Issue 2 by MOJEH Men

The Style Of Our Time

AW 13

Watch with linear power-reserve display, grade 5 titanium case. Sapphire crystal back. CORUM superlight titanium baguette-shaped movement (7 gr).

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Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

Associate Editor SHERI IZADPANAH

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Guest Fashion Editors Maher Jridi Guillaume Boulez

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ART

Digital Director AMIR AHMADI KHALILI

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Head of Lifestyle OLGA KOVALCHUK

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Contributing Photographers Pieter Henket Federico De Angelis

Cover shot by Pieter Henket | Styled by Maher Jridi | Model: Nikola Jovanovic at Wilhelmina Models wears shearling coat by Louis Vuitton

A supplement of MOJEH magazine Special Thanks to Ramez Bassiri

WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine, www.shopmojeh.com, info@shopmojeh.com 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 Prince Abdulaziz Turki Al Faisal Saudi prince and GT racer, we sit down to discuss life on and off the track.

24 The New Season The clothes, the collections, the concepts â&#x20AC;&#x201C; your window on autumn/winter 13.

64 The Male Muse Actor and model Gaspard Ulliel on film, fame and juggling a career on screen with a career on billboards.

Kris Van Assche Leading designer and artistic director for Dior Homme, we speak to the man putting sci-fi in menswear.

114 114 - 10 -

Watch Edit From BaselWorld 2013, the new timepieces from classic brands you have to clock.

Mojeh men Contents

118 Most Desired Our pick of the labels to love and pieces to purchase this season.

126

118

Tom Ford For Men Why Tom Ford is no longer just clothing and scents, the new launch you need to know about.

132

Wrestling The Sea Olympian and Volvo Ocean Race participant, Adil Khalid on being a pioneer for the UAE and life at sea.

135 135

The Abraaj Five The 2014 winners of The Abraaj Group Art Prize talk us through their work and their unique points of view.

147 Urban Nomad

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Where Eastern tradition meets global innovation, explore, eat and shop in Tokyo with our guide to the city. - 12 -

since 1971 in sAint tropez

Dubai - Mall of the Emirates, Souk Madinat Jumierah and HAMAC Stores Abu Dhabi - Abu Dhabi Mall www.vilebrequin.com

Editor’s note

Shaping the Present

Rewriting the Code, Photographed by Pieter Henket

There’s a lot to be said about borrowing from the past in order to shape the future, or in our case, the present. Reimagining, reassessing and reinterpreting tradition in order to propel the man of today forward. Whether that’s felt through an exhibition analysing national identity and the codes it took to reach it; a writer coined the ‘Dante of the twentieth century’ (see our culture pages); or choosing between a watch originally mastered in the 50s over one built this century; the man of now, quite wisely, looks both backwards and forwards in order to navigate himself in one direction today. In style we’ve seen a sharp turn away from SS13’s paisley prints and fluorescents, instead AW feels sturdier, far more refined and directional in aesthetic but traditional in practice. Colour palettes have stayed close to natural, earth hues – always flattering and always gentlemanly. In form, sharp tailoring and clean lines have set the precedence led by Kris Van Assche at Dior Homme. ‘What I wanted to convey in the collection this season was rigour, calm and control. I liked the idea of selfimprovement, of athleticism and how that would relate to the clothing,’ said the designer during our interview. By connecting the traditional codes of the house with his perception of the modern man, then executing it through the vision of Andrew Niccol’s science fiction movie Gattaca, Van Assche churned out a thoughtful and futuristic collection, controlled by the base line of heady and astute tailoring. ‘I like the idea we can dress both very demanding business men, who have an eye for cut, detail and quality, and very young fashion fans, looking for strong identity pieces with high creativity. Those diverse demands inspire me.’ And those diverse men inspire us. So high on our list this issue is Prince Abdulaziz Turki Al Faisal, the GT Racer committed to pursuing his own passion, whilst giving back to the community in which he grew up. The Prince is a testament to today’s men and their admirable values. Not dissimilar to Olympic sailor Adil Khalid, who tells us about living his dream as the first UAE national to compete in the Volvo Ocean Race. Whether you’re at sea, on dry lands, or perhaps trying out the finest delicacies Tokyo has to offer (our featured city in travel), use this as both a style and lifestyle guide to see you through the cooler months.

Mojeh Izadpanah Editor in Chief

Follow me on Twitter and Instagram @Mojeh_I

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Advance and Retreat, Photographed by Federico De Angelis

Season’s selections

In the Cold

The frivolity of summer gives way to a more stoic aura as we sweep into autumn/winter. Layers replace light, sober replaces showy and even our scents become weightier as we prepare to brave a season characterised by its truculence. Turning to the ‘old faithfuls’ in navy, black, grey and flashes of icy white, we’re reaching for tailoring and neat little touches of elegance. Whether a barely-there animal motif or a bamboo handle, this is a season in which the drizzle rains but detail reigns. 1. Salvatore Ferragamo | 2. Dior Homme | 3. Fendi | 4. Salvatore Ferragamo | 5. IWC | 6. Viktor & Rolf @ Saks Fifth Avenue | 7. Kaushal Niraula | 8. Louis Vuitton | 9. Dior Homme | 10. DSquared2 | 11. Louis Vuitton | 12. Gucci

3 5

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Seasonâ&#x20AC;&#x2122;s selections

11 10

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man of society

Prince Abdulaziz Turki Al Faisal Royal racer ATF speaks to us about his sense of determination, representing the wider community and, whether behind the wheel or not, why the right attitude is key to keeping your life on track.

ATF wears the IWC Ingenieur Perpetual Calendar Digital Date-Month IW379201

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man of society

ive years studying politics and a further four studying marketing between London and Saudi Arabia. Elements of an admirable CV but which belie the career for which Prince Abdulaziz Turki Al Faisal is most renowned. As a GT racer, ATF - as he is also known - has turned a personal passion into a professional endeavour and as a friend of watch brand IWC, combined his love of speed with his affinity for style. ‘It has been a long journey,’ he says when casting his mind back over his grand list of achievements. This is a man who could easily call the podium his home from home. ‘I’ve faced the good, the bad and the ugly. Choosing a favourite is difficult though, you have to experience every moment and learn from it in order to achieve your goals. Learning from your own mistakes and then moving forward is really the greatest achievement.’ It’s a strong message from the man who manages to take his experience in competitive sport and re-contextualise victory and defeat as lessons that any man can empathise with - because for ATF cars go deeper than a passing interest, with roots that stretch deep into his upbringing in Saudi Arabia. Born in Riyadh, the road to racing didn’t start behind the wheel of a super-vehicle but in more homely fashion. ‘Spending time in the desert and on the farm with family, I believe it was back then that I inherited the love and passion for cars from my father,’ he says. ‘Everything from service and maintenance to restoration.’ We’ve all had a youthful passion in boyhood of course, but there are few with the determination to turn a hobby into a future. For most of us that karate belt or polo mallet sits in some rarely opened cupboard. For a member of the House of Saud it undoubtedly would have been easy to let cars take a back seat when faced with loftier responsibilities, but for ATF the desire to race burned too strongly to flicker out with time. ‘It was my dream to take it to another level, a qualified one that would allow my enthusiasm for cars to become part of my professional - 19 -

life,’ he explains fervently. ‘With the right guidance, perseverance and the will to grow, I’ve started to compete and now here we are, having participated in the most famous of all international races, Le Mans.’ Whether a Freudian slip or conscious choice, his decision to refer to his successes in collective terms speaks to the responsibility placed on his shoulders and his willingness to accept it with grace. ‘As a Red Bull athlete and an Arab racing driver, I am seen as a role model and an example; I represent my family, community and country,’ he says. ‘I always do what it takes to raise the name of my country high in every event I participate in. I am trusted to deliver the best picture of the Arab world and to be a good example for the Arab youth. It’s a full-size responsibility, yet I am so pleased to be part of the founding of the racing scene in the Middle East.’ For someone that speaks so candidly about the importance of seizing on opportunity and representing his country, it’s no surprise that the greatest concern for him at the moment is also a collective one. ‘The whole industry of motorsport is struggling, especially the drivers. Governments and national authorities need to properly look into developing this sport,’ he explains. ‘We should not lose the talents we have in the Middle East. I have not yet seen a clear path that the Motor Sport Federation has foreseen, let alone initiated.’ Speaking with a calm vigour, it’s a subject he clearly feels strongly about. More importantly however, it’s equally apparent that he wants to use his influence to steer change. Whether on the road or off it, if his involvement can help, he’ll offer it. ‘I am part of the Shell Road Safety Awareness Campaign as well as the Wings for Life Foundation, to name a few. My involvement is purely as a way of giving back to my community, which we need to do at all times. Being a member of the Royal Family is an honour and at the same time it gives me a lot of responsibility.’

man of society

ATF wears the IWC Chronograph Silberpfeil IW378505, limited to 1,000 pieces

Family ties understandably play a strong role in ATF’s life and he is used to the flurry of outside opinion, but he neither quantifies his success in terms of the material benefits of his upbringing or in the figurative responsibilities of his position. In fact he feels the most important qualities gleaned from his family, are his values. ‘The way I have been raised during my childhood is the reason for what I am achieving now. My family embedded in me all the right moral and social values; these are what made me the person that I am today.’ In setting a positive example Prince ATF has emerged as something of an aspirational figure in both life and lifestyle. He carries himself with ease and possesses a kind of unpretentious but masculine style that many men could relate to and, more likely, want to emulate. Now as a friend of watch brand IWC, he gets to convey his sense of style through timepieces as finely calibrated as his cars. It seems a natural match. ‘It has always been my favourite watchmaker. Their precision engineering and stylish designs reflects their, and my, passion for innovation and inventiveness. It’s really an honour.’

In setting a positive example Prince ATF has emerged as something of an aspirational figure in both life and lifestyle. As a forerunner in his field, the drive hasn’t always been a smooth one however, and ATF is quick to acknowledge that the journey is often as crucial as the destination. He has now achieved one of his ultimate ambitions, to complete Le Mans; not enough, his next challenge is winning. His vision and determination to approach his passion uncompromisingly stands as a testament to what can be achieved if we truly take command of the driver’s seat in our own lives. ‘To be a successful person you have to face the challenges, learn from your experiences and always look ahead into achieving higher goals,’ he says. ‘Competitiveness is something that I grew up with. I have always looked to accomplish my goals no matter the obstacles or the difficulties I might face. The right physical and mental preparation gives the advantage needed to tackle any challenge and make the win, in any aspect of life.’ - 20 -

120 Seconds Withâ&#x20AC;Ś

man of style

Abdulla Al Kaabi Born and raised in the Emirate of Fujairah, Abdulla Al Kaabi has gone from a life in front of the camera, as a presenter for Dubai TV, to one behind it, directing the critically acclaimed film The Philosopher starring Jean Reno. Representing a pioneering new breed of Emirati making a name for themselves in the creative industries, we caught up with Al Kaabi in Dubai for our two-minute quickfire.

When I was a boy I wanted to be…

A detective.

Website I can’t live without… Biggest vice…

Youtube. Compulsively buying aeroplane tickets.

Favourite film…

12 Angry Men.

Favourite place in the world…

Sri Lanka.

My style is...

Hipster.

My wardrobe staple…

Shades.

Favourite designer…

White socks.

Favourite sport…

Surfing.

Favourite artist…

Stanley Kubrick.

My favourite meal…

Raw meat.

Dental floss.

Gadget I couldn’t live without…

My juicer.

On my desk I keep…

Crayons.

My pet…

Owls.

I drive a…

Mercedes.

Casual or corporate…

Casual.

Favourite weekend activity…

Lesson that changed my life… I’m most at home…

Road trips.

Never settle for second best.   When I’m with family.   Disco retro.

My watch is a…

Cartier.

Bond or Batman…

Languages I speak… I want to be remembered as...

Sri Lanka

I’m watching a film.

On my iPod…

My unexpected interest…

Kilsgaard

A working credit card.

