trenchcoat, VIKTOR & ROLF | Top, DIOR | Trousers, ALEXANDER WANG | Shoes, EMPORIO ARMANI | Sunglasses, ZILLI

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Shirt, trousers, tie and belt, LANVIN | Shoes, KRIS VAN ASSCHE | Bag, BRIONI

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Shirt, PAUL SMITH | Trousers, GUCCI | Belt, ZILLI

Top and trousers, ACNE STUDIO

Top, PRADA | Trousers, GIORGIO ARMANI | Shoes, MAISON MARTIN MARGIELA | Belt, EMPORIO ARMANI

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Shirt, jumper, trousers and sandals, GIVENCHY

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Jacket, BRIONI | Turtleneck and trousers, ROBERTO CAVALLI

Shirt, KENZO | Vest, CHRISTOPHE LEMAIRE | Trenchcoat, MAISON MARTIN MARGIELA | Trousers, BRIONI | Bag, TODS

Trenchcoat, FENDI | Shorts, KRIS VAN ASSCHE | Shoes, TODS

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Jacket, JEAN PAUL GAULTIER | Trousers, COSTUME NATIONAL | Bracelet, TODS

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Waistcoat, VERSACE

Suit, shirt and tie, ALEXANDER MCQUEEN

Jacket, VALENTINO | Trousers, DOLCE & GABBANA | Shoes, TODS

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Shirt, trousers, jacket and shoes, SAINT LAURENT BY HEDI SLIMANE

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Shirt, LOUIS VUITTON | Jacket, ROBERTO CAVALLI| Trousers, CHRISTOPHE LEMAIRE

Waiting for Photographed by Dinah Hayt Styled by Yoshiko Tanger at Yumikoto

the Night - 106 -

Beverly blazer, hoodie, Thermo Field Bib shirt, Tidy Guy trousers, double studded armlet and belt, DSQUARED2

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Beverly blazer, hoodie, zip-up pullover, Tidy Guy trousers and chain necklace, DSQUARED2

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Neoprene sweatshirt, turtleneck t-shirt, black cotton shorts, Petri boots, camping socks, double studded armlet, plain armlet, Shark Show belt and chain necklace (worn as belt), DSQUARED2

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Beverley blazer, Thermo Field Bib shirt, metallic mesh shorts, leopard print tie, Orchids pin, Shark Show shoes and camping socks, DSQUARED2 - 110 -

Model: Richard Deiss at New Madison | Grooming: Amelie Moutia | Photographerâ&#x20AC;&#x2122;s assistants: Thomas Grillere and Martin Rosengren | Casting: Josephine Little at Goodwork Paris | Production: Louis Agency

Gummy Family necklace, Thermo Sealed Bib shirt, Tidy Guy trousers, tattoo printed sleeves, Mix and Match belt, plain armlet and knitted hat, DSQUARED2 - 111 -

He wears: Watch, CHOPARD | Tuxedo and shirt, RALPH LAUREN | Bow tie, DIOR | Hat, models own She wears: Watch and necklace, CHOPARD | Dress, RALPH LAUREN - 112 -

Seconds Apart Photographed by Jean Francois Aloisi Styled by Yoshiko Tanger at Yumikoto

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He wears: Watch, IWC | Tuxedo and shirt, ZILLI | Bow tie, SMALTO - 114 -

He wears: Watch, BULGARI | Tuxedo suit, shirt and belt, SMALTO | Bow tie, DIOR | Hat, models own - 115 -

He wears: Watch and cufflinks, CARTIER | Tuxedo and shirt, PRADA She wears: Watch and necklace, CARTIER | Dress, ROBERTO CAVALLI - 116 -

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He wears: Watch, LONGINES | Cufflinks, ZILLI | Shirt, BRIONI | Hat, models own She wears: Watch, LONGINES | Jacket, SMALTO - 118 -

He wears: Watch, MONT BLANC | Tuxedo and shirt, ZILLI | Bow tie, SMALTO | Hat, models own She wears: Watch, OMEGA | Dress, VALENTINO - 119 -

He wears: Watch, LOUIS VUITTON HORLOGERIE | Tuxedo and shirt, LOUIS VUITTON | Hat, models own She wears: Watch, LOUIS VUITTON HORLOGERIE | Top, LOUIS VUITTON - 120 -

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He wears: Watch, CHANEL JOALLERIE | Tuxedo and shirt, BRIONI | Bow tie, SMALTO | Hat, models own She wears: Watch and earrings, CHANEL JOALLERIE | Jacket, GIAMBATTISTA VALLI

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He wears: Watch, DIOR HORLOGERIE | Tuxedo, shirt and bow tie, DIOR | Hat, models own She wears: Watch, DIOR HORLOGERIE | Jacket, DIOR - 124 -

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He wears: Watch, PIAGET | Tuxedo and shirt, BRIONI | Bow tie, DIOR | Hat, models own She wears: Watch, PIAGET | Dress, GIVENCHY - 126 -

Models: Aline at WM and Thomas Lagreve at Major Paris | Hair stylist: Mike Desir at B4 Agency | Make-up artist: Elise Ducrot at B4 Agency | Photographerâ&#x20AC;&#x2122;s assistant: Kader Benacer | Stylistâ&#x20AC;&#x2122;s assistant : Michael Carpin | Casting: Josephine Little at Goodwork | Production: Louis Agency

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mojeh men on watches

On Watch Designed with precision, pieced together with painstaking care and worn with a sense of satisfaction, the watch is the quintessential male accessory. From city slicker to offroad maverick, keep time your way.

All-Terrain HARRY WINSTON Ocean Sport Chronograph Limited Edition

Titanium case

Whether the crest of a sand dune or the height of a rocky peak, unleash the adventurer within with a watch that thrives on challenge.

Black ceramic bezel

55 hour power reserve

AUDEMARS PIGUET Royal Oak Offshore SĂŠbastien Buemi

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MONTBLANC Sport DLC Chronograph Automatic

Luminescent hour markers

mojeh men on watches

IWC Pilot’s Watch Chronograph Edition Antoine de Saint Exupéry

Hour and minute combined totalizer

Glass secured against drop in air pressure

Sapphire glass, convex antireflective coating

‘Saint Ex’ detailing

Aviation Made to be manipulated with a sense of ease and designed with the ageless good looks of a Spitfire, navigate the skies with a pilot’s watch.

ZENITH Pilot Doublematic

BREITLING Chronomat 44 GMT

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mojeh men on watches

City From boardroom to brasserie, in the urban sprawl, time is of the essence. Complexity made simple and refined understatement are the markings of the metropolis.

A. LANGE & SĂ&#x2013;HNE Saxonia Thin

Titanium balance wheel

PIAGET Altiplano

24 placards disassemble and reassemble every hour

Minute disk display

HARRY WINSTON Opus Eleven

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Rotation speed regulation system

mojeh men on watches

ARNOLD & SON Hornet World Timer

Hand stitched alligator leather

Three time zone display

Graduated month display

18 carat rose gold

Country Where the passing of the seasons are milestones to live by and the pace is set by the setting sun, think a timepiece that combines tradition and technique.

VACHERON CONSTANTIN Patrimony Traditionnelle Openworked Perpetual Calendar

A. LANGE & SĂ&#x2013;HNE Datograph Perpetual

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mojeh men on watches

Submarine Skim the surface or plunge the depths with equal confidence and take on the deep blue with a timepiece that is at home at sea.