Grooming secret…

I’m happiest when…

12 Angry Men

Jean Touitou.

Biggest style mistake I’ve made…

Luxury I couldn’t live without…

Stanley Kubrick

Bond. The environment.   Arabic, French and English.   A pioneer in my domain.

Cartier

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Season Report

Men will be Men The season repositioning convention for the man of tomorrow, why AW13 sees tradition remade.

Where SS13 saw extroversion – a kind of melting pot of conflicting but progressive influences – AW13 marked a return to the hallmarks of menswear. To describe it as traditional feels both fitting yet wildly misleading. This was the season in which tailoring was subverted, stripped back, reinvented and presented as a vision of the future born to life ahead of its time on the runway. All of the familiar ingredients of a classic male wardrobe were present, but the recipe unrecognisable. Lapels were shrunk, stretched or shirked altogether in favour of crisp minimalism. Autumn/winter staples were hewn from modernist materials and formal met informal in artful layering that felt contradictory but never jarringly so. At Alexander McQueen Sarah Burton debuted her first bona fide menswear collection with a clear manifesto. There was a commitment to sharp, precise tailoring but the overall effect was off kilter – a West End gent pulled through the mind of an East London eccentric. It was a full circle moment for the designer who first interned at McQueen while it was based in a tiny studio in Hoxton but who, just a few months before the show, opened the label’s first menswear store on Savile Row. Whilst Burton’s take on menswear was in many ways about exaggeration, an exclamation point on modern tailoring, many of the collections channelled a futuristic essentialism. Like a Jim Thompson novel however, even with a stripped down approach, there was a story to be told. With a utilitarian uniformity and a nod to Gattaca, Dior Homme proved a talking point. Zips replaced buttons and waists were cinched with broad buckled belts. The odd triangular motifs and steely-faced models gave the whole thing a vaguely dystopian air. A comment on the emotive power of apparel perhaps, but anything but lighthearted. Where SS13 was about abandon, AW13 felt more cerebral, more purposeful. The mission to both return to the basics of menswear whilst also revising them was clearly a memo few had missed. Whether it was an eschewed sense of dimension, a delving into modern fabric technology or an appropriation of clothing out of context – such as the pyjama inspired looks at Dries Van Noten – every designer presented something ‘evolved’, but at its core founded on tradition. Even J.W. Anderson who sent his toned male models down the runway in an assortment of dresses and smocks still managed to squeeze in a nicely cut overcoat and an all-in-one blazer, albeit accessorised with frilled knee boots. Kris Van Assche mixed casual and formal in garments that were half shirt, half slouchy knit; half suit jacket, half hooded sweater. The iconography of what menswear is about was strewn heavily across every runway. Not so much reinventing the wheel as changing its shape slightly. Yes, it was a return to basics but a realisation that in practice male basics are less about tees and jeans and more about jackets and skilfully cut trousers. AW13 will be the season in which we revel in menswear once more and realise that – whether a collar or a cuff – there is still much to be explored in the design of the elements that make up our wardrobes. This is still convention, just not as we know it. - 24 -

Photo by Vittorio Zunino Celotto/Getty Images

Season Report

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trend Reports

Time to Waist 1

Whether all tied up or buckled in, autumn/winter coats and jackets go sleekly cinched. A key element of the seasonâ&#x20AC;&#x2122;s streamlined ethos, bulky outerwear is afforded a more structured silhouette and holds its own against the seasonâ&#x20AC;&#x2122;s gusts with fastened or nonchalantly tied belts. - 26 -

trend Reports

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trend Reports

The Big Knit 1

Heavy knits are the classic staple of the autumn/winter wardrobe and for 2013 mixed weaves and oversized silhouettes combine in both grandad and simply grand options. Packing a punch that discounts the need for hefty accessorising, a go-to jumper will provide the cornerstone to your seasonal day wardrobe. - 28 -

trend Reports

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trend Reports

Pad it Out 1

An ode to heritage country-wear, quilting has moved from outdoor pursuits in the sticks to outdoor pursuits in the city in semi-formal jackets, sharply cut coats and even boxy leathers. Although inspired by the classic down-filled varieties, today sees the crisscross pattern adopted as motif or substituted for bold chevrons. - 30 -

trend Reports

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trend Reports

Get the Check 1

A season in which the construction pattern of the garment is more important than the print, checks come both subtle and brazen. Houndstooth at Versace for the adventurous and archetypal squares at Jil Sander for the traditionalist, checks play the supporting role to the star of the season â&#x20AC;&#x201C; tailoring. - 32 -

trend Reports

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trend Reports

The Colour Pop 1

Striking a bold note in otherwise tempered palettes, a flash of dramatic colour lifts looks from funereal to fanciful. Peeking out from under black overcoats or plopped front and centre on a neutral sweater, primary elements offer that dash of much needed pizzazz. - 34 -

trend Reports

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trend Reports

By The Neck 1

As the seasons transition, light summer fabrics give way to heavy luxe materials designed to withstand the inclement conditions. Fur - both faux and real - sees a return in statement collars, either in sweeping a-symmetric varieties or primly buttoned up as a curt note on immaculately tailored coats. - 36 -

trend Reports

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trend Reports

The Leather Man 1

Greaser inspired at Saint Laurent, armour plated at Givenchy and jigsaw pieced at Neil Barrett, the black leather look takes another turn on the catwalk. Less heavy, more sci-fi simplicity or retro rock â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; roll, gloss is paired with matte for head-to-toe appeal that is far from black-lustre. - 38 -

trend Reports

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trend Reports

Back to Basics 1

Perhaps the key theme to the season, tailoring goes futurist with streamlined detailing and minimal silhouettes. Forget superfluous features, pieces are paired back with smooth collar lines or crisply accentuated lapels. At its core AW13 is about adopting a forward-looking aesthetic that monopolises on simplicity for maximum impact. - 40 -

trend Reports

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Colour Reports

Monochrome Maverick Traditionally anachronistic, black meets white for AW13 in intrepid form. From Ann Demeulemeesterâ&#x20AC;&#x2122;s gothic rakes to neoteric feeling stripes at Les Hommes, the interplay of dark and light affords drama to deceptively simple ensembles. A combination perennially in style, this season is about striking a balance in which one accents the other.

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Colour Reports

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Colour Reports

Midnight Hour Associated with Roman emperors and royalty, rich hues of purple are adopted across the full spectrum of menswear from tailored suits at Dior Homme to comfortable knits at Louis Vuitton. A traditionally evening inspired colour, purples provide a contemporary take on dressing for those long seasonal evenings.

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Colour Reports

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Colour Reports

Monochrome Primary Maverick Concern

Traditionally anachronistic, black meets white for AW13 in Despite cobalt at Emporio Armani and pillar at intrepid form. From Ann Demeulemeester’s gothicbox rakes Burberry, primaries this AW13 mostly strike a dulcet to neoteric feeling stripes at Les Hommes, the interplay chord more subdued previous seasons. of darkinand light affords tones dramathan to deceptively simple Whether anAaccent or head-to-toe, it’sininvariably about ensembles. combination perennially style, this season the power of three in autumnal blues, andthe yellows. is about striking a balance in which one reds accents other.

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Colour Reports

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Accessory Reports

Burberry Prorsum

Autumn Shades The sun may be fading but be comfortably left in the shade, as sunglasses remain a key component of your seasonal wardrobe. A traditional flavour with a whiff of suave eccentricity will see you right. - 48 -

Accessory Reports

Chelsea Steps Go high with the seasonâ&#x20AC;&#x2122;s take on a classic Chelsea boot. Although a heritage style its easy, utilitarian appeal is the perfect accompaniment to the streamlined tailoring of AW13. - 49 -

Costume National

Accessory Reports

DSquared2

Away Season Autumn/winter sees the structured bag return to the fore. Whether in rich leathers, contemporary rubbers or opulent embroidery, both the everyday bag and the weekender channel â&#x20AC;&#x2DC;substantialâ&#x20AC;&#x2122; in style. - 50 -

Accessory Reports

Under Statement Scarves play a game of hide and seek, creeping underneath lapels or peeking from below heavy outerwear. Forgoing bulk in favour of slim - an understated option for a flash of pattern. - 51 -

Bottega Veneta

At Ease

DSquared2 AW13 DSquared2 is a showy label. Designers Dean and Dan Caten would be the first to admit it. With its mix of machismo and high camp it has a very Italian sensibility, defining itself with a sense of humour sometimes lacking in the heritage houses. It’s slightly like the boys themselves with its brand of theatricality and borderline flamboyance. Despite being titled La Nouvelle Noir, or the new black, the collection and staging were a flashback to the age of jazz and the catwalk was a jivin’. Opening with the fractured drawl of a saxophone, all eyes turned to the raised stage where models huddled around tables and the ‘live’ band ebbed up and down with the sway of the music. It was a dramatic introduction to a dramatic show in which the male models were trailed down the catwalk with spotlights, brandishing rakish grins and a confident swagger along with their branded wares. Starting with a knowingly affected take on military – the model even striking a salute and flirtatious wink at the end of the runway – the pieces rapidly became more

traditional DSquared2 attire. A mix of denim and formal, proportions were toyed with; a too-tight shirt there, a cropped jean here. As a collection of separates the Catens undoubtedly have a clear commercial sense but they also know their market. Even with wool blazers and chunky knits a wearable urban feel came through. In terms of casting, it’s difficult to escape the associations between a collection called ‘The New Black’ and an all black lineup of strutting males. It did afford the whole show a sense of heightened virility and made a statement that the Catens were championing a sense of ‘swag’, setting themselves apart as a label that is certainly not about an androgynous sense of beauty. In the end the models marched out in underwear to a soundtrack wailing ‘take it off’, whipping off their tops and throwing them into the audience. It was a colourful spectacle and one that garnered more than a few smirks. When the curtain falls, however jaded a fashion audience, everyone loves a good show.

Show Reports

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On Campus Tommy Hilfiger AW13

School’s out for Tommy Hilfiger in a runway show that was part varsity, part 60s London. Set in the kind of book-lined hall that evokes instant associations with boarding schools and the new generation, many looks were a definite ode to the prim autumnal stylings of the prep uniform. For a label so closely associated with Ivy League Americana, the jump across the Atlantic has been building for several seasons. Under the consultation of Englishman Simon Spurr, that ‘Savile Row feel’ has been bleeding through the brand’s aesthetic. Not necessarily a seam for seam reworking of Savile Row today, but an overall approach that deals in the lineage of classic British tailoring. Pop culture also had a key role to play in shaping the vision for autumn/winter. Rock ‘n’ roll beats bounced around the venue bringing the British Invasion back to a New York City audience, and if we hadn’t been confronted with the city’s skyscrapers after the show it would have been easy to think we had been transported across the pond with the strike of the first beat.

In many ways Tommy Hilfiger was one of the denser collections to walk the season’s runways. Where other labels dabbled in the reemergence of houndstooth or plaid, Hilfiger layered print upon print, mixing colour and scale. There was monochrome, shearling, jackets segmented in leather and fabric, minimal, maximal it all came to play as the designer gave us a lesson in skilful combination in his self-styled assembly hall. In so many ways it was retro, almost mod, but with very now proportions. These were silhouettes of today taking a cue from the silhouettes of the Stones or the Beatles. For a runway that was so heavy-handed on the detailing, in the best possible way, what was interesting was the sheer wearability. Of course not every man wants to stroll the streets in a head-to-toe print but it was a collection that could be easily dissected, mixed up and adopted in one’s personal style. Like Brit Rock itself, it was a progressive show that managed to pull the best from a possibly overdone era and do it again in a new way.

Show Reports

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Fit For Film Valentino AW13

Held at the classically beautiful Hotel Salomon de Rothschild in the heart of Paris, one could easily have thought that the Valentino show would be an exercise in tasteful restraint. After all, in spite of its elegant splendour, there are edgier venues in the French capital. In fact Valentino surprised with a collection that managed to bring the tradition we expected but also with an edge. The moment the soundtrack poured into the room the mood was set. A rousing classical composition - all stirringly warm beats, strings and twanging guitar – it matched the surroundings splendidly. This was Bond (James Bond), this was classic cinema and spies in Paris; men with cigars in expensive hotel rooms and Michael Caine doing his thing in The Ipcress File. What the music conveyed intangibly, the collection itself spoke more forcefully. Those very same ‘Michael Caine glasses’ walking the runway with a checked coat and 60s inspired shirt and tie. Because of course the 60s ran through this collection like a river of cool. Yet this wasn’t

the Swinging Sixties of bravado and ‘out there’ prints, this was something much more sophisticated - a kind of flashback to a decade that was itself looking forward. In the faultless tailoring and exquisite eye for detailing we saw Maria Grazia Chiuri and Pierpaolo Piccioli’s knack for bringing a couture sensibility to RTW but more than that, we saw a flair for creating an uncompromisingly consistent vision, executed impeccably. For all of the detailing, there was something very clean about this collection. It’s a testament to the taste level and editing skills of the designers that despite checks and clutch bags and scarves and bands of glossy leather, nothing felt overwrought or overworked. Like many of the AW13 runways the mission of this collection seemed to be to bring us something new but something that felt reassuringly familiar. Not every collection needs to, in the words of the Beatles, ‘twist and shout’ its brilliance and Valentino has once more proved itself a label that has us sold on the classically beautiful. With an edge.

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Show Reports

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Scaling New Heights Louis Vuitton AW13

When the lights lifted at this Grand Palais to reveal a monolithic mountain face, the reflection of which rippled across the black runway, there was an inkling this would be a collection that channeled Kim Jones’s interest in the natural world. Not so much horticulture or florals but something more rugged and with a sense of scale. Jones had said that in researching the collection he had trekked through the Himalayas and from the first look to take the stage – a double-breasted coat in tonal animal print – it was clear that we would see his experience of the wild take literal form. There was an air of the explorer but whereas some designers opted for grizzled, bearded models who could have stumbled in from the Andes, Jones kept to the Vuitton of old and opted for youthful and groomed. You could say their hair had a windswept finish, but without the pretense that it came from anywhere else bar a hairdryer. Despite the frequent natural references, there was an interesting tension at play. Even with the prints and

whimsical animal motifs, the effect was survivalist. The collection wasn’t just presenting us a vision of the great outdoors, it was pitting man against it. Parkas and heavyduty backpacks only added to the sense that this was a collection for the Bear Grylls of fashion. Naturally Jones wouldn’t be Jones if he didn’t selfconsciously inject a little grit into his presentation and the overall mood was electric. A thumping soundtrack heavy on bass carried the models, lifting the heart rate and giving one the impression it was probably possible to scale a mountain with the adrenalin released from a really corking tune. All of this in mind, the collection never veered too far from sophisticated territory and the outerwear and leopard gave way to a few moments of opulence at the end. Silk robes in flamboyant, fauna laden prints and rich velvet tuxedo jackets made the point that this is still very much a luxury label at its peak with the flag of Kim Jones planted firmly on the summit.

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Show Reports

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Fashion hunter

The Big Smoke Part timeless, part ahead of its time, dressing for the city this season means taking a cue from your surroundings and mixing the old and new. A dash of tradition in a contemporary fob watch, a slice of modernity in a streamlined boot; playing it keenly low key unlocks style success.

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Fashion hunter

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Fashion hunter

Pomp and Circumstance More Gosford Park than 8 Spruce Street, for an ensemble that says â&#x20AC;&#x2DC;modern gentryâ&#x20AC;&#x2122; the seasonâ&#x20AC;&#x2122;s checks strike a traditional note. A colour palette of earth tones and lighter accents evokes the classically dapper whilst adopting semi-formal layering will provide a barrier against the autumn/ winter chill of the rolling greens.

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Fashion hunter

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Chanel Little Black Jacket Exhibit, shot by Karl Lagerfeld

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MOJEH men Interview

The Male Muse

Star of films such as A Very Long Engagement and Hannibal Rising, in recent years Gaspard Ulliel has also become synonymous with his work for another French bastion; Chanel. We met with the actor turned model (and vice versa) to get a better sense of the man behind that Little Black Jacket. When we sat down with Gaspard Ulliel, it was on his first visit to Dubai. Still reeling from a lengthy journey he was finding the city somewhat ‘bewildering’ and a simple introduction and ‘how are you?’ catapulted him casually into anecdote mode. Conveying how his one wish was to visit the spice souks the previous day, apparently the cab journey had proved so confusing he had to call the whole thing off - turning around and instead settling for the dramatic views of Downtown. With a laidback demeanour and natural ease, Ulliel is a man comfortable in his own skin. It’s probably why he’s so able to balance a film star persona with the credibility and ‘relatablity’ to appeal to the average chap. As a face of Chanel we’ve seen him unleash his not unsubstantial acting abilities in a Martin Scorsese - Marty to him - directed campaign and bring a sense of gravitas to billboards around the world. ‘I think I represent different things,’ he explains. ‘When I was first working, I was slim, androgynous, and now I am a little bigger, a little older and there is more of a boyishness about me. I think perhaps that combination of the masculine and the feminine, and of representing different kinds of men as I’ve grown is relatable.’ Although of course slipping into a role is all in a day’s work for Ulliel. As a plausible acting talent it’s understandable why Ulliel would have had reservations about venturing so publicly into the world of modelling. Fashion is a fickle industry and there is more to - 65 -

Ulliel than a jawline and his famous ‘dimple scar’. As the years have rolled on however, the actor is less circumspect, understanding the benefit such a high profile association can bring. ‘With a Chanel campaign that has been running for years I understand the perception,’ he says, knowingly referring to the fact that some still see him as fashion-page-fodder. ‘When it was first released you would walk through Paris and, on billboards, in storefronts, it was everywhere. Having said that I’m glad to be associated with a fragrance as I feel it’s quite abstract. I’m not associated with something tangible and therefore not defined by it. I like that idea, of being hard to define.’ It is perhaps another reason why the actor proves so successful in engaging a male audience – a barely veiled complexity that he possesses in quantity. This is, after all, the man who is more inspired by ‘South Korean cinema’ than any individual or peer and freely admits that despite being labelled a muse himself, ‘there is no iconic person I look to emulate.’ Titles aside, Ulliel has done little to shake the ‘muse’ association. He was, after all, in Dubai to promote his involvement in Chanel’s Little Black Jacket project, for which he posed. Although another example of the actor captured in still life, it is interestingly a creative venture he feels could help define his je ne sais quoi. ‘I always love working with Karl (Lagerfeld) and, if you can believe, it only took 10 minutes. I think that’s what I like about it and what feels most ‘me’. It feels authentic and spontaneous.’ Not even 30 but already possessed of a certain self-assurance, Ulliel is the kind of guy you’d like to hang with. He’s not an extrovert, by any means, with something about him exuding an uncalculated, un-media trained normalcy. It’s clear that all of the glamour of billboards and red carpets are ultimately trappings of a profession in which he is exceling, but doing so whilst staying true to himself - the son of a runway producer mother, stylist father and the boy who obtained his famous scar by trying to ride a dog at the age of six. His answer then when asked about his own views on the muse tag was just what you would expect, ‘It’s flattering…but I don’t believe it.’

Mojeh men interview

Sun, Sea and Strategy

Known for high-end men’s beachwear, Vilebrequin is a growing label. Under the tenure of Roland Herlory, it is reaching into unexplored territories and broadening its product range. We spoke to the CEO about what lies in store for the brand. As someone who joined the brand less than a year ago, which elements of the label’s history most interest you to build upon for future success? There are three main elements that are the pillars of the brand. Firstly quality; 40 years of experience in men’s bathing suits offers an incredible knowhow and means we have a duty to be the best in our category. The next is creation; every season we reinvent the whole story of patterns and print. You will never see the same pattern at Vilebrequin more than once, except for the turtle. Family and fantasy is the last. Our ‘father and son’ concept will be enriched by ‘mother and daughter’ at the end of the year. My responsibility is to help Vilebrequin grow by always respecting these three main assets of our Maison. Can you tell us how the brand image is likely to evolve as you expand? The brand image will remain the same; quality and status mixed with a beach spirit, freedom, fantasy and the French Riviera. Never change your DNA if you want to keep the soul. - 66 -

Mojeh men interview

Are there any particular markets that you feel are key to the label’s growth and, if so, what steps are you taking to directly appeal or broaden your presence therein? We build growth in our traditional markets by expanding. In the Middle East we will soon be opening in Qatar and have plans to open in Saudi Arabia and, of course, there’s still space for development in Dubai. We’re also looking at going into virgin territories like Singapore and South East Asia, as well as Japan, China and Korea very soon. In our traditional markets we are already known and so by extending our distribution network we offer more visibility and availability. In new markets, we have to build the image. It’s a lengthier process. In which ways do you think your experience in the Latin American and Caribbean markets has equipped you to bring Vilebrequin forward? The Caribbean is a dream territory when you sell bathing suits! As well as Brazil or Mexico, which are incredible beach locations. More than Latin America however, it’s my 20 years experience at Hermés that inspires my vision. You are supported by a strategic committee, can you tell us about the role they play in determining the future of the label? Christian Blanckaert, who I know from Hermés and who is a man of great experience in the luxury market, heads the strategic committee. We meet regularly and engage in an exchange about the main strategic decisions. Can you tell us more about what is in the pipeline with regards to your diversified offering? As we were discussing, ‘mother and daughter’ will start at the end of the year worldwide. Half of the clients in our stores are women and we have been looking to them for a longtime. The collection is built around a bathing suit collection of five tops and five bottoms that can be mixed together and also pieces from menswear translated for women, such as the ‘shorty’ or the boyfriend shirt. We’ve been testing the collection in some stores this summer and the response is extremely positive. We’ll also develop the accessories line with beach bags, co-branding with Havaianas, sun lotions, beach towels and a pareos and scarves collection to come. - 67 -

Old Town

Ornate pattern, plush colours and tactile materials meet in accessories with a nod to the flamboyant past. Few things complement a cobbled street more than a snappy patent lace-up, or the elaborate arches of a European cathedral more than the plumes of an opulent Louis Vuitton print. 1. Etro @MrPorter.com | 2. Louis Vuitton | 3. Gucci | 4. DSquared2 | 5. Omega | 6. Fendi | 7. Loewe

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accessory hunter

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New Town

Starkly stylish, a vision of the future descends on autumn/ winter. Uncluttered lines, functional fabrics and boldly streamlined detailing give an air of cosmic cool in items fit for starship or street. The ideal accompaniments for the more directional downtown, echo the structural in metallics and concrete greys. 1. Lanvin | 2. Fendi | 3. Dior Homme | 4. Salvatore Ferragamo | 5. Dior Homme | 6. Givenchy | 7. Louis Vuitton | 8. Ermenegildo Zegna

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accessory hunter

2 1 3

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Mojeh men interview

Less Monotony, More Mischief Indian in heritage, but reaching out to the men of the world, More Mischief is one part classic tailoring and one part contemporary fashion. Founded by Deepak Shah, it was born out of a desire to bring an innovative vision to a traditionally conservative market, offering a directional and aspirational ideal to men fed on a diet of conventional suits. With an international clientele already in place, it is expanding its reach and moving into new territories with a boutique in Dubai’s Emirates Towers. ‘More Mischief belongs to a creative generation of fashion innovators who believe in the art of experimentation and diversity,’ Shah tells us. ‘It’s not bound by fluctuating fashions. We blend modern design with old school artistry to create a custom-made contemporary ensemble. My goal has always been to draw inspiration from the past and create something for the present with a 360degree perspective.’ Indeed Shah’s focus on the man behind the garment is what has allowed him to take his distinct vision and mold it for a truly diverse customer. More Mischief is not just about the end result but the in-store experience - 72 -