IWC Aquatimer Chronograph

Power reserve indicator

ROLEX Submariner

Bezel with diving scale

Water resistant to 200m

ULYSSE NARDIN Maxi Marine Diver Limited Edition

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Rubber bracelet with deployment clasp

mojeh men on accessories

All Terrain

Submarine

Cuff Off the

City

Country

Aviation

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mojeh men interview

In Timeless Fashion With over 47 years experience in timepieces, John Bonifas – owner of the internationally recognised Fourtané Jewelers – is not only an authority on fine vintage watches, but also an avid collector himself. It is a passion that has filtered down to his son, Joshua Bonifas, who not only has one of the most prestigious collections of classic timepieces, but has also turned his extensive knowledge to television as an appraiser on the American edition of Antiques Roadshow. Together they represent a powerhouse of vintage watch know-how and it was together that they spoke to MOJEH Men about oneoffs, hard-to-gets and why Paul Newman represents a challenge.

John Bonifas

Joshua Bonifas

You both specialise in collectables, but if you could recommend a contemporary timepiece that you feel is a positive investment for the future, which would it be? • John - For a contemporary timepiece, I would say any Rolex sport model, specifically a Submariner or GMT, as they historically have the highest retained value. • Joshua - Patek Philippe also have one of the highest resale values; but there is a specific model within most watch brands that is desirable and offers investment potential. The availability of these models however is limited to those who are connected and are known collectors of the brand, making them inaccessible to most. What defines a collectable timepiece and which elements would you say are most highly prized - in short, what makes a fine watch fine? • John - The reputation of the manufacturer and the longevity of the brand; the ones that have endured. Hamilton used to be the finest US watch company, but it went out of business because it didn’t keep up with the times. The collectable nature is defined by the style, uniqueness and rarity. • Joshua - A fine watch is defined by the overall quality of its manufacture. Today many brands are producing highly precise and complicated movements. Still, few of these other watches are considered collectable. Simply being of fine manufacture is not enough for a watch to have appeal. For a timepiece to be truly collectable, it must be not only aesthetically pleasing and rare, but also carry a certain ‘X factor’ quality. Is there a particular watch that you would love to get your hands on? • John - I would have to say a complicated watch from the 1950s or 60s by a premium manufacturer. I would even be excited by a high quality Longines or Omega made in those times. - 134 -

mojeh men interview

• Joshua - I have had the privilege of buying and selling some very special and important timepieces, such as the Rolex Submariner worn by Steve McQueen. However, the one watch that has proven elusive thus far is the stainless steel Rolex Daytona, worn by Paul Newman in the 1960s. It had such an impact on vintage Rolex vocabulary. At what point does a watch go from being current to collectable and vintage? • John - When the watch is no longer made or when a new and improved version of the same model comes to the market. • Joshua - Thirty years old or older is typically accepted as vintage, however, vintage can be defined by a style that is distinctive to a particular period. Details that define an era are noted for making a watch vintage. Also, once a particular variation of a watch is replaced with a more contemporary model, one could consider the discontinued version of the watch vintage. In the case of the stainless steel Rolex GMT, Rolex released a new model, fitted with a ceramic bezel in favour of the metal bezel. Since then, the desirability of the classic version of this watch has increased dramatically and can command a stronger price than the price it was offered at retail. Joshua has bought and sold some of the most important Rolex watches to reach market – what is it about Rolex in particular that has such enduring appeal? • John - Rolex is probably the most high profile watch company helped through their advertising campaigns and support of sporting activities, the arts and philanthropy. • Joshua - I agree, the company has supported and participated in many history-making endeavours in the world of exploration, technology and innovation. Rolex was founded on the principle of producing a luxury timepiece that was designed to function regardless of the conditions it is subjected to. Instead of constantly reinventing their styles, Rolex draws inspiration from its heritage and produces a watch with a rugged nature, a handsome aesthetic and a genuinely timeless allure. In your opinion, what is the real value in a vintage watch and why would the modern man opt for vintage versus a contemporary buy? • John - Anyone with the money can buy a modern timepiece. Vintage has a certain class, as no two are exactly alike. It makes you wonder who had it before you. No matter how much money you have, for a sophisticated customer, wearing a vintage watch is an extension of that person’s personality, an understated expression of his style and taste. • Joshua - ‘Vintage’ is its own brand, a unique identity that is truly exclusive. The client for these timepieces is not only the connoisseur of all things fine and rare; it is also the customer who wants something uncommon that only the initiated appreciate. These customers have a unique and genuine understanding for the details and nuance that make these watches so desirable. Enthusiasts wear these watches, not as a deliberate display of wealth - as many very expensive vintage Rolex timepieces are nearly indistinguishable from far more modestly-priced models - but because in doing so, they have become part of an exclusive club. - 135 -

mojeh men interview

How important is the brand in establishing a watch’s collectability and which brands, both historically and presently, do you feel are the most important or significant? • John - The brand is the determining factor. None of the vintage watches that are collectable and desirable today were ever mass-produced. Before advances in modern manufacturing not many were made and survival rates of many of these watches were slim. For us, Rolex, Patek Philippe and high-end mechanical wristwatches are important. • Joshua - Brand is everything. This is evidenced by the notably higher resale value of Rolex and Patek Philippe. Their company’s own heritage is the most important influence on the watch models they produce. While always seeking to better the technology inside their watches, these brands have continued to manufacture exceptional mechanical timepieces without allowing undue influence from trends. Recently, Tag Heuer and Omega have begun to follow suit and look to their past for inspiration on designing their contemporary models. The internal workings of vintage timepieces can be a mystery to the layman, to what degree is complexity important to a classic watch’s value – both materially and in terms of its wider value or significance?

• John - When you think about it, any mechanical wristwatch, even a simple example, is exceptional. There are over 200 individual parts in each mechanical watch and you expect it to run 24 hours a day, seven days a week and 365 days a year with minimal maintenance. Imagine asking your car to do that! The ingenuity and precision with which these small parts have to be integrated is remarkable. • Joshua - The quality and complexity of the movement is not necessarily the most important factor. With most vintage models it comes down to a combination of details. Nuance can be one of the most difficult things to explain. The movement is certainly a factor, however, in order to have the capacity to truly appreciate a rare watch, you almost need to have seen a thousand that are less remarkable! Can you tell us a little about a favourite watch that you have been involved with? • John - They’re all favourites. The challenge and joy is in the quest to find the finest examples of vintage watches that can still be worn today. From one day to the next, you never know what you will find. • Joshua - The Rolex ref. #8382 with the enamel dial, depicting Neptune, was among my most treasured. The watch had a dial of absolute beauty, made by Stern Freres, a famous dial maker who also made dials for Vacheron Constantin and Patek Philippe. The watch sold at auction for over $650,000 in 2011. I also bought and sold Peter Fonda’s 18k yellow gold ‘No Crown Guard’ GMT, the watch that he wore in Easy Rider. Not only is this a rare model but the historical provenance made the watch entirely unique. Peter Fonda played this character of anti-establishment, yet wore this incredibly rare watch. Watches, as both a piece of equipment and a style statement, see trends. In your opinion what have been the notable shifts or changes in watches and which elements have remained – excuse the pun – timeless? • John - Most noticeable in the last 10-20 years is a stronger desire for mechanical wristwatches. Also, the emergence of several new watch companies like Roger Dubuis, Franck Muller and Alain Silberstein and the resurrection of some older companies with different owners, like Hamilton. But the staple, desirable companies remain the same: Rolex, Patek Philippe, Cartier, Vacheron Constantin and Audemars Piguet. • Joshua - The most obvious trend has been a shift toward larger models. Many watch companies now offer watches with case diameters in excess of 45mm, which is very oversized, although many of these very large models have since fallen out of favour, with many of our clients choosing timepieces with a more classic style. Another trend for which we have much enthusiasm is watch companies drawing inspiration from their past to create a modern wristwatch with a vintage look. Panerai sells a new watch that looks like a model from the 1950s, and the Tudor ‘Black Bay’ comes fitted with hands that have the patina of a 1950s watch. This is very exciting for our business, as we have always championed the distinct aesthetic of vintage.