Mojeh men interview

and bespoke expertise that goes into the process. ‘Bespoke is a way of life. It’s an experience in style, in service and in the fine art of dressing up,’ he explains. ‘I enjoy interacting with my clients. I believe it is the soul of fashion designing. We focus highly on quality, finish and design, all of which we have mastered over a period of 25 years in this business. Ultimately I love the creative journey as much as the destination.’ Where More Mischief sets itself apart is in the creative vision. Whilst impacted by trends and a sense of modernity, there’s an intrinsically ethnic quality that comes from Shah’s particular aesthetic. ‘It’s an amalgamation of Western and Indian craftsmanship,’ explains Shah. ‘So from RTW to couture, our merchandise focuses on international trends but also has a touch of alluring heritage. My customers are not just from India but from the UAE, UK, US and the world over, as we focus on lineage and culture.’ In its home country More Mischief has already garnered a loyal following, attracting television personalities, musicians, actors, artists and politicians. But as Shah mentioned, the brand has discovered a natural niche and it’s a genuine demand for the combination of quality and a taste of the unusual that is driving the label forward. ‘The constant and continuing endeavour of More Mischief is to introduce new concepts and fashion-related ideas in keeping with the times, the increasingly specialised demands of the customers and an ever-evolving vision and imagination as a designer. In the near future More Mischief envisions its presence in cities like London, Milan and wherever else this journey of style and fashion takes it.’ - 73 -

mojeh men style

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mojeh men style

Tradition Redux ‘Every year I try to push myself to bring something new to the table yet keep my signature style,’ explains Hatem Alakeel, the man behind Toby. A label that specialises in Middle Eastern classics, it has become synonymous with a distinctly modern vision and a style led approach to tradition. Most known for its razor sharp kanduras – or thobes – for AW13 Toby continues to diversify as Alakeel brings his signature aesthetic to eastern-inspired shirts. It’s difficult not to like his work. Whether a kandura forms the basis of your wardrobe, a piece for particular occasions or doesn’t feature at all, the clean lines and contemporary approach adopted by Alakeel results in streamlined pieces most of us would want to wear. ‘I wanted to reintroduce the Toby style of using double collars and fine detailing. It’s all about comfort and ease but also bringing a sense of polished elegance,’ he says. This season sees the usual classic colour palette of white, black, greys and navies in designs that feel understated but never conventional. Whether a sliver of arabesque patterning or a geometric slash of fabric on a structured cuff, Alakeel’s knack for making bold statements in quietly sophisticated ways gathers momentum in what is an assured collection. Always keen to tailor his work to the ‘Toby man’ however, both literally and figuratively, this season also sees Alakeel continue his foray into the world of shirts. Featuring crisp pleats for a starchily serrated feel and sculptural breastplates, the cool simplicity of his kanduras translates easily into shirts that fuse a keen sense of Eastern fundamentals with an appreciation for precise tailoring. It’s an amalgamation more inclusive than a kandura, but without losing the DNA of what defines Toby and Alakeel’s approach to modern menswear. ‘It’s important with every collection to move with trends and lifestyle, but less is definitely more,’ he explains, talking about the progression from last season to this. With the international runways channelling a modernist take on custom, for AW13 Toby manages to continue its established design ethos whilst also feeding into the fashion zeitgeist. For Alakeel, a step with tradition, a step into the future and undeniably a step in the right direction. - 75 -

MOJEH.COM DAILY AT YOUR FINGERTIPS

man of design

Kris Van Assche

As artistic director for Dior Homme and designer of his own eponymous label, Kris Van Assche is a driving force in modern menswear. Speaking with MOJEH Men, we explore the man behind the homme.

All images by Gaetan Bernard, Dior Homme AW13

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man of design

here many male designers are famed for extroversion and flamboyance or for a sense of drama that plays out in their collections, Kris Van Assche is merely collected. Calm, controlled, almost guarded, he has the air of someone containing his explosive creativity behind a composed veil – an ice flow sitting atop a lake of raging lava. That’s not to say he’s icy of course, but certainly poised. A graduate of the Antwerp Royal Academy of Fine Art, the Belgian born Van Assche is part of an alumnus that includes Dries Van Noten and Ann Demeulemeester and it’s a lineage that speaks to his own development as a designer. ‘It has a system based on rigor and creativity. There you learn how to be fastidious and free at the same time,’ he explains. ‘When you leave you come out with a strong, solid base and a good understanding of your personal design style.’ As formative as they were, sitting down to Belgian born Van Assche is part of an alumnus chat with him his university years seem the obvious starting point in the narrative that includes Dries Van Noten and Ann from amateur to atelier. It’s clear that he Demeulemeester and it’s a lineage that speaks to left with what you could call a ‘genuine’ education. More than textbooks and fabric his own development as a designer. patterns, he learnt a way of operating that has become ingrained in his very process as a designer. Maybe even in his public persona. As he says, ‘Belgian designers remain influential generation after generation because of this ethos of seriousness and total liberty.’ Strangely in the tension between the serious and the uninhibited, amazing things can happen. You see it in the man himself. For all of the reserve there’s an affable wit and an unpretentious likeability. In his work he’s a coin with two sides, both always partly face up. ‘The more minimal, conceptual side to fashion I grew up with in Antwerp counts for half of the - 78 -

man of design

unique mixture I have in my head, alongside the Parisian, more baroque side,’ he explains. ‘I honestly feel half Belgian, half Parisian. It’s become an inside joke between my assistants and I. They describe my style as ‘baroque minimal’.’ Graduating in 1998, Van Assche’s road to Dior Homme was a surprisingly unhindered one. Practically before his mortarboard had hit the grass he had moved to Paris and was working at YSL under Hedi Slimane. Just two years later when Slimane moved to pastures new to head up menswear at Dior, Van Assche followed suit. As his confidence and stature grew he launched himself into the world of eponymous fashion, leaving Dior to start his own label in 2004. Three years of nurturing the brand that carried his name and three years away from Dior, he got the call. Night was falling on Slimane’s tenure and Van Assche was now the man for the job. Under Van Assche we’ve seen a Dior Homme with ‘I feel happy and lucky in my present role. The journey was not easy, but I didn’t a renewed sense of idea. Where previously the think it would be,’ he says. Van Assche Slimane hallmark was stamped over every skinny has previously spoken publicly about the dilemma in accepting the role. Under lapel or rakish scarf, now there is just Van Assche. Slimane Dior was a success and taking control would mean placing his head precariously above the parapet. That being said, there’s no use rehashing the quandary when it’s apparent, at least from the outside, that the decision paid off. ‘It took and still takes a lot of hard work to reinvent a success story for Dior Homme,’ he says with a certain forcefulness, as if to be clear about the weight of the task, ‘but the result is very much rewarding. I have found a creative direction that fits both Dior Homme and myself perfectly.’ Under Van Assche we’ve seen a Dior Homme with a renewed sense of idea. Where previously the Slimane hallmark was stamped over every skinny - 79 -

man of design

lapel or rakish scarf, now there is just Van Assche. His signature aesthetic defines how we think about Dior Homme and, perhaps more crucially, as a label it is one of just a few that sets the benchmark for menswear at large. All of that is thanks to his modernist, unsullied vision for the contemporary man. For AW13, Van Assche created a talking point. After the Dior Homme show, electric chatter flowed through the audience. ‘What did the shapes mean?’ ‘Did you find it sinister?’ ‘So futuristic.’ ‘So now.’ It was a collection that was concept heavy but also strikingly beautiful. ‘What I wanted to convey in the collection this season was rigour, calm and control. I liked the idea of self-improvement, of athleticism and how that would relate to the clothing,’ he says. ‘In many ways the genetic codes of the house come down to the idea of a slim-fit black suit, white shirt and black tie.’ After the Dior Homme show, electric chatter flowed As if manipulating the very essence of the label, Van Assche consciously played through the audience. ‘What did the shapes mean?’ with iconography and the characteristics ‘Did you find it sinister?’ ‘So futuristic.’ ‘So now.’ we associate with Dior Homme. Inspired by the film Gattaca, it was a manoeuvre carried out with surgical precision. ‘I wanted to see how I could modify and tweak those same codes, like genetic engineering. The collection is, in this way, of course linked to the movie which was a main source of inspiration.’ Luckily there is a shared affinity for science fiction and so where he perhaps expected to see a look of polite confusion, there is instead a knowing nod. This is a collection where an understanding of the references proves helpful. But then again, who exactly is he designing for? Like both ringmaster and performer, Van Assche must juggle the need to provide the daring and the creative with an idea that a real man will have to be able to wear the end product. ‘Things have changed quite a - 80 -

man of design

bit since I arrived. Now, there is no longer only one type of ‘Dior Homme man’, but several styles of men. They read different books, have different jobs and different needs. This is both the most difficult and interesting part of my job. I like the idea we can dress both very demanding business men, who have an eye for cut, detail and quality, and very young fashion fans, looking for strong identity pieces with high creativity. Those diverse demands inspire me.’ As our conversation draws naturally to a close, there is a newly reinforced idea of who this man is. He’s not a fashion ‘personality’. He keeps that side of himself buttoned up. If he wants us to know him, it’s through his clothes, through his exploration of idea and how he can use a shirt or a blazer, as a touchstone for how he views the world. Or at least how he’s viewing it at the moment. What he described as ‘reinventing a ‘Things have changed quite a bit since I arrived. success story’ in the wake of Slimane, we now think of as just a success story. Now, there is no longer only one type of ‘Dior His own. ‘I managed to lead the Dior Homme man’, but several styles of men.’ Homme man into new territory. My territory. It’s a creative, luxurious, chic and contemporary direction that fits the House of Dior and my perception of our times,’ he says, not with immodesty, but with the conviction of someone who has taken the captaincy of a ship, steered it into new, unexplored waters and understandably feels a sense of ownership. It’s this straightforward manner that has served him so well. Even when the opportunity arises for him to heap praise upon himself he keeps it understated and, well, classy saying simply, ‘I feel very comfortable with the direction things have taken and I see a world of opportunities ahead.’ And with that he disappears into the Paris night; an enigma wrapped in a man, wrapped in Dior. - 81 -

Wool suit and calfskin boots, DIOR HOMME

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Rewriting the code Photographed by Pieter Henket Styled by Maher Jridi

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Wool high-collar jacket with trigonometric print, wool trousers and turtleneck, DIOR HOMME

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Calfskin trench coat, DIOR HOMME

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Wool high-collar jacket with trigonometric print and wool trousers, DIOR HOMME

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Wool trousers, veal and nylon messenger bag and Richelieu shoes, DIOR HOMME

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Wool suit with black side stripes, turtleneck and Richelieu shoes, DIOR HOMME

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Dark blue wool turtleneck, DIOR HOMME

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Turtleneck with white trigonometric print, wool trousers, veal and nylon case and Richelieu shoes, DIOR HOMME - 91 -

High collar black wool jumper, DIOR HOMME

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Shirt, FENDI | Sweater, MAISON MARTIN MARGIELA | Trousers, GIORGIO ARMANI - 94 -

Advance and retreat Photographed by Federico De Angelis Styled by Guillaume Boulez

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Shirt, DOLCE & GABBANA | Sweater, DRIES VAN NOTEN | Tie and scarf, VALENTINO

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Shirt and jacket, ZILLI

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Jacket and gloves, GIORGIO ARMANI | Turtleneck, MUGLER Trousers and shoes, BRIONI

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Jacket, trousers and pocket scarf, GIORGIO ARMANI | Turtleneck, MAISON MARTIN MARGIELA

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Shirt, jacket, tie and trousers, GIVENCHY

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Model: Patrick Rukai at Bananas Model | Make-up artist: Jabe at B Agency | Hair stylist: Christian Attuly at B Agency | Photographerâ&#x20AC;&#x2122;s assistant: Ignazio Nano | Stylistâ&#x20AC;&#x2122;s assistant: Clemence Leray | Special thanks to Nicolas Bally for the vintage cars | Production: Louis Agency

scaling new heights Photographed by Pieter Henket | Styled by Maher Jridi

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Jacket, GIVENCHY | Trousers and belt, GUCCI | Boots, 3.1 PHILLIP LIM

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Jumper, 3.1 PHILLIP LIM

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Suit, LOUIS VUITTON | T-shirt, SAINT LAURENT BY HEDI SLIMANE | Belt and sunglasses, GUCCI

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Shearling coat, LOUIS VUITTON

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Jumper and trousers, GUCCI | Boots, SAINT LAURENT BY HEDI SLIMANE

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Sleeveless jumper, 3.1 PHILLIP LIM | Trousers, GIVENCHY | Ring and bracelets, SAINT LAURENT BY HEDI SLIMANE

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Shirt, trousers and shoes, GIVENCHY | Leather jacket, 3.1 PHILLIP LIM

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Shirt, t-shirt, jumper (tied at waist), trousers, belt and shoes, SAINT LAURENT BY HEDI SLIMANE | Sunglasses, RAY-BAN

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Model: Nikola Jovanovic at Wilhelmina New York | Grooming: Joshua Myles Ristaino at The Magnet Agency using Tom Ford for men | Photographerâ&#x20AC;&#x2122;s assistant: Greg Aune | Casting and local production: Roger Inniss for Boom Productions | Production: Louis Agency

Coat and jumper, SAINT LAURENT BY HEDI SLIMANE | Trousers, LOUIS VUITTON

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mojeh men on watches

Watch edit BaselWorld 2013 saw some sizeable new launches and many long established collections have new models join their ranks. We look at five of the best timepieces to have on your wrist this autumn/winter.