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MOJEH Louis Fourteen

www.shopmojeh.com

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most desired

Marwood All Tied Up

Launched in 2011 as a bijou collection of ties made from fine English lace, Marwood has – in a short time – gone on to be stocked at the likes of London institution Liberty and the Hong Kong spinoff of Knightsbridge behemoth Harvey Nichols. It’s indicative of the demand for artisanal products that put quality of product at the forefront of their endeavours. For SS13, expansion has brought about experimentation and a collaboration with artist Toni Davey, whose work in subtle geometrics and line conveys a modernist approach. Sheer ties in Swiss cotton voile reveal the inner construction, pieces in woven dip-dyed jacquard are fashioned in houndstooth and natural linen or silk examples are finished in satin or mink at the tip. With a rooting in heritage and craft, Marwood are committed to providing a very modern luxury – subtle, tactile and grounded in tasteful good looks or, as they put it, ‘Each product intends to ignite excitement from the discovery of something new that can be treasured and worn time and again.’

Mr Hare There’s a sense of fun to Mr Hare’s shoes. These are shoes to go dancing in, romancing in or even, if you must, to the boardroom in. Describing himself as a person who, ‘knows what he needs and knows what he likes,’ the label’s founder Marc Hare is neither an affected Cordwainers graduate nor a silver haired cobbler rambling the pavements of Savile Row; although he does confess a weakness for bespoke suits. Marc Hare, is a 1970’s Plymouth Barracuda driving, food loving surfer who stumbled into shoe design after previous lives working for the infamous Lynne Franks, running his own surf shop and opening a boutique in London that stocked the likes of Margiela and Balenciaga. Believing that it is better to make a small number of products extremely well for the people who desire them most, his shoes – handmade in Tuscany – ooze a joie de vivre that elevates them beyond the reams of ‘well made’ men’s shoes and into the realm of truly toe-tapping footwear.

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Stepping On Out

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Alexander Wang Object of Desire

It’s clear that when Alexander Wang decided to ‘diversify’ he preferred to move in baby steps. After all there’s a certain irony in branching out and then producing a collection composed uniformly of black matte black, fluffy black, glossy black. Black. Titled in suitably austere fashion, Objects Collection and Objects Collection No.2 are Wang’s collected forays into the world of lifestyle and – where many designers prefer to hitch their wagon to a sure thing and stitch their label on a bedsheet or cushion – Wang didn’t compromise his ethos and instead went an altogether more witty direction, with items including beach inflatables, playing cards, dominos and even a dog collar. More humorous items aside, the collection – which also includes simple notebooks, coasters in leather and suede and a low-key hip flask – is actually an exercise in stylishly comprehensive living. When it comes to a commitment to an aesthetic why stop at dress when you can chain your bike with a lock clad in obsidian mock croc?

Graf von Faber-Castell Perfect is a very big word but when you take something from being a humble implement, interpret it in luxury fashion and raise it to the realm of faultlessness, it must be hard to find another. The Perfect Pencil from Graf von Faber-Castell is the culmination of a legacy that began with the formation of the brand in 1839. Through decades of innovation and fine-tuning they have crafted a piece that defies its unpretentious associations and can hold its tip up high with the nibs of its more celebrated, ink based brothers. Crafted in fine Californian cedar and finished in either sterling silver or platinum, it has been designed with efficiency and function in mind. With a sharpener built into the extender and a replaceable capped eraser, it represents simplicity in intention and discreet utility in looks. Whether an architect by trade or merely an architect of ideas, Theodor Adorno said, ‘A pencil and rubber are more use to thought than a battalion of assistants.’

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Pencil You In

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most desired

Tom Ford On The Nose

Noted for its seductive ethos and provocative campaigns, Tom Ford frequently sets the benchmark for timeless appeal with a very contemporary essence. In the Jasmin Rouge scent from Ford’s Private Blend range, this approach has been realised for the senses. Described as a ‘voluptuous, spiced floral,’ dusky clary sage and rich spices meet sambac jasmine sepals absolute; an ingredient never before used in perfumery. With a forcefully masculine bottle design – blocky angles and subtle curves – it holds a commanding presence, the deep red a distinctive hue for a men’s fragrance. A range that revels in original ingredient combinations, Private Blend moves from deep, earthy concoctions like Arabian Wood and Tuscan Leather to feisty inventiveness with Azure Lime and Neroli Portofino – with Sicilian lemon, winter yellow mandarin and orange flower rosemary. Produced in smaller batches than the mainline fragrances, Private Blend represents a bespoke slant on ready-to-buy; idiosyncratic, put together with refined olfaction and the skilled hand of a label that understands the modern man and his quest for a-typical elegance.

S.T. Dupont Son of Simon Tisson Dupont, Lucien Dupont’s motto was, ‘Make it more beautiful. Make it expensive. Make it innovative.’ The ‘expensive’ part may sound like an heir’s desire to see the pre-stock-market-crash company flourish with a healthy margin, but in fact it was more indicative of an ethos that cost equates to the care expended in an object’s creation – the amount of time, the quality of the materials and the provenance of the company – all coupled with the idea that in paying a pretty penny one feels like they have obtained something of value and worth. What he really meant was reassuringly expensive. With such a strong sense of bearing it is no surprise that S.T. Dupont has thrived to be one of the premiere purveyors of fine lighters, which, with the snap of a yellow gold or platinum lid, convey the very clink of superiority. Meanwhile the continued desire for the beautiful and the innovative ensure the flame is still burning brightly for this heritage label.

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Light Your Way

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For Her

Midnight

Elegance

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For Her

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mojeh men on Grooming

The Travelling Companion

PENHALIGONS, Nickel Razor

‘It is good to have an end to journey toward; but it is the journey that matters, in the end.’ Ernest Hemmingway

Travel the long and winding road with Hemmingway in your back pocket and a grooming kit fit for a king in the hold. With all the trusty staples, as well as a few twists on the classics thrown in for good measure, you’ll never look half as good after a long haul flight. BURBERRY, Cross Grain Leather wash bag @MrPorter.com

DIOR, Dior Homme Cologne

KENT, NU19 Handmade Comb MURDOCK LONDON, Hair Doh

CLINIQUE, Post-Shave Healer

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mojeh men on Grooming

TAYLOR OF OLD BOND STREET, Travel Brush

ACQUA DI PARMA, Collezione Barbiere; Aftershave Balm, Shaving Gel & Shaving Cream

TOM FORD, Soap

MARVIS, Cinnamon Mint toothpaste

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JACK BLACK, True Volume Revitalising Conditioner & Thickening Shampoo

mojeh men on grooming

This is a Man’s World From a bite of the Big Apple to a taste of the Orient, MOJEH Men looks at some of the finest men’s spas in urban destinations. Make combining business with pleasure as simple as making an appointment.

The Chap’s Antidote A beguiling amalgamation of old and new, Gentlemen’s Tonic mixes timeless dapper – in rich woods and dark leather – with engaging technology, in state-of-the-art music stations and LCD screens. A grooming nirvana, enjoy a haircut or wet shave in a private booth, ease out the stress of a taxing week with reiki and reflexology or prepare for a first impression with eye treatments, facials and hand sprucing. With an extensive list of services, Gentlemen’s Tonic helps you to look and feel your best in understated, elegant surroundings. With a classic sensibility, it provides both the options and atmosphere that feel – like a great suit – perfectly tailored to the refined modern man. Gentlemen’s Tonic – London, Dubai, Hong Kong

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mojeh men on grooming

A New York Nickel Located in the beating heart of Chelsea, Nickel’s flagship spa is a sharp, minimal space designed ‘by men, for men’. With a direct, no-nonsense approach to health, grooming and relaxation, Nickel aims to offer treatments that innovate and serve the needs of the over-scheduled city slicker. Whether grooming or relaxation, they provide a treatment for every facet of the urban day, from a 15 minute moustache trim to an 80 minute Swedish massage. They also provide sleep ‘cabs’, in which customers can adjust the lighting, sound and even the scent to grab a few moments well deserved rest in the city that never sleeps. Nickel Spa For Men – New York, Paris, London

Orient Impress Among the bustling streets of Hong Kong’s vibrant Mongkok district sits the Chuan Spa, a five-star destination that couldn’t be more removed from the stretches of scent-laden street vendors and high-paced fashion stores that surround it. Winner of three top awards at the World Luxury Spa Awards 2012 and having already previously snared Best Men’s Spa at the AsiaSpa Awards, Chuan is a beacon of sophisticated harmony in a crowded metropolis. With over 60 holistic treatments designed to promote health and wellbeing, Chuan combines classic oriental philosophy with contemporary Asian style, echoing the spirit of the city whilst also providing an escape from its mayhem. Chuan Spa at the Langham Place Hotel – Hong Kong, Auckland, Melbourne, Shanghai, London

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mojeh men review

A New Continent The world’s fastest four-seater convertible, the Continental GT Speed from Bentley, mixes practical appeal with the thrills of supercar performance. At first glance there’s a maturity to this vehicle, it has the grown up sophistication we’ve come to expect of a Bentley, but then glide your hand along its smooth lines, begin to take in the details and you realise this is an altogether sportier animal. The 21” alloys are unique to this model whilst the front wings are crafted in super-formed aluminium – but the sportiness is subtle. Despite a top speed of 202mph, there are no additional spoilers, a gentle lip on the boot lid generates all of the down-force the GT Speed Convertible needs, even flat out. Inside, handcrafted upholstery sits beside a dark tint aluminium dash inspired by the Bentleys of the 1920s. It’s just the right amount of masculine clout without descending into the pastiche of a racer. But how does it drive? Put your foot to the pedal and it is nought to 100mph in 9.7 seconds. The ME17 engine management system – capable of performing 180 million calculations per second – enhances turbocharger control and torque management, offering increased drivability and the feeling of being totally in control. The aluminium double-wishbone front suspension and trapezoidal multi-link rear setup feature revised air suspension springs and dampers so you feel you have the power of a lion beneath you, but the agility of a gazelle. It’s a smooth, comfortable ride. Overall the Bentley Continental GT Speed Convertible is a car for all seasons. Capable of taking on monsoon-level rain and alpine temperatures, when you’re back in the heat, flip the top down for a head-turning, relaxing cruise. - 150 -

Illustrations by Mercedes Leon

mojeh men discussion

Work, Your Personality In the world of business who said you have to check your personality at the door? In the era of Zuckerberg and Jobs, a sense of self could be the greatest weapon in your arsenal, but how do you translate individuality into the language of work and are our offices soon to be a breeding ground for more than navy and notepaper?

ot just a mode of thought, for most of the developed world it is enshrined in law and steeped in weighty reams of verbose jargon that we will celebrate diversity in the workplace. Yet it is one of the corporate world’s great ironies that, despite the endless read-andsign memos and cheery get-together Powerpoint presentations on the subject - featuring veneered barely-in-work actors - peer over your shoulder on any given day and it’s clear that that diversity extends to differing shades of grey or a ‘kooky’ choice of mug. But for all the supposed stagnancy of the business of business, the gradual shift from a conformist mentality in the mainstream – in both hiring and practice - to one where the one is celebrated is no longer quite so gradual; in fact it’s a veritable landslide of freethinking and a whole mug tree of witty slogans. It raises the issue of individualism of course which, in the corporate world, is essentially - 151 -

the idea that the individual should work to achieve personal success, even within a wider organisation. It means high levels of accountability and an independent working ethos, but also the promotion of initiative. As ominously self-serving as the principle sounds, in his study for the University of California at Berkeley, Professor Barry Staw asserts that companies who promote an individualistic approach are better at innovating and generating creative ideas. With a Darwinian philosophy on natural selection, it also suggests that the most eager and the most able will float to the top of the food chain by standing out, whilst those left will either languish in dreaded corporate obscurity - nestled behind a grey partition waiting for a fun filled trip to the copier - or sink to the bottom to be eaten up by early retirement. Not everyone is cut from the same cloth however, and where some flourish better in a team, others are made from more independent material. Success is candidate specific. It is why increasingly big business is seeking to deck its halls with employees who are able to metaphorically navigate themselves out of the textbook Ivy League education and years spent reading dry philosophy on how to get ahead. Lateral thinking and creativity are now the asset a CV can’t convey, after all the monolith corporations don’t want a drone to tow the line but an individual to rock the boat – if only a little. It has spawned a terrifyingly titled hiring process known as ‘extreme interviewing’. A reality show waiting to happen, it’s a practice that has reduced the most polished candidates to quivering wrecks but also seen organisations build unorthodox teams that have allowed them to sail to success. It doesn’t involve a game of Russian Roulette or

mojeh men discussion

Gladiator style tests of brutal physical endurance, but the usual Q&A – minus the usual part. ‘If you were shrunk to the size of a coin and put in a blender, how would you get out?’ is one mild version reportedly used by Goldman Sachs, whilst Microsoft famously questioned interviewees on why ‘manhole covers are round.’ Designed to test how a potential employee copes with the unexpected whilst also gauging their ability to think creatively and show their personality, it’s an intriguing way to both assess and make more distinguishable distinctions between applicants. After all, put two people in a room and ask them how they ‘feel about garden gnomes’ – thank you Trader Joe’s – and how many of the same answers will you get? Exactly. In his book, ‘Are You Smart Enough To Work At Google?’ William Poundstone lays out some of the most perplexing brainteasers used by tech firms to scout their latest fodder. Try this one on for size – ‘Using only a four-minute hourglass and a seven-minute hourglass, measure exactly nine minutes without the process taking longer than nine minutes.’ If you reached an interviewquick conclusion then the chances are you either already work for Google or you’re Rain Man. The moral of the story is simple, as companies plunge new depths of HR ingenuity in their bid to bag the cream of the crop, it’s not just about qualifications but quality of person and getting a foot in the door is ultimately about how interesting the socks are. Of course highfaluting dotcoms often pride themselves on an unconventional approach, and yet the idea of success through singularity isn’t a new one. A decade old study by the University of South Wales touted ‘autonomy and uniqueness’ and ‘a sense of identity’ as two of the 15 drivers for workplace excellence. But what does that really mean? It’s fair to say that – as in one infamous viral video – throwing a computer across the room at a time of stress would be an ‘individual’ move but not one that is going to be earning anyone a promotion. Burning incense and chanting meditative prayers. Individual? Sure. Recipe for success? Doubtful. Distinctiveness is relative and, like an aftershave or moisturiser, only effective when applied correctly. Penny Edge is a business entrepreneur who offers corporate etiquette classes in Dubai through SO Famous, for her the implementing of an individualistic approach to work is part philosophy, part execution. ‘Do you want to be a sheep or a leader of men? If it’s the latter then

you need to be individual and stand out in some way, whether it’s your clothes, aptitude for the job or your attitude,’ she says, ‘I had one client who was known for coloured or patterned braces.’ Dressing for the corporate world can be both a walk in the park and a stumble into the lion’s den and yet, differentiation through dress is one of the easiest ways to either pinpoint a rogue personality destined for greatness or to create, for yourself, a point of distinction from more soberly attired colleagues. The term ‘dress for success’ is one so overused it sends violent shudders down the spine and is now generally only uttered

‘You need to be individual and stand out in some way, whether it’s your clothes, aptitude for the job or your attitude.’