The latest Opus features an array of pivoting hands, rotating triangles and tells the time by means of a trap door. A true magic act of timekeeping and one that never loses its sense of showmanship.

Tag Heuer, Carrera Calibre 1887

In celebration of the labelâ&#x20AC;&#x2122;s motor racing heritage, the Carrera marks its 50th anniversary this year. The Calibre 1887 is a classic reborn and features unscratchable sapphire on the caseback and a ceramic bezel.

Harry Winston, Opus XIII

Omega, Speedmaster â&#x20AC;&#x2DC;57

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mojeh men on watches

Aiming to position their HydroConquest as the preferred watch of divers and aquatic sports enthusiasts, the 2013 model is sure to make a splash. Featuring water resistance to 300 meters and hands coated in Super-LumiNova.

Zenith, Pilot Montre d’Aéronef Type 20 Tourbillon

Made in a limited edition of 100, this timepiece features a titanium case with rose gold bezel and an alligator leather strap. We enjoy the combination of sturdy, aeronautic look and quality detailing.

A Speedmaster has been a part of every mission to the moon but that hasn’t stopped Omega reaching for the stars. The latest features the first chronograph in the brand’s family of in-house CoAxial mechanical movements.

Longines, HydroConquest

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mojeh men on watches

Looking Back Launched in 1954, the GMT-Master has become something of an icon in watchmaking. Designed in collaboration with Pan Am Airways, it was originally designed for use by their pilots and navigators, offering them the ability to simultaneously read both GMT and another time zone. The GMT-Master II was launched in the 1980s and, although visually similar, it comes with the added benefit of an independently adjustable quickset hour hand that can be set to local time without stopping the seconds or affecting the minutes or 24-hour GMT hand. With its instantly recognisable appearance, the GMT-Master II

has had relatively few guises in its long and winding history and the Oyster Perpetual was the pride of the Rolex stand at BaselWorld 2013. It features an Oyster case guaranteed waterproof to 100m and also a new 24-hour rotatable bezel. Possessed of an array of Rolex exclusives, it is driven by a calibre 3186 mechanical movement - a Swiss chronometer developed and manufactured entirely by the brand - as well as an Oysterlock safety clasp also designed and patented by Rolex. Although originally intended for professionals, the latest GMT-Master II continues a line of timepieces fit for both work and play.

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mojeh men on watches

Looking Forward A watch that innovates across the board, the Emergency II’s most immediate advancement is as the first wristwatch with a dual frequency locator beacon. Compliant with the CospasSarsat international satellite alert system, the PLB (personal locator beacon) offers a unique safety function, guiding search and rescue missions on land, sea or air. The transmitter, described as a ‘miniature marvel’, represents five years of development and has furthered the fields of microelectronics and microtechnical engineering at large. Setting a miniaturisation record, Breitling worked with an ‘institute specialising in aerospace, defence and industry’ to create a new circuit exclusive

for the Emergency II, capable of transmitting on two frequencies and in such a compact space. The manually deployed antenna system is another first, operating at various lengths depending on the required wavelength. Needless to say the power required to fuel a piece of super-kit like the Emergency II is a little more than your average watch, leading Breitling to develop a specially created, state of the art rechargeable battery. An electronic chronograph, it features all of the functions one would expect in terms of timekeeping, from a second time zone to a 12/24-hour analogue and digital display and is equipped with a thermocompensated SuperQuartz movement.

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most desired

Isaac Reina Bonfire of Vanities

‘I’m trying to make very simple goods, so normal, without pretention,’ says Issac Reina, a designer whose aim is straightforward, to make modest but beautiful products. In his utilitarian philosophy he has managed to create a label synonymous with clean lines, function and an innately stylish version of essentialism. It’s an understandably minimal ideology from a designer who lists architects and industrial designers among his greatest influences. There’s a stealth to his pieces. The purpose is obvious but one has to look a little closer to understand there is a preoccupation with craftsmanship and quality at play. Accessories are sculpted from the finest leathers, the beauty not in ostentation but in the manufacturing, the decisive proportions and the eminence placed on only the most purposeful of detailing. Reina takes the iconography of luxury branding and dispenses with it, for those who value material use over materialism.

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most desired

Marsell A Sole Man

The Italians know good cars, good coffee and good Carbonara, but most of all they know good shoes. Milan based label Marsell is continuing the tradition of finely crafted footwear but bringing a nonchalant sense of modernity to the design process. In crumpled leathers and brushed suede, its pieces have an easy charm that sets it apart from the more stoic scarpe of its peers. Founded in 2001, production is still carried out entirely in Italy whilst the label itself has expanded internationally, with showrooms in Paris and New York. Described by style aficionado Angelo Flaccavento as ‘a seamless merging of form, colour and texture,’ these are shoes for the man who revels in a quiet eccentricity. Purveyor of a sentiment that style is a ‘global cultural practice’, Marsell also spawned Marsélleria, an arts venue dedicated to multi-disciplinary creativity. It’s proof that the brand’s appetite for good taste isn’t confined to fashion.

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most desired

FEB31st Wood He Wear

Wood might not be a substance traditionally associated with accessories but FEB31st is on a mission to bring it back. Made by layering tinted sheets, styles range from the classic to the unconventional. Akin to a beautifully made piece of furniture, the attention to detail is seamless. The arms sit impeccably flush open or closed, with a subtle metal insert, whilst the way in which the frames adhere to the face is celebrated as one the brand’s most notable innovations. Created from high quality, FSC certified wood, the interplay between natural grain and colour means there’s an inherent quirk that can be toned up or down depending on the adventurousness of your aesthetic. The landscape of eyewear can be a rather monotonous one but in FEB31st it is refreshing to see innovation in design and appearance applied with a temperate hand, offering pieces that feel fresh but aren’t too ‘in your face’. No pun intended.

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most desired

Bunney Hop To It

London based jewellery brand Bunney is the epitome of style with a smile. Whimsical, witty but with the right level of design credibility to keep it on our radar, it produces pieces that keep us guessing. Its stockists are an international who’s who of boutique cool, from Dover Street Market to Union LA, and its frequent collaborations – Globe Trotter, Colette – put it up there as a brand you probably don’t know, but should. Naturally all of the playful idiosyncrasy is matched in the commitment to quality, with each piece crafted in workshops around England, hand finished and hallmarked at the Goldsmiths’ Company. As the brand says itself, ‘taking on the spirit of the city where it resides, Bunney embodies the insouciant attitude towards dressing so characteristic of Londoners.’ For infinite letter based joy, its hand-engraved alphabet series, previously only available on private order, is now available exclusively through DSM London and Ginza.

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most desired

Le Labo

Make Perfect Scents Hand made at a perfumery in New York, Le Labo believe in revolutionising the world of scent. With a compact range, olfactory delights include Santal 33, a fragrance inspired by vintage Marlboro ads, Fleur Dâ&#x20AC;&#x2122;Oranger 27, that took over three years to compose, and city exclusives from Paris to Tokyo that evoke the atmosphere of their namesakes. With a manifesto that places distinctiveness and the human touch high on the priorities, Le Labo classifies itself as the sweet (or spicy or musky) smelling antidote to mass production. More than a fragrance label, Le Labo has adopted a multi-pronged and consistent approach to its overall ethos, promoting sustainability and touting the crucial importance of a happy and motivated workforce. The industrial design of its nifty travel tubes makes them a more portable lifestyle essential for cross-continent hopping or well-worn wash bags.

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most desired

Armand Diradourian Here nor There

Life may be about the journey but sometimes the A to B can feel more arduous than we might like. Armand Diradourianâ&#x20AC;&#x2122;s cashmere travel range manages to add a little panache to the process. A label known for its inventive approach to a traditional material, its classic pieces exude an unassuming polish perfect for the frequent wanderer and general man of the world. Whilst based in the Big Apple, as a label it goes to the ends of the earth to ensure the best in attribute and technique, quite literally, working with hand weavers in the Himalayas. For us its particular appeal lies in that ability to fuse old world practice with a very new world sense of lifestyle, catering to the everyday in an exceptional way. Whilst Nepal might not be on your own frequent flyer list, we appreciate their efforts because long haul really neednâ&#x20AC;&#x2122;t be such a trek.

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mojeh men review

A Starck Contrast A synergy of high-design and utility, the Zikmu Solo Speaker Tower and Zik Headphones are the latest technological leap forward from the eye of Philippe Starck and the brain of Parrot. Reimagining how we interact with music and crafting pieces with multi-functionality, they are designed to operate seamlessly with modern living, providing solutions to problems you never knew you had. More than an evolution, they feel like a revolution, shirking off the cables, complexity and cumbersomeness of the earphones and speakers we’ve become accustomed to. Next to these your current wares feel as ‘current’ as carrying around a gramophone or connecting your record player to a cup and string. The headphones offer the kind of sensory experience that needs to be not

just heard, but also felt to be believed. Five microphones, a bone conduction sensor and a powerful digital signal processor channel your favourite tunes whilst ‘head detection’ allows you to start and stop music by doing no more than slipping them on or off your head. It is the kind of nifty touch of unexpected genius that, when used, makes you wonder how you could ever find the energy to deal with a pause button again. Likewise the speaker tower is more than a vehicle for some classic R’n’B - firing base down towards the floor and then bouncing it around the room - but thanks to its built in ethernet port, can also function to extend your wifi coverage. Smoothly handsome and unpretentious, the Zik and Zikmu Solo are the definition of successful products, slotting into your lifestyle with both style and ease.

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mojeh men opinion

We all know that the primary function of a watch is to keep time. But in the same way the primary function of a car is to drive, a complicated watch is to a ‘standard’ timepiece what a Bugatti is to a Nissan. A complicated watch is a showcase of the precision, engineering and complex detail involved in horology, the seemingly simple charting of those seconds, minutes and hours that comprise our days. When we consider however, that so much of the complexity involved in a complicated watch is either hidden or actually somewhat superfluous in terms of its regular usability, why are we all so infatuated? Part of it is the show off element of course. Not necessarily in terms of ‘bling appeal’ but by the watch brands themselves. A complicated watch is a watchmaker’s way of demonstrating their prowess for an age-old craft. Complications add value, but more than that they add prestige. Perhaps one of the more familiar complications is the tourbillon. Invented in the 18th century, it mounts the escapement and balance wheel in a rotating cage to negate the effects of gravity. It was designed to operate with pocket watches, which of course spend much of their lives sat upright. Just like that pesky gravity, today the tourbillon’s functionality is equally negated. Yet still you will find it a regular fixture on the faces of the world’s finest wristwatches. It’s a signifier of the new partial status of the complication as a vehicle to display a watch brand’s virtuosity for all things minutely detailed, and a way for the wearer to indicate in no uncertain terms that their timepiece is a few dials above the rest. Naturally, certain complications have an inherent usage, the chronograph for example, but for the most part they are a sophisticated form of showboating and that is no bad thing. In a season that in fashion and culture is defined by a sense of modernity, the complication is timeless. If we wanted out and out functionality we would tell the time with a quick glance at our smart phones. We would wear flip-flops in summer, boots in winter and ferry ourselves around in those same Nissans we mentioned earlier. Complicated watches are a celebration of the ingenuity of man to engineer mechanics that, although anachronistic, are capable of the ultimate in precision. So you may not need to know the positioning of the moon with a moon phase but don’t forget that it was our old friend the chronograph that, in 1970 as a crippled Apollo 13 floated through space, was used to time a critical burst of the vessel’s Reaction Control System to ensure safe re-entry, saving the lives of the crew. With that kind of lineage on your wrist, sometimes there’s just no time for the simple life.