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mojeh men discussion

by those whose destiny it is to appear on The Apprentice, but there is an inherent truth in those words. Several decades ago dressing for success would have meant investing in something with a broad shoulder and accessorising with a phone that cost the same as a small car and weighed more. It was the uniform of the ‘city’ and everyone was willing and eager to buy into its homogeny. Whilst the broad shoulders have been swapped for a slim lapel and the phones are smaller, corporate dress still has the reputation as a bland and blah vision of insipid monotony – but reputation isn’t always reality and, today,

If a business can align the interests of the worker with the interests of the business it equals a mutually beneficial outcome.

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getting in often means standing out. Couple this with the notion that, with working hours increasing year on year, developing a distinctive approach to business dressing means a greater sense of work life balance, a greater feeling of self expression and, in turn, the feeling of being confident, comfortable and in control; all ingredients of a cocktail called productivity. Applying individualism in the workplace in quantifiable terms is ultimately more than a spiffy new suit or a notice-me attitude of course. At management or CEO level especially, it comes with more than an interdepartmental memo with ‘be yourself’ typed stoically in Times New Roman across its length. Even Helvetica wouldn’t do the job. In practical, personal application it’s about demonstrating direction, a willingness to contribute and the confidence to recognise that, more than a cog in a machine, you are an individual working within an organisation but, whether for personal gain or not, willing to bring your A game along with you. Moving up the ladder, a propagation of individualism means engendering a sense of freedom in those that work under you, encouraging a sense of autonomy and, ultimately, rewarding commitment and creativity tangibly. Being in business is also being in the relationship business and in advocating free expression, colleagues develop more meaningful connections and the fire of innovative thinking is sparked into life. The most practical analogy is, instead of thinking outside of the box, recognising that there is no box. Define parameters and working principles that harness an individual’s freedom and potential to optimise results and, inevitably, reap the rewards. As the corporate world begins to rethink its strategy on getting ahead it’s clear that, as opposed to creating a regime that churns out cookie cutter employees with cookie cutter results, if a business can align the interests of the worker with the interests of the business it equals a mutually beneficial outcome. In a world in which companies capitalise on vibrant social media – ‘do you drink water? If the answer is yes, like our page’ – and see returns from putting a face to their enterprises, individualism is the future. Embrace it, celebrate it or, if you prefer baby steps, be prepared to go mug shopping. It’s time you found a witty slogan of your own.

Celebrity Interview

Able Weisz Touted as the classic English Rose, Rachel Weisz is an Oxford educated Londoner turned Hollywood heroine. Raised in Hampstead, Weisz is now more likely to be seen strolling the pavements of Manhattan - where she lives with her husband Daniel Craig - than the quaintly affluent passages of her home turf. Silver screen success hasn’t merely transported the new Mrs. Bond across the Atlantic, but from the boards of fringe theatre and into the flashbulbs of the red carpet. It was in 1984 that Weisz obtained her first bit of media attention when she turned down the opportunity to star alongside Richard Gere for fear her classmates would ostracize her; a gutsy decision, but not one that impacted heavily on her eventual stardom. Today Weisz stands as part of an elite vanguard of actresses who manages to juggle starring roles in blockbusters, with a life relatively unimpeded by the lightening flash of the paparazzi. Her marriage to Craig in New York City involved just four guests, none of who were carrying a glossy-mag contract or dictaphone. With a continuing love of theatre, Weisz has demonstrated her finesse as a thespian, taking home an Olivier Award and a Critics Circle Award for her turn as troubled Southern belle Blanche DuBois in Tennessee Williams’ A Streetcar Named Desire. The role was an example of Weisz’s versatility, a skill that has played out on celluloid, from an Egyptologist in The Mummy to humanitarian activist in The Constant Gardener – for which she collected a Best Supporting Actress Oscar. Whilst she is accustomed to turning other women green with envy as a muse for Narciso Rodriguez and a frequent fashion cover star, the roles are reversed in her latest role as verdigris-tinged witch Evanora in Disney’s Oz The Great and Powerful. Directed by Sam Raimi and also starring James Franco and Mila Kunis, the film is a 3D prequel to the 1939 classic. Here Rachel Weisz talks about taking on one of the most recognisable roles in cinema, combining work in the Emerald City with work on the Bourne series and why getting to play bad feels good.

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Photo by Ian Gavan/Getty Images

Celebrity Interview

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Celebrity Interview

This role is something that we wouldn’t normally associate you with as you usually sway more towards realistic, human dramas. Was that part of the attraction for you? Yes. I wasn’t necessarily looking for something unrealistic and fictional when I read it, but there was something about the character that I just thought was fun. She has no conscience and subsequently has a lot of fun being bad. I thought it was a delicious idea. Was that right after you filmed Deep Blue Sea? No, I was actually filming The Bourne Legacy at the same time. So I was doing Bourne and then Oz, then Oz and back to Bourne again. It was a very schizophrenic experience going from The Emerald City to the hyper realistic Bourne world. Was it fun playing Evanora? Fun? It was really fun! Fun to get to play someone who loves being bad. She’s more than mean, she’s evil, really evil, Machiavellian, a nasty piece of work and she enjoys it. The meaner she is the more pleasure she gets. It may be Disney, so I probably shouldn’t say it, but she gets ‘turned on’ by evil – well there you go, I just said it! How evil are you? Probably just as bad as the next person. That’s the thing about real life; we have to control ourselves. But that’s the great thing about being an actress; you get to be a kid again. Acting is like being in a playpen and you get to act out the things you are not allowed to do in real life. Can you find something in common with your character from The Constant Gardener and this character, Evanora? No, nothing, absolutely nothing. Can you? I don’t feel that they are related in any way. What about the strength they both have? I guess they are strong-minded. The character in The Constant Gardener is trying to save people’s lives and is willing to sacrifice hers for what she believes. My character just wants to rid herself of everyone so that she can be in charge. So they are opposites. Evanora is an egomaniac, a narcissist and a cruel, nasty piece of work. She just so happens to be a pathological liar too.

Sam Raimi said that you exuded so much strength on set. Were you aware of it? Oh gosh, no. I haven’t seen the film yet.

She looks like she would scare children. She’s having a good time though, really enjoying it, so I don’t know. It’s a kind of good, fun evil.

What was your first conversation with Sam like? He sat and chatted to me about life in general, about my childhood and parents, etc. Maybe he did that because when people talk about their families you see who they really are.

Do you have an inspiration for evil? I didn’t do any research at all for this film, if that’s what you mean. I just tapped into my own bad girl. I did no research; zilch, zero, none. - 156 -

Photo by Stephen Lovekin/Getty Images

Will it frighten children? I’m not sure yet, I haven’t seen quite how scary it gets.

He suggested that you would probably exude that in real life too. Dream on Mr. Raimi! I don’t know what to say. I’m an actress and therefore I’m a daydreamer - I think I would be pretty appalling at running a country or a business. I can manage a household and that’s about it.

Celebrity Interview

But do you ever research? Not really. I did for the Bourne Legacy as I was playing a scientist and I am terrible at science. So I had to work to understand what I was saying, and even then my research is just daydreaming. You’ve now worked with director Fernando Meirelles on both The Constant Gardner and 360, would you make it a hat trick? If he asks me, I will always say yes. There’s nothing planned but I would work with him at the drop of a hat. What about 360, do you feel it was underappreciated? Yeah, it was a small independent movie but I’m proud of it. Does it affect you, how many people see the film or not? It’s probably more worrying if it’s an expensive film. With independent movies, the stakes are low and I don’t really mind, although it’s of course always nice if things do well. What did you think about the set of Oz while working? Were you able to touch it and feel it? There’s a lot of green screen so not so much to touch. I do have a throne and a crystal ball however and that’s really what I am most interested in. It’s all about the throne. There’s rarely a film now in which an actor doesn’t have to act in front of a green screen especially when considering a film of this calibre. Is that a dramatic change in your profession? I don’t think it’s necessarily about calibre but perhaps more about budget and genre. I make a lot of films that have absolutely no green screen, but a big budget movie now tends to have green screen. What do I think about that? It’s fashionable. Would you say that you have to learn a new set of skills? Again, it’s like being a child – ‘imagine a big pile of gold over there,’ it’s not that hard. That’s what my job is; make believe. I believe I’m a witch and I believe I can see a big pile of gold. It’s actually more tiring doing green screen because you are alone and so it doesn’t make any sense if you are not with another actor. You don’t get anything back. It would be like sitting talking to yourself all day, it’s not as interesting as talking to someone else. And there were no restrictions when it came to films? Well...

Photo by Larry Busacca/Getty Images

Were you very dreamy as a child? Very dreamy.

You know, nightmare-inducing like The Wizard of Oz? There were definitely lots of restrictions. That’s the odd thing about fairy tales, children read them and are shown them even though - like Grimm’s fairy tales – they are incredibly scary. For some reason parents don’t seem to mind fairy tales. When I was twelve or thirteen I wasn’t even allowed to see Saturday Night Fever - probably because it was too sexy.

Did you have an imaginary friend? Not an imaginary friend no, but like all children I was forever daydreaming. Was The Wizard of Oz part of your childhood? Yes I distinctly remember going to the cinema to see it. It was beautiful but really frightening, especially the witches. I will never ever forget the first time seeing them, it will forever be engrained in my mind.

Finally, does this role mean you have your Halloween costume for the next few years? Yes, I think I’m set for life. - 157 -

mojeh men review

Taking the Metro Our skin may be more resilient, our grooming regimes less intense, but there is no ignoring the fact that a top-quality facial – previously the preserve of women - is one of the best options for giving your complexion a pick-me-up. The Natura Bissé Metro Facial at The Spa at The Address Dubai Marina is, as the name suggests, tailored for the modern gent. Winner of the Best Luxury Hotel Spa in the global category at the World Luxury Spa Awards 2012, the spa itself is a man’s paradise. Smooth brown woods and understated creams combine the sleek minimalism one would expect of a spa with a robustness that signals a venture into ‘man’ territory. Specifically designed for male skin, the facial targets under eye circles, the signs of stress and the effects of daily shaving. Over 60 minutes long, it involves everything from a deep cleanse with Natura Bissé products to a seaweed exfoliation, all while you lie in the relaxing surroundings of a private room listening to ambient tunes. The serene atmosphere and massaging aspects of the treatment mean you slightly overstep the realm of the usual facial and into an experience that feels as much like an hour to unwind as a service that is improving the health and appearance of your skin. Within a few minutes you’re no longer paying attention to precisely what is being rubbed, dabbed or squeezed across your face – with an arm and hand massage incorporated about halfway through - and are instead content in the deeply calm state you’ve now found yourself in. What more can you ask of an hour? - 158 -

spa.dubaimarina@theaddress.com

mojeh men on travel

Urban Nomad, Copenhagen Torvehallerne Food Market Copenhagen has more bars and restaurants per capita than any other place in the world demonstrating just how much this nation loves its food. For those of a similar disposition, Torvehallerne Market is an essential. A decidedly high-end farmerâ&#x20AC;&#x2122;s market, patrons bustle peacefully between stalls selling luxury treats and local delicacies.

The capital city of Denmark, Copenhagen is the vibrant bridge between sleek Scandinavia and jocund continental Europe. A compact metropolis that merges forward-thinking cool with green credentials, flair for design and a rich culture, means itâ&#x20AC;&#x2122;s time for you to book a flight. - 159 -

mojeh men on travel

Geranium Restaurant This Michelin starred restaurant is no stranger to having its name splashed liberally across best-restaurant lists. Run by Rasmus Kofoed, former winner of the Bocuse d’Or, and situated on the 8th floor, diners enjoy an exquisite view of Copenhagen’s copper roofs whilst they savour tasting menus featuring hay, pine needles and sheep butter.

Copenhagen Design Week A biannual Smörgåsbord of conceptual pickings, Copenhagen Design Week returns in summer 2013. A crosscity deluge of all things majestically manmade, it’s an opportunity to become enveloped in the spirit of innovation – something the Danish effortlessly ooze – and invest in some high-design from the nation’s and region’s brightest talents.

Karriere Home to the city’s creative community, Kødbyen (the Meat Packing District) is Copenhagen’s answer to Williamsburg or Shoreditch. Karriere, a painfully cool nightspot that prides itself on its artistic credentials, is the epitome of the area’s avant-garde spirit. Exclusive yet informal, you will find daring contemporary art and a relaxed atmosphere.

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mojeh men on travel

Arken Museum of Modern Art With works from celebrated Danes and international major leaguers like Damien Hirst and Shirin Neshat, Arken Museum of Modern Art is a striking shard of concrete overlooking Køge Bay. Highlights for 2013 include an exploration of the bubbling Romanian art scene and the most famous eyebrow in the world, Frida Kahlo.

Noma Winner of Restaurant’s Best Restaurant in the World Award three years running, in possession of two gleaming Michelin stars and with a waiting list as eye-watering as the food, Noma is a Copenhagen institution. Highlights include a local Danish oyster, a seaweed ice cream and sea urchin with dill, cream and cucumber.

The Nimb Hotel With just 14 rooms – nine of which are suites – Nimb Hotel’s accommodations are furnished with, not just antiques, but a range of the latest gadgets from Danish favourite Bang & Olufsen and feature period details such as open fireplaces with birch wood, four-poster beds and views of the Tivoli gardens.

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mojeh men on art

Album cover shoot for Aladdin Slane, 1973.