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IWC, Portuguese Yacht Club Edition, Volvo Ocean Race

Why Does It Have To Be So Complicated?

MOJEH MEN On Grooming

Tom Ford For Men

‘Fine grooming is the mark of a modern gentleman. It is the way a man presents the best version of himself to the world.’ So says Tom Ford, one of the world’s most dapper gentlemen. Most noted for helping men dress better through his eponymous fashion line, he will soon be branching into grooming with the launch of Tom Ford For Men. Set for release in the Middle East in January 2014, the range is inspired by Ford’s personal grooming regime and features products designed to tackle flaws and improve the appearance of your skin. It’s an exciting endeavour for a label so entrenched in the worlds of elegant threads and desirable scents, and one that solidifies Tom Ford’s place as a brand that understands the lifestyle evolution of the modern chap. If your face is your fortune, it’s just a few months until you can benefit from Ford’s wealth of experience.

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MOJEH MEN On Grooming

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mojeh men on grooming

Winter Survival Kit

When Shackleton tackled the Arctic it’s unlikely moisturiser was high on his list of essentials, but why let the seasonal elements take a toll on your façade? We’ve compiled our list of the products that will help you wrestle the winter weather and come out on top and looking fresh.

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mojeh men on grooming

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mojeh men opinion

The Grizzly Why beards are back and bigger than ever.

Mulga the Artist / Image Zoo / Corbis

The trend for grizzly, mountain-man beards has been simmering for some time. Initially the preserve of wizened university professors and urbanite free thinkers (see: hipster) it has become so ubiquitous it’s hard to imagine a time when the wet shave was such a grooming staple. In recent years a meander around London’s Shoreditch or New York’s Williamsburg would turn up any number of men clearly channelling their inner explorer, on treacherous route to the newest vegan deli with iPhone map and backpack in tow. But this isn’t a movement that has remained relegated to the boundaries of the bearded boroughs. When the 2013 Oscars rolled around, it was clear that the biggest proliferator of all – the celebrity – was firmly on the bristled bandwagon. Jackman in non-Wolverine mode, Clooney, Affleck et al all adopted black-tie friendly versions of the usually less rampant fuzz. It poses the question, why now? We frequently see the noughties as the decade of the preened metrosexual - a term coined in the mid 90s but which didn’t enter mainstream vernacular until the early 2000s. It now feels perilously outdated but it did come to convey the normalisation of men happy to meet a standard of grooming that required more than a razor and a spritz of something heady. Plucked, waxed and smelling sweet, we took our early steps into the new millennia. Now we’re seeking to get our mojo back and reconnect with the grizzly within by adopting a look that is more Polar adventure than picture perfect. After all, few things are as masculine as a rugged beard. If you lived in 16th century England or 18th century Russia you were likely to be taxed on your mane – although, bearing in mind this was before the advent of antiperspirant, presumably this would be the least of your grooming worries. It’s not that we’ve given up of course. Beards may no longer be taxed but for many men it doesn’t make them any less taxing. Growing suitably fulsome foliage doesn’t always come easy but therein lays the crux. After years of adopting effort-laden regimes, we just don’t want to look like we’re trying too hard. It’s a sentiment that has presented itself in fashion and now the ethos is spreading. The humble beard, in its most virile form, is undeniably back and in a big way. Whether you’re an early adopter watching your signature style gather steam, a slavish follower of grooming trends or you just like the idea of a few extra minutes duvet-time in the morning, the grizzly is the knowingly unkempt solution. Should you prefer your jawline baby-smooth, give it time, this is one look that is sure to grow on you. Yes, we went there. - 130 -

Pour Homme Rich dark leather, black walls and the hint of a distinctly masculine scent hanging in the air; if the name Pour Homme didn’t say it already, this is man territory. Billed as a ‘grooming sanctum’, Pour Homme by Hommage isn’t a spa in the traditional sense. This is a space keenly tailored to the modern man – his lifestyle, his grooming habits and of course, how he likes to relax. Where else, mid treatment in front of a flat screen, would you be handed the remote and told it was perfectly OK to pick the channel? Bliss. Less than a year old, Pour Homme at the Fairmount Dubai is just one of an internationally respected chain that has men looking better from New York to Frankfurt. It means that when it comes to shaving, filing and general manscaping they have the art down to a tee. No more overly buffed and glossy nails from someone more used to creating French manicures. ‘You want these short sir?’ ‘Sure do.’ Because of course part of the joy of a grooming space dedicated to men is that, through experience, your needs

have been anticipated in advance. Services range from beard sculpting in a sharpish 20 minutes for the man on the go to the Ultimate Grooming Package, two hours of head to toe maintenance that will have you leaving a quaffed Adonis, however dishevelled your arrival. Naturally every treatment, from the inand-out to the intensive, features highperformance Hommage products. Opt for face renewal and a black diamond dust and silver sphere exfoliant will give you your glow back, whilst the Signature Shave features a white truffle extract to soften your beard. Sometimes we get the feeling that some spas aren’t really meant for us; the slightly too floral décor, the limited range of treatments. What Pour Homme does so well is create a space that is dedicated to making you look better, but where you can also relax. Like a barbershop with a wealth of added perks or a spa with a barber, it’s a one-stop shop for that essential upkeep and the ideal place for a service.

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Pour Homme by Hommage, Fairmont Dubai, www.pourhomme.ae

mojeh men review

mojeh men interview

Wrestling the Sea:

Adil Khalid Making history in 2008 as the first Emirati sailor to take part in the Olympic Games, Adil Khalid is the definition of skill and perseverance. Also famed for his position on the Abu Dhabi Ocean Racing crew, he was the first UAE National to compete in the notoriously rigorous Volvo Ocean Race, a round-the-world challenge known as the ‘Everest of Sailing’. We spoke with the UAE’s most celebrated seafaring export about achievement and the next generation. Tell us about your greatest achievement so far… Without a doubt, becoming the first Arab sailor to complete the global Volvo Ocean Race with Abu Dhabi Ocean Racing was a life-altering experience. Racing across the globe, representing my country and experiencing some of the most remote environments on the planet was humbling. Also, winning the transatlantic leg from Miami to Lisbon was pretty special, as was winning the Abu Dhabi In-Port Race in front of tens of thousands of fans back home. Who is your greatest inspiration? I know it’s a bit of cliché, but it would be our skipper Ian Walker. He really took the time to coach me in the race and without him I wouldn’t be where I am today. What do you see for the future of Emirati sailors globally? I think the future is extremely bright. More and more young Emiratis are taking to the sea. Just in Abu Dhabi since the race, we have a lot of new sailing clubs operating and many more watersport centres, which is incredibly encouraging. The UAE Sailing Federation is also making big strides and the Abu Dhabi Sailing and Yacht Club (ADSYC) are really working on getting kids involved. Do you feel a responsibility to ‘do the UAE proud’ as a pioneer in the field? Absolutely, I always said being in the Volvo Ocean Race was my dream and I want to keep growing in the world of competitive sailing. I also want to focus on the Olympics again and use what I have learnt offshore to further that side of my career. UAE sailing is growing in stature. If you look at what the Abu Dhabi Tourism & Culture Authority is doing, it’s fantastic. They are creating an event that sets the benchmark globally and if you are going to be anywhere for New Year 2015, it should be Abu Dhabi! What kind of preparation is involved prior to an important event or race? Mentally you have to get your head into the game, whether it’s a sailing event for an afternoon or a global round-the-world race. Physically you also need to be prepared, and I train in the gym and on the water almost every day. For the Volvo Ocean Race, my first offshore event, I had to do a phenomenal amount of pre-work. Just getting into the habit of eating is critical. When you’re racing all day every day, for three weeks at a time, you just forget to eat sometimes. Sailors sometimes lose up to six or seven kilos on a leg of the Volvo Ocean Race. What do you still want to achieve? I’ve said all along that I would like to go back into the Olympics and one-day skipper my own Volvo Ocean Race team, but there is a long way to go before that is a reality. Spending hours in a single race onboard with your team, can you describe the relationship you have with your fellow sailors? You have to trust them completely as everyone is looking out for each other. This is a dangerous sport and people die, so you need to know that you always have someone at your back. Can you tell us about your work with young people at the ADSYC? One of the best parts of my job is helping youngsters get involved. ADSYC runs some great school programmes so I try and support them as much as possible. It’s open to expatriates and locals, so anyone with kids can come down and try it out. What words of inspiration would you have for others? Set yourself a goal and pursue it with every last drop of energy you have; anything is possible if you want it bad enough. - 132 -

mojeh men interview

10 To Know: The Volvo Ocean Race Held every three years, the race can take over nine months to complete and covers some of the most treacherous seas on the planet. Sailors take only one change of clothes and will experience temperatures ranging from -5°C to +40°C.

Each team has a crew of 11, who will sail up to 20 days solidly on some legs.

Racers will experience extreme conditions such as in the Southern Ocean where waves can top 30m and winds reach 110km/h.

The 2008/09 race reached a cumulative television audience of over 2 billion people.

The Volvo Ocean Race carries no cash prize, instead the prestige of competing is reward enough for the world’s sailors.

In May 2009 Volvo Ocean Race launched the Hans Horrevoets Award. The award is named after the Dutch sailor killed during the 2005/06 race when swept overboard 1,300 nautical miles off the coast of England.

The 2014/15 race will begin in Alicante, Spain and conclude in Gothenburg, Sweden. Lasting 39,895 nautical miles, it is the longest in the race’s history.

No fresh food is taken onboard and crews live off freeze-dried produce.

Abu Dhabi will host the third stopover of the 2014/15 race, during which the teams will celebrate New Year’s Eve. During a previous New Year’s Abu Dhabi stopover, rock band Coldplay performed. - 133 -

mojeh men opinion

The Future is Now Whether it’s the return of Daft Punk, avec makeover by Saint Laurent, or the bankability of a sea of science fiction blockbusters on the big screen, futurism is back in the zeitgeist. It seems an inescapable, if not inconvenient, truth that we perennially fluctuate between looking back and looking ‘forward’. We define the exceedingly modern as ‘futuristic’ without ever really conceding that we’ve been envisioning the future as the same streamlined hospital ward since time immemorial. Like a self-fulfilling prophecy, we’re sculpting progression based on long established cultural references, but of course we’re already there. Tokyo becomes more and more the neo noir metropolis of Blade Runner with every passing year. When it comes to Orwellian dystopia, on the one hand Nineteen Eighty-Four has been adopted as a global reality show and on the other, CCTV cameras are as common a fixture as streetlights. Even the ‘pads’ of 1990s Star Trek bear an uncanny resemblance to the modern day Kindle. In many ways we’re morphing inexorably into a cannibalised version of all that the world of fiction has to offer us, or the foresight of modernist architects and artists has to show us. Woody Allen famously said, ‘I foresee death by culture shock,’ but in reality the line between cultural constructs and ‘real world’ endeavours is razor thin. We often think of our world as being shaped by the statisticians, the serious thinkers and the staid scientists, but what if the catalyst for invention is really spurred by the creatives? Take the two Portland teens that won the $100,000 Siemens Competition in 2010. Creating a computer algorithm that could detect human emotion, they were not inspired by a prominent mathematician or leading scientist but by a line from the Will Smith film I, Robot. What is Niemeyer’s Niterói Contemporary Art Museum if not a retro flying saucer turned architectural marvel? The X-ray scanners that are now so commonplace in our airports are prophetically scattered across a whole host of predated works, from Total Recall to Alien. As the name suggests futurism is the most prescient genre in our collective cultural consciousness. As we move into a new fashion season that sees modernism take root on the runway we’re reminded just how much life imitates art. From the books we’re consuming and the films we’re viewing to the paintings, sculpture and photography we’re absorbing, the details play out in how we live our lives – in the clothes that we wear and in the technology that we use. So as we plough forward generating ‘new’ idea after ‘new’ idea perhaps we have to ask ourselves, has our ravenous appetite to map out the future through fiction and art, already led us to define how this very same future will look?

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Jefferson Hayman / Corbis

Why we’re living in the age of science fiction and how our cultural visions of the future are shaping our present.

mojeh men on art

The Abraaj five Awarded to artists from the wider region, The Abraaj Group Art Prize is uniquely presented based on proposals for new works. With five artists selected each year, we look at the 2014 winners.

View from Conolly’s plot, Anup Mathew Thomas, 2010, courtesy of GALLERYSKE

Anup Mathew Thomas Hailing from Bangalore, Thomas works predominantly in photography and series. Preferring to keep his narratives ambiguous, he believes in an inclusive approach. ‘I am interested in how images are understood. I find the immediacy of the photograph a good asset to work with. The ease of access that photography provides in understanding what is portrayed, can be just as easily misunderstood or misread,’ he explains. ‘Sometimes not saying much becomes a strategy to saying many things. I find this approach makes for better interactions and multiple interpretations.’ Recognised for pieces that feel intrinsically local and intimate to Thomas’s background but which resound with a wider audience, his most recent work has seen him exploring the concept of iconography. ‘Over the past few years I have been doing projects set in and about Kerala. It is mostly an enquiry into what I am familiar with in an attempt to understand it better,’ he told us. ‘I don’t necessarily see this engagement as one with a homeland or a region as much as it is an exercise in imagining a place.’ As an Abraaj Group Art Prize winner, Thomas is now the recipient of additional funding to help him bring his proposal to fruition, an exciting opportunity for any artist. ‘The Abraaj Group Art Prize is helping me realise a project I have wanted to create for a while. The fact that it rewards proposals for new works is what drew me to it and I am excited about the prospect of exhibiting it in Dubai.’ - 135 -

mojeh men on art

Bouchra Khalili ‘Rather than delivering messages, I’m more interested in building visual devices, combining image, location, bodies and voices, to allow the speech of members of minorities to be elaborated upon and narrated in their own words and languages,’ says Khalili. Born in Casablanca, Bouchra Khalili is a video artist who uses her medium as a platform to address issues with a wider political scope but also to explore the voices of those who may not always be heard. ‘The Middle East and North Africa are still often seen as one homogeneous region, defined as the ‘Arab World’. This representation does not take into consideration the complexity of the region at various levels, with a huge variety of peoples with their own languages: Arabs, Kurds, Berbers etc. It is this complexity that I try to approach in my work, by focusing on very specific issues dealing with minorities, their experiences and their narratives.’ For us the significance of Art Dubai draws immediate parallels with the aims of Khalili’s own work as an artist. ‘I see Art Dubai as a meeting point. For a long time the MENASA region was seen as a periphery of the art world. Art Dubai demonstrates that what used to be seen as a periphery is today a centre, helping to rethink the geography of the art world. Not to mention that all of the talented creatives from the region can also meet professionals from all over the world, changing the representation of the region, its artists and cultural sector.’ Lost Boats, Bouchra Khalili, Wet Feet Series, Galerie Polaris

Kamrooz Aram Iranian artist Kamrooz Aram weaves complex ideas through his work. Exploring notions of tradition, identity and ideology, he takes classical iconography and unpicks our inherent associations. Although not interested in making overly grand statements, Aram nonetheless recognises the ability to evoke broader ideas through his tackling of tradition. ‘For a long time I have thought about the parallel histories of paintings and Persian carpets. I believe they are part of the same history of image making. So why is one referred to as decorative and the other as ‘high’ art? The historical conditions that create such a false hierarchy are much bigger than carpets and paintings. So while the subjects I am exploring are relatively small, they are a part of much larger historical circumstances.’ For Aram, the development of modern technology and the burgeoning development of artists referencing Middle Eastern tradition has placed his work in a new context. ‘I think we are living in an interesting time. Words like ‘diaspora’ and ‘region’ are in frequent use. When I was a student in the late 90s and I first began to reference traditional Iranian and Islamic art, I thought I was working alone. There were only a couple examples of established Middle Eastern contemporary artists and the students who were employing culturally specific tropes were mostly performing their ethnicity in a way that made me uneasy,’ he says. ‘Now there are so many of us, much of the work is very exciting, thoughtful and engaging and we are all a click of the mouse away from one another.’ From the 7000 Years series, Kamrooz Aram, 2010, courtesy of the artist

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mojeh men on art

Basim Magdy

A 240 Second Analysis of Failure and Hopefulness (With Coke, Vinegar and Other Tear Gas Remedies), Basim Magdy, 2012, courtesy Newman Popiashvili Gallery

‘I make art because it’s the best tool I have to communicate my ideas,’ explains Magdy. Egyptian born, Magdy’s philosophy is that art is not a linear process. Where many artists openly cite their heritage as a source of inspiration, Magdy riles against this idea. ‘The assumption that an artist’s work is influenced by their homeland is at the core of the common practice of labelling and stereotyping artists geographically,’ he says. ‘Narratives need to exist in settings. Such settings may be real, imaginary or simply exist within the blurred zone that separates both.’ Echoing the sentiment of many of his peers, Magdy’s work is about interpretative meaning more than an inherent point of view, ‘I’ve realised that I’m not particularly interested in communicating what I’ve experienced first hand. With every artwork there is a personal process of deciphering and putting pieces together. As a result, I try to project this process by creating work that doesn’t impose my ideas but rather creates confusion, altering the viewers’ expectations and presenting new ways of looking at things.’ ‘The main reason I applied to The Abraaj Group Art Prize was the production budget,’ Magdy says as we discuss his latest endeavour. ‘Such opportunities are not very common. The one thing I’m concerned about right now is the production and execution of my work in the way that I envision it, without any budgetary compromises – something that the prize will hopefully allow me. If the work is good, good things usually follow.’

Abbas Akhavan Noted for his engaging installation work, Akhavan was born in Tehran but prefers to shake off the iconography of what we characterise as Middle Eastern. ‘So much of my practice is informed by places that I visit. So as someone that makes sitespecific work, that process entails being susceptible to various influences,’ he tells us. ‘Perhaps a lot of the making entails not making, but editing and negating certain tropes that have become rampant and heavily influential in what is called Middle Eastern art. So I make an effort not to use those references as I find them too digestible, or actually already digested.’ As an artist who deals in location, Akhavan is both emotively and logistically impacted by his surroundings, but it is an impact that shapes the progression of his work in ways that are difficult to decipher. ‘Since my work is not medium specific but rather sitespecific the work’s evolution is not easy to detect,’ he says. ‘Mostly I just hope that the work keeps shifting, preventing a signature look and with an openness to making mistakes.’ Recognising the opportunity and influence The Abraaj Group Art Prize offers, Akhavan displays both humility and optimism. ‘I am still very young and new at what I am doing. Part of this prize will allow me to travel and learn from colleagues in different fields. I am not sure how to predict the outcome of this prize but, for now, I just keep reminding myself that what goes up, comes down. So I am trying to take things one step at a time.’ Herds, Abbas Akhavan, 2010, courtesy of The Third Line

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1996 National Traffic Light System, courtesy of The Design Museum

culture review

Ordinary, Extraordinary In its new permanent collection Extraordinary Stories about Ordinary Things, London’s Design Museum sheds new light on the everyday. With tales that chart the unexpected origins of wellknown designs, it manages to be both insightful and fanciful, making us wonder how much we really know about the items we thought we knew so well. The exhibit explores national identity by looking at some of the iconography that helps define a nation - a reminder that often the unremarkable is surprisingly remarkable – whilst sections on modernism and plastics explore the design process and our reliance on manmade materials. As Deyan Sudjic, Director of the Design Museum says, ‘Design matters at every level. It is what makes daily life a little better; it is about the big economic changes. It is about the designers and the manufacturers, but it is also about the users. It is a unique way of making sense of the world around us.’ Extraordinary Stories about Ordinary Things, Design Museum, London - 138 -

Un Effet du Japonais, Alexander Calder, 1941, courtesy of The Calder Foundation, New York

culture review

Calder and Abstraction Mixing abstract geometry, sweeping figurative curves and jolts of bold colour, Alexander Calder’s work helped define how we think of contemporary sculpture. In a major new exhibit at LACMA, Calder and Abstraction: From Avant-Garde to Iconic, explores Calder’s impact on the wider genre and how he took a traditionally French mode of surrealism and reinterpreted its conventions. Most known for his mobiles, a term coined by Marchel Duchamp, Calder’s kinetic pieces have become visual shorthand for abstraction in its 3dimensional form. As much a study in engineering as works of art they will be showcased as part of the first museum exhibit of his work in Los Angeles, along with his monumental pieces. The exhibition also features installation design by Frank O. Gehry and is accompanied by a fully illustrated catalogue with essays by the exhibition’s curator Stephanie Barron as well as numerous other scholars. 24th November 2013 to 27th July 2014, LACMA, Los Angeles - 139 -

11 Panes, Gerhard Richter, part of the series ARTIST ROOMS and Tate Modern Collection Displays

culture review

11 Panes of Glass Gerhard Richter’s work toys with the relationship between reality and perception. He blurs the line between authenticity and art, challenging the viewer to find meaning in the spaces between. In his work 11 Panes of Glass, part of the collection of Tate and National Galleries of Scotland, he takes a more literal stance than in his previous glass or photorealistic pieces. Making use of glass’s ability to provide a window to that which lies beyond, as well as reflect, the layered panes distort the observer to varying degrees depending on how close they stand. Despite feeling less ambiguous it represents a more immediate example of Richter’s work, a shard of his oeuvre that helps to sum up his overall process as an artist. As a standalone piece of contemporary art, it helps to creatively define our theme of the modernist man – both one thing and layers of many.