He’s a Star, Man Whether in the bejeweled Glam-rock platforms of the 70s or the more demure loafers of the present day, David Bowie has spent a career teetering on the precipice of the cuttingedge. In the first retrospective of its kind, the V&A delves into the life and career of a musical master, whose sense of style is almost as celebrated as his lyrics. As eclectic as the man himself, the exhibit will feature original costumes, fashion, photography, set designs, video, original instruments and handwritten notes, all of which serve to highlight how Bowie took rock, pop and even a dollop of soul, and elevated it to the realm of art. We may have finished asking ourselves if there is life on Mars, but you are guaranteed to leave humming it. 23rd March to 28th July 2013, David Bowie is, V&A, London

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Acrylic and oil on canvas, Purchased 1966 © Estate of Roy Lichtenstein. Design by Brian Duffy and Celia Philo, Makeup Pierre La Roche, © Duffy Archive.

Roy Lichtenstein, Whaam!, 1963.

mojeh men on art

Top of the Pops Crash, bang, wallop, the king of comic art and tongue-incheek parody is celebrated in a new retrospective at Tate Modern. The first American artist ever to exhibit at the Tate Gallery (now Tate Britain), it is fitting that his work now sits proudly on the walls of the global bastion of modernity. The first full-scale exhibit of his work in over 20 years, 125 of his most iconic and enduring pieces are once again on show, with careening jet planes, witty satire and an expanse of works that prove it is possible to make a point with pointillism. Whilst some of the world’s most renowned comic books have faded to obscurity, Lichtenstein’s works bled from the zeitgeist of 1960s America and remain as relevant today.

Philadelphia Museum of Art, Gift (by exchange) of Mrs. Herbert Cameron Morris, © Succession Marcel Duchamp, 2012, ADAGP/Paris, DACS/London

21st February to 27th May 2013, Lichtenstein: A Retrospective, Tate Modern, London

Marcel Duchamp, Fountain, 1950.

The Readymade Man When the Society of Independent Artists rejected Marcel Duchamp’s now infamous ‘Fountain’ in 1917 for not being ‘art’, it divided opinion and caused an uproar among Dadaists. Still as divisive, still as subversive and still as impactful, Duchamp and his legacy are explored in a cross-discipline season at the Barbican. From dance, music and theatre to film and, of course, art, his influence on the full spectrum of creative expression is tackled. Duchamp’s singular but controversial vision in reinterpreting what art is and how it can be defined – through his found ‘readymade’ pieces – was a crucial moment in the evolution of what we consider modern art. He wasn’t simply a modern man but the man who defined what modern meant, and indeed, still means. 14th February to 9th June 2013, Dancing Around Duchamp, Barbican, London

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mojeh men on art

Beyond Identity The renowned works of contemporary Pakistani artist Rashid Rana tackle ideas of urbanisation, identity, popular culture, faith and tradition through multimedia, edgy installations. MOJEH speaks to the artist about his creative influences, redefining identity, and the extremities of today’s world. By Rebecca Anne Proctor

How has your native Pakistan, as well as your studies abroad in the US, influenced your work? In Pakistan, I was greatly influenced by the artists of my country and also by my mentor Zuhur Aflak who was a major influence on my ideas and my practice. When I moved to the USA I became greatly involved in understanding what was taking place in the art scene in Pakistan. I discovered that the art department at the Massachusetts College of Art had a hangover of modernism and I consistently felt that the movement was a misfit for me. During this time I was interested in the visual development between form and language and specifically how it related to my past in Pakistan. While my art looked abstract in form, similar to that of many Western artists – I felt it was deceptively abstract because it was not what abstract meant to me. I felt my teachers did not readily understand my heritage and how it reflected itself within my work. It was also during this time that new miniature painting in Pakistan became well-received in the West. But people expected Pakistani art to look a certain way and mine didn’t fit that category either. After 9/11 took place, the East became a more interesting region to study. I stuck to my vision and luckily different kinds of artistic practices are now accepted from regions such as Pakistan. I don’t subscribe to this idea of nationalism in art – I defy the idea of political borders in art – these labels of ‘East and West.’ A friend who is an art critic in Pakistan said my work belongs to the same visual language that is spoken all over the world, yet has its own accent. There is a new kind of universalism to be seen through art; art can bring people together from around the world. This idea is coming back and it is how I want my art to be seen. You work in a variety of media including painting, video, installation and photography.What leads you to decide to use a certain media or combine two or more? As I mentioned previously, I was initially trained as a painter in Lahore. After that I returned to Pakistan from Boston and started making works by scanning images and reworking them in Photoshop. This newfound methodology made me realise that it could - 164 -

LightJet print and DIASEC. 360 cm x 270 cm. Image Courtesy the artist and Lisson Gallery.

How did you get started as an artist? What prompted you to begin creating your work? Often artists become artists incidentally or accidentally; it is a very tough choice – it is not a profession one chooses. I used to draw as a kid – I was always engaged in creative activities but never thought I’d become an artist. I also didn’t have any museums or art galleries around me when I was young to visit. I was good at maths and was encouraged by my father to become an engineer. Yet against my father’s wishes I enrolled in the National College of Arts in Lahore. Initially, I thought I’d do art as a hobby and then go off to business school and get an MBA, but during my schooling I discovered a passion for making art and realised that this is what I wanted to do for the rest of my life. With a desire to discover the US, I went on to obtain a Master of Fine Arts from the Massachusetts College of Art in Boston.

mojeh men on art

Language Series # 1 (detail). 2010-2011. LightJet print and DIASEC. 360 cm x 270 cm. Image Courtesy the artist and Lisson Gallery.

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mojeh men on art

be a reference point for further work. I began using different media and visual forms in accordance with my conceptual means and using a certain kind of visual strategy – whether it be engaging an architect or freelance photographer, among other creative disciplines. My ideas lead my practice not the media in which my art is made. I use an ‘idea-led practice.’ When I first started my career, I was often jumping from one medium to the next. Over the last several years I decided to dig deeper and stay loyal to certain types of media such as photography. When I returned from Boston I was creating works that I thought could only be appreciated by a certain group of people. During this time I was under the impression that good art could only be appreciated by a small group of people, but I always had a desire to reach a wider audience. Subsequently I started looking at popular culture and broad visual culture. I realised how much potential there was in the incorporation of certain clichés and stereotypes as a way to affect people. This is the idea behind my work and it is the reason why I am not constrained to a specific medium. Your work often tackles themes of urbanisation, identity, popular culture, faith and tradition. How do you arrive at your subject matter and which themes are most pertinent to your past and present work? It is incredible the number of images that come into our daily lives. I don’t need to create images from scratch; I am open to the visual statements which constantly come before me and help me to create new forms and meanings. My photo-mosaic works are a result of my shift in thinking from the mid-1990s and onwards. I didn’t just incorporate popular images, but familiar images – the images I used within my work should be recognisable by people everywhere. I also incorporated references to art history. For example, I reappropriated the 16th century painting of Judith Beheading Holofernes by Caravaggio as the basis for my work 2011–2012 Everything and Nothing Series # 3, a nine channel video on a single video wall. I am becoming more and more aware of the abundance of images which we see on a daily basis; you can Google the name of one image and receive a multitude of examples. I believe that anything that can be shot can be part of a moving image. The problem is that this abundance of imagery can at the same time lead to a lack of quality content. The Everything and Nothing series was created according to this thought process. I incorporated thousands of videos from YouTube and similar sources - 166 -

UV print on aluminium and stainless steel. 386.4 x 386.4 x 332.1 cm. Image courtesy the artist and Lisson Gallery.

Above and left: Desperately Seeking Paradise II. 2010-11. UV print on aluminium and stainless steel. 386.4 x 386.4 x 332.1 cm. Image courtesy the artist and Lisson Gallery.

mojeh men on art

C-Print and DIASEC and Stainless Steel. 3 x 3 x 3 metres. Edition of three. Image Courtesy the artist. © Vipul Sangoi, Raindesign.

Rashid Rana with his work Desperately Seeking Paradise. 2008. C-Print and DIASEC and Stainless Steel. 3 x 3 x 3 metres. Edition of three. Image Courtesy the artist. © Vipul Sangoi, Raindesign.

involving footage from either real-life scenarios or fictional films such as action films, suicide bombings and other media clippings. All were put together in order to recreate the renowned painting by Caravaggio. When I combine these two libraries of images no distinction between fiction and reality is made – it all becomes part of one and the same larger image. I call this idea of taking multiple images and re-appropriating them to make a larger work ‘transliteration’ as opposed to ‘translation’. Whatever the image was initially, it is changed within my work to become something else while still retaining its origins. I call this visual transliteration. Through your work you often play with the viewer’s perception such as seen in Language Series 1 and Language Series 2. Can you explain the creative process behind these works as well as the interplay of colour and mosaic-like text which renders them so powerful? I developed the Language series based on images of text in the city of Lahore where I live. The series reveals three mosaic landscapes made up of small photographs I’ve taken over the last few years of the sign boards, political boards, chalk messages on walls and posters in additional to other textual signage. The works are like a visual archive of the city. You seem to continually tackle the idea of the relationship between the whole and its parts highlighting the belief that it is no longer possible to have one world view. Could you explain this further and how it is translated into your work? I am no longer thinking about the relationship between East and West – I am trying to transcend these issues through my work. Right now I am in a studio in Lahore speaking to you. When I go out on the street, it is a whole different world and then I go back to my neighbourhood where I also see the villages around me and people from all types of economic circumstance. I behold these many different times, places and people simultaneously. There is a strange sense of time in the world we are now living in. It is an era of extremes. I think extremes have been taking place throughout history. When we read history we think of it as a Neolithic concept – but the extremes and polarities have always existed and will always exist. They pose more of a threat than ever before –because now they can be seen by everyone. - 167 -

Icon Gadget

‘A new kind of relationship between people in groups is brought into being...when the members of a group are photographing and being photographed and sharing the photographs.’ Edwin Lands vision of the future is eerily accurate of our current day social media world. In 1976, Land produced a camera that created Polaroid photos that were 20 inches wide and 24 inches high. Andy Warhol, an avid fan of the instant camera, used this model to create numerous self-portraits for his collection.

Sh Seet Point-

The Polaroid camera has gone down in history as one of the most iconic gadgets of all time. Its originality, ability to take you straight back to your adolescence and simple yet intriguing mechanisms have never been surpassed. For all its ingenuity, however, it never quite made it into the digital age but that doesn’t mean we still haven’t got a soft spot for this little gadget that creates magic in front of your very eyes. - 168 -

The inspiration behind the first Polaroid camera came from Edwin Land’s daughter who asked the poignant question, ‘Why should photographic development take so long?’ The Polaroid camera is the fastest selling camera in the world, with the first distributed batch selling out in hours when it was intended for weeks. Edwin Land, the founder of Polaroid, put his polarizing invention to use in more ways than one. Polaroid’s products also include sunglasses, a system to eliminate headlight glare, ski goggles, fog-free glasses for the Army and the very first 3-D film. Who knew there were so many possibilities? Steve Jobs admitted that he founded Apple on the Polaroid model – taking on Edwin Lands belief that an enthusiastic presentation was the only way to sell a product that people never knew they wanted. In both circumstances, it worked wonders. The Polaroid camera provided one of the most well loved lyrics of all time in Outkast’s Hey Ya! We all know the line, ‘Shake it like a Polaroid picture!’

Icon Gadget

ooking at a modern digital camera can be akin to staring down the dash of a Boeing 747, yet before the plethora of turn dial settings, touchscreen options and nameless switches was the Polaroid. Simple, effective and wildly popular, its appeal bloomed beyond the mainstream and into the world of art, as creatives and spectators alike were captivated by its romantically diffused images – a singular moment captured and imparted onto something tangible, impossible to repeat. Here we look at some of the tomes that chart the beguiling appeal of work that defies the digital age.

Éditions Xavier Barral, Out Now.

Guy Bourdin Polaroids By Guy Bourdin. Foreword by Oliviero Toscani. One of the most celebrated fashion photographers of the modern era, Guy Bourdin is most known for his abstract editorial work, his surrealist narratives and his penchant for compartmentalising the human form - usually female. In his Polaroids we glimpse all of the hallmarks of the Bourdin style but with an unparalleled sense of intimacy and endeavour.

Diego Uchitel Damiani, Out Now.

Polaroids A testament to the variety of his work, Diego Uchitel, Polaroids, features not only his distinguished shots of celebrities and fashion personalities – from Julianne Moore and Sting to Diane von Furstenberg and Sofia Coppola – but candid personal moments and landscapes. A selection of his favourite images, his choices chart the evolution of a photographer who helped define the form.

Helmut Newton Polaroids By Helmut Newton. Taschen, Out Now.

Originally shot as tests before committing images to film, Helmut Newton’s Polaroids offers a rare insight into some of the photographer’s most significant shoots. Spanning several decades, the images were selected by Newton’s widow from a collection of over 300 featured at the full exhibition at the Museum Für Fotografie in Berlin.

The Polaroid Book By Barbara Hitchcock and Steve Crist

Taschen, Out Now.

Featuring over 400 images from the Polaroid Company’s collection the most comprehensive in the world – The Polaroid Book is a survey of some of the most significant works in the field, from artists such as David Hockney and Robert Rauschenberg, and also includes a technical reference section and an essay illuminating the history of the collection. - 169 -

mojeh men on design

All in one Invention, innovation and the skillfully intuitive bleed together in this issue’s roundup of inspiring global design. With the theme of ‘One’ threaded through each piece in conceptual ode to our inauguration issue, we explore the worlds of architecture, furniture and even timekeeping.

www.hillashamia.com

Wood Casting: A German Design Award nominee for 2013, Hilla Shamia’s wood castings are an exquisite example of the organic and manmade coming together in intricate but sturdy beauty. Available in a range of furniture pieces, her designs blend aluminium with wood and blur the lines between the artificial and the natural.

www.destilat.at

Haus Y2: Although having the appearance of two distinct structures, Haus Y2 from Austrian design firm Destilat is in fact one home, connected via tunnel under the sweeping slope. Designed to make the most of the hillside’s spectacular views of the Danube, the house is erected within a space just 21m wide. - 170 -

mojeh men on design

www.hat-trickdesign.co.uk

Type(chess)set: Eschewing traditional chess figures in favour of stylised typography in one font, the Type(chess)set bases its clean modernism on chess notation. Produced in a limited edition of 50 by pioneering creative firm Hat-Trick, each set is imbued with a sleek playfulness that brings a historic game aesthetically into the present.

www.jeongyong.com

One Calendar: Turning the day on its head, South Korean design talent Jeong Yong has developed a table calendar that intriguingly communicates dates in multiple configurations. Three metallic rings, each representing a different measure of time, come together at one point to signal the month, date and day in concise and sophisticated form.

www.andviceversa.com

A-Cute: From London based studio Andviceversa, the A-Cute combines function with form as table and chairs merge seamlessly into a multifaceted solid. Created using manually folded metal sheets; each piece is manufactured in Italy and available in four, six and eight seat configurations - a study in both geometry and utility. - 171 -

louisfourteen.com - 172 -

Looking to Increase Customer Loyalty? The Louis Fourteen Corporate Membership - Your Strategy to Win

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