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Kafka collection, Knopf Publishing, cover designs by Peter Mendelsund

culture review

Franz Kafka Poet W. H. Auden called Kafka the ‘Dante of the twentieth century’, and as creative sparks that helped fuel a period of cultural renaissance, they have a shared legacy. Originally in the German language, Kafka’s works deal with dark but pervasive themes; fractured relationships, powerlessness and expressive suffocation. His mix of the disturbing and the surreally absurd place him as one of the most prominent authors to explore existentialism. As the 39th most translated writer, Kafka holds a prominent position on the literary landscape and continues to inspire novelists of the same ilk today. Almost a century since many of his pieces were written, their themes remain as pertinent. In The Castle Kafka explores bureaucracy, alienation and the frustrations of a character attempting to rile against the system. In The Trial he tackles the story of a man prosecuted by an unreachable authority, exploring the power of the individual and the nature of justice versus what is just. Available from Knopf. Cover designs by Peter Mendelsund - 141 -

culture review

Oscar Niemeyer Brazilian architect Oscar Niemeyer not only made an indelible mark on the cities of his home country but on the world of modern architecture at large. Characterised by their otherworldly, often monolithic impact, his structures are a commanding presence both at one with, and undeniably distinct from, their surroundings. Described as the most ‘complete and lavish’ exploration of Niemeyer’s work, Assouline’s weighty coffee table book reflects the mode of the architect himself – substantial, striking and thoughtfully stimulating. Comprehensive in its approach, the book features contributions from Zaha Hadid, Tadao Ando and Santiago Calatrava and was written by Michael Kimmelman, chief art critic for The New York Times. In addition to presenting his work via original photography, it also includes sketches mapping the creative process. Available as a limited edition volume, it is assembled by hand using the traditional anglaise technique, hand-tipped on art quality paper and presented in a linen clamshell case. Available from www.assouline.com - 142 -

Jiseul, Sundance 2013

culture review

Film Season • Raindance Film Festival, London – 25th September to 6th October 2013 ‘Europe’s largest indie film festival’, Raindance has brought such classics as The Blair Witch Project and Memento to the attention of a wider cinematic audience. • BFI Film Festival, London – 9th to 20th October 2013 A bumper year for Tom Hanks, his two films Captain Phillips and Saving Mr. Banks are set to open and close this year’s festival respectively. • Dubai International Film Festival, Dubai – 6th to 14th December 2013 The leading film festival in the region, DIFF continues to serve as a platform for the best in Arab and Middle Eastern filmmaking. • Sundance Film Festival, Park City, Utah – 16th to 26th January 2014 The festival that gave the likes of Quentin Tarantino, Steven Soderbergh and Darren Aronofsky their big breaks, Sundance remains a hub for world class independent cinema. - 143 -

mojeh men on design

Design Report Celebrating quiet innovation, this issue’s Design Report looks at technological homeware marrying contemporary good looks with a novel approach to function.

Plumen 001 by Hulger Billed as the world’s first ‘designer energy saving light bulb’, the Plumen 001 manages to shine in a sea of sometimes uninspiring sustainable design. Solving the problems of poor light quality and clunky construction, the Plumen 001 is elevated to a beautiful and desirable piece in its own right. - 144 -

mojeh men on design

A9 by B&O PLAY It’s not enough for our tech to be intuitive, it has to be easy to integrate and the A9 stereo system manages to be both inventive and also strikingly handsome. The ‘magic touch’ volume control that allows a change of mood with the sweep of a hand is, as touches go, particularly nice.

QLOCKTWO Classic by Biegert & Funk Putting a new spin on telling time, the QLOCKTWO Classic gets straight to the point. A clock that forgoes the numeric altogether, its typographical display quite literally makes a statement. Available in 12 languages, including Arabic, its distinctively direct slant appeals to the utilitarian in us. - 145 -

mojeh men on travel

amed Edo until 1868, it is difficult to imagine a time when Tokyo was not the throbbing cityscape that it is today – an immense concrete jungle housing some 35million people. But for all of the neon and glass, Tokyo is built on a foundation of Japanese tradition that still permeates, whether in lifestyle or design. At times it can seem that ‘old Tokyo’ is being bulldozed in favour of the new. The Tokyo of Mishima displaced for the Tokyo of Akira. In reality ‘old Tokyo’ is something of an abstract concept. This is, after all, a city forged from catastrophe. Decimated by earthquakes, fires and raised to the ground during WWII, it exists in a continuous cycle of renewal. In Europe historic buildings are protected with a thicket of red tape and bureaucracy and whilst the same may be true of Tokyo, the need to rebuild and claw a new metropolis from the remnants of what went before, has afforded the Japanese a distinctive perspective on city-making. Old is not old for old’s sake, what is kept has a worthiness. The rest is swept aside in favour of something better and something worthier, albeit newer. The town planner’s equivalent of natural selection. In all of this fevered marching into the future what is interesting is that Tokyo has not swapped its Japanese identity for a bland vision of globalisation. That’s not to say you won’t find a Big Mac or a Frappuccino within easy reach, or the familiar luxury labels vying for some of

the flowing Yen that runs through the streets like an easy breeze, but it’s all oddly consumed by an overall feeling of something more intrinsically local. Part of it is the culture of course. The enduring formalities and social etiquette of the city’s natives is present everywhere you go. Compare it to a place like London. The British were (are?) famed for manners and tradition, but Europe’s most important city has found its global footing as a hub for everyone, where myriad cultures have fused in one grand jigsaw. It is a sort of capital of the world but one defined in many ways by legacy. Tokyo however, has shaped our vision of the future through its unrelenting pursuit of the new, and always through Japanese eyes. A metropolis that has grown vertically to accommodate its swelling population, stroll the city streets and you will find that international hotel chains tower over the ryokan, but in their architecture and in their lobbies you will find the same sophisticated Japanese character of substance meeting style. In the city’s avant-garde fashions you will find Western iconography – teddy boys and punks – given a Tokyo slant. Make no mistake this is not emulation, but reinterpretation. The Japanese, for the most part, follow the rules but in writing their own rulebook they have created a city that sets the benchmark for combining old world and new whilst retaining a unique national identity. A great Japanese city, yes, a great global city, undoubtedly, but always a work in progress.

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Christopher Leigh / Image Zoo / Corbis

Tokyo Story

mojeh men on travel

Urban Nomad:

Tokyo Where Eastern tradition meets global innovation, Tokyo is a thriving metropolis unlike anywhere else. From food to fashion, we offer our guide to the Japanese capital.

David Clapp / Arcaid / Corbis

or the uninitiated, touchdown in Tokyo carries understandably high expectations. This is a city famed for its talking robots, mini trees and giddy Harajuku girls. But those hoping to hop off the plane into a marvel of modernity may be disappointed. Narita is your average airport complete with beige tiling and Starbucks – an example of the sterile functionality one would see in any city. For this vast metropolis, the largest in the world, the action truly begins when one traverses the sleepy suburbs and hits the forest of buildings that form the city proper. - 147 -

The easiest way to get to your hotel door-to-door is by taxi, although those seeking a more dramatic introduction to the capital could also take the privatecharter helicopter connection that whisks you from the airport to the Roppongi district in central Tokyo. Taking roughly 20 minutes it includes a limo transfer to your final destination and spectacular panoramic views of the skyline. Before taking on the many wonders of the city streets of course, you will have decided where you will lay your head after a day of sushi and shopping. Like the trees, hotels in Tokyo range from bonsai bijous to cherry tree grand. The Grand Hyatt in Roppongi is a favourite for visiting celebs and assorted VIPs. Close to many of the city’s most foreigner-friendly food and beverage haunts, it boasts a lavishly moody interior – think burnt orange walls and atmospheric floor lighting – but does lack the dramatic views of some of Tokyo’s other high-end establishments. For classic luxury the Mandarin Oriental is difficult to top. Featuring three Michelin starred venues, it’s nestled near to both the Tokyo Stock Exchange and the Ginza shopping district, one of the most upscale retail areas in the world, but more on that later. Inside you’ll also find The Mandarin Bar, famous for its epicurean delicacies and live jazz. Best to focus on the music when the bill for your evening arrives as receipts can be as eye-wateringly high as the penthouse.

mojeh men on travel

Our recommendation for a more intimate taste of Tokyo is Claska. With less than 20 rooms, getting a reservation can be tricky, but like all good things is worth the effort. Admittedly situated far from the city’s more heaving areas in Meguro – an exclusive residential neighbourhood - it is a haven for fashionable locals and in-the-know travellers who waft through the cuttingedge lobby en route to rooms that exemplify Tokyo’s forward thinking panache. A destination for global aficionados of design. Once your suitcases are unpacked and you’ve shaken off the flight, Tokyo offers a varied and enticing array of activities. For the exceptionally keen, start your day in the land of the rising sun before the sun has actually risen with a trip to Tsukiji Fish Market. A major attraction for visitors, it is the largest market of its kind globally and from 5am tourists can watch the cacophony of trading as wholesalers barter on the day’s haul. With the bulk of the activity finishing around 8am, it’s a uniquely Tokyo experience to enjoy before most people have had their first cup of coffee. Needless to say Tsukiji is also known for quality sushi restaurants, with Sushi Dai one of the more celebrated. Alas it’s not a well-kept secret and the queues can be enough to put many off. So if you’d rather spend your time moving on to Tokyo’s other delights than standing in line, try Ryu Sushi in building 1 or Sushi Maru in building 10, where the signature dish of chirashizushi (or sashimi on a bed of rice), is as fresh as it gets. Fish sampled, the district of Ginza is just four minutes away by subway. Whilst many may prefer a driver or taxi, the Tokyo metro system is set-your-watch-by-it efficient, with the city’s residents even issued delay certificates to

Comme des Garcons, Aoyama

Where Ginza provides high-end Western labels and an overall gloss of transnational affluence, we prefer Aoyama, an area layered with directional fashion houses, vintage boutiques and a more innovative, Japanese take on style. placate employers in the unlikely event of a late train. One of Tokyo’s most well known shopping areas, Ginza deals in international luxury, from stalwart brands such as Cartier and Bulgari to international department stores like Printemps. Best tackled on weekends when the central street is closed to traffic and becomes a large pedestrian zone, try arriving by 10am for a store opening and have 100 employees bow to you in unison as the doors part. Think of it less as an ego boost and more a dramatic experience in Japanese manners and one you’re unlikely to receive in any other city in the world. Where Ginza provides high-end Western labels and an overall gloss of transnational affluence, we prefer Aoyama, an area layered with directional fashion houses, vintage boutiques and a more innovative, Japanese take on style. With a refined, ‘grownup’ sensibility, it’s also home to the Comme des Garcons flagship - an understated emporium of all things Kawakubo that is exteriorly reminiscent of a retro gas station. - 148 -

mojeh men on travel

Claska Hotel, Meguro

This is a buzzing metropolis where the days are long and the nights even longer, where visitors and residents alike can go from karaoke in a Jacuzzi in Roppongi to dining at one of the planet’s most exclusive restaurants. With your shopping bags no doubt overflowing, Harajuku, where the more brazen fashions of Tokyo flourish at every turn, is an easy walk away. From Elvis quiffs and Rockabilly dresses, to Cosplay costumes and neo-punk devotees, Harajuku is an explosion of visual cultural references so dense that half of the joy comes merely from looking around. Whilst it may be an area thick with eccentric clothing stores and garish gift shops, it also offers a few options for the less gregarious visitor. Try the MoMA Design Store - the Tokyo outpost of New York’s illustrious museum - for tasteful knickknacks, sidle up to Vacant for a sample of the latest cultural currents and for a taste of the Med grab a bite to eat at Restaurant-I, the Michelin starred eatery from Keisuke Matsushima. After a leisurely meander around Yoyogi Park and a stop by the Meiji Shrine, set your sights on Shibuya and its famous crossing. It may not be amongst Tokyo’s most glamorous spots, but a window seat - 149 -

at the second floor Starbucks will afford you an impressive view as the thronging hordes cross in five different directions, all below the immense neon lights for which Tokyo is famed. A leap beyond muffins and mochas, Tokyo holds the distinction of having the most Michelin starred restaurants of any city and is therefore a gastronomer’s delight. For a break from seafood, the nation’s renowned marbled wagyu beef is a must. Make a reservation at Kozue at the Park Hyatt in Shinjuku and peer out from the 40th floor at the western hills and, on a clear day, perhaps even the peak of Mount Fuji set against the jutting tips of the city’s skyscrapers. The hallowed dining room of Aronia de Takazawa is another of Tokyo’s most intriguing venues, sitting just two tables and spoken of with the kind of reverence usually reserved for deities. It can be difficult to scratch the surface of Tokyo, particularly when many visits last a matter of days. This is a buzzing metropolis where the days are long and the nights even longer, where visitors and residents alike can go from karaoke in a Jacuzzi in Roppongi (see Love Net Karaoke) to dining at one of the planet’s most exclusive restaurants. It is a city that never sleeps and is continually thrusting forward, offering up new experiences to be discovered - both traditional and modern. Our advice therefore is simple – don’t overschedule or ‘itinerarise’ your trip to the point where the fun fades into something more akin to a marathon of to-dos. Yes, there’s lots to see, but allow yourself to be swept along by the city’s frenetic pace and you’ll find that whilst Arabic and even English may be scarce, an incredible experience is one thing that won’t be lost in translation.

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