THE URBAN ISSUE February - March 2019
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42 DM D 2R CD Movement: Self-winding movement Caliber: MVD FM 2800-MY Display: Hours and minutes Case: 18K white gold, hand set with 272 brilliant-cut diamonds (5.70 cts) Dial: Hand set with 218 brilliant-cut diamonds (1.37 cts) and 14 indexes made of yellow sapphire (0.98 cts) Material: Available in White/Rose Gold and Platinum Strap: Alligator
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Jumeirah Corporate Dubai Design District, Building 5, Floor 5 PO Box 73137, Dubai, UAE, Tel: +971 4 3665000, Fax: +971 4 366 5001. www.jumeirah.com Jumeirah is a trading name of Jumeirah International LLC. A Limited Liability company. Registration Number 57869. Share Capital Dhs 300,000 fully paid up.
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Editor-in-Chief Obaid Humaid Al Tayer Managing Partner & Group Editor lan Fairservice Editorial Director Gina Johnson Senior Art Director Olga Petroff Art Director Clarkwin Cruz Senior Editorial Assistant Cecilia D’Souza Contributing Editor Conor Purcell Contributors Iain Akerman, James Brennan, Alun Callender, Ashley Dudarenok, Rory Gardiner, Gijo George, Cat Nelson, Trang Minh, Terry O’Neill, Gareth Pon, Alex Preview, Ana Santi, Shane Taylor, Natalie Westernoff General Manager – Production S Sunil Kumar Production Manager R Murali Krishnan Production Supervisor Venita Pinto Chief Commercial Officer Anthony Milne Publishing Director Carlos Pedroza For Jumeirah Claire Hill
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Head Office Media One Tower, Dubai Media City, PO Box 2331, Dubai UAE, Tel: +971 4 427 3000, motivate@motivate.ae Dubai Media City Office 508, 5th Floor, Building 8, Dubai, UAE, Tel: +971 4 390 3550, Fax: +971 4 390 4845 Abu Dhabi PO Box 43072, UAE, Tel: +971 2 657 3490, Fax: +971 2 657 3489, editor-wo@motivate.ae London Acre House, 11/15 William Road, London NW1 3ER, UK, motivateuk@motivate.ae
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February - March 2019
HAPPY HEARTS COLLECTION
CONTENTS
The Edit Exploring the cultural goings on in Jumeirah cities (page 12); Celebrating a London icon in Terence Stamp (page 16); We run the rule over the best looking wireless speakers (page 18); How to spend 24 hours in Shanghai’s French Concession neighbourhood (page 20); We visit Comptoir 102, a Dubai retail space with a difference (page 24)
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February - March 2019
Senator Cosmopolite
Glashütte Original Boutique ”The Dubai Mall“ Financial Centre Street ⋅ 00971 04 3 39 87 62 ⋅ glashuetteoriginal.dm@rivoligroup.com
CONTENTS
Toggle are a Kuwaiti architecture firm making waves across the Gulf (page 28); Bellerby & Co tell us how they make their world renowned globes (page 32); Concrete Dreams: How London learned to love brutalism again (page 36); The influencers changing the Chinese fashion industry (page 46); Michael Ellis on his role as Chief Culinary Officer at Jumeirah (page 52); The Irish street photographer chronicling London one shot at a time (page 56); The duo changing the face of Oscar de la Renta (page 62)
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Index
Interview: The company behind Jumeirah Beach Hotel’s landscaping revamp. (page 72) Location, location and sumptutous Mediterranean fare at Rockfish (page 74) Enjoy beach dining at its best, feasting on Japanese delights (page 76) Neighbourhood Guide: Explore Dubai’s Jumeirah district. (page 78) The Shot. The Jumeirah Vittaveli, The Maldives (page 82)
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February - March 2019
Cultural highlights from Jumeirah cities
Dubai World Cup One of the biggest sporting and social events of the year, the Dubai World Cup is one of the world’s biggest horse racing events. Jockeys from around the world battle it out for more than $19 million in prizes. The competition off the track is just as stiff with Dubai society getting dressed up for one of the social events of the year. Dubai World Cup, Meydan Racecourse, March 29th www.dubairacingclub.com
WE'RE FEELING The Manga Lab, Louvre Abu Dhabi While Manga has always been considered an art form in Japan, it’s only in recent years that it has gained artistic acceptance in the rest of the world. The Manga Lab, set up to accompany the Japanese Connections exhibition, is an interactive zone which allows visitors to immerse themselves in the tradition. Expect retro arcade games, a pop-up manga reading room (featuring lots of comics), virtual reality pods which display the museum's collection of traditional Japanese prints and free manga masterclasses. The Manga Lab, Louvre Abu Dhabi Runs until April 14th www.louvreabudhabi.ae
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11th Emirates Airline Festival of Literature Something of a mainstay on the region’s cultural circuit, the Festival of Literature always brings in a few literary big guns for the event and this year is no exception. Douglas Coupland, who wrote the seminal Generation X in 1991 (and coined the phrase ‘Mcjob’ among many others), will be in attendance, as will the Scottish writer, Ian Rankin, whose Inspector Rebus novels have gained critical and commercial plaudits. We’re also excited by the presence of Peter Frankopan, a historian whose book, The Silk Roads: A New History of the World, was a hit when it was published in 2015. There are countless workshops, seminars and talks on throughout the festival, illustrating why it’s imprinted itself on the global literary psyche. InterContinental Hotel, Dubai Festival City, March 1st-9th, www.emirateslitfest.com
Don McCullin, Tate Britain One of the most iconic photographers of his generation, Don McCullin went from taking photos of friends in an East London gang to documenting the seismic upheavals that shook the world from the early 1960s onwards. This exhibition showcases McCullin’s work from the past 60 years, taking in the Vietnam War, the Northern
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Irish Troubles and, most recently, the conflict in Syria. The fact that McCullin, now in his eighties, is still documenting the world’s war zones is astonishing. Even more astonishing is his ability to tease out the humanity from even the most hopeless situations. Don McCullin, Tate Britain, February 5th - May 6th, www.tate.org
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Titian and the Renaissance in Venice
WE'RE FEELING
Ballard Exhibition, Mallorca Es Baluard, a contemporary art museum in Palma, has a rather intriguing reason for running an exhibit on the late writer J.G. Ballard: when you Google ‘Es Baluard,’ one of the options that appears is the name of the dystopian writer. The images and objects displayed act as starting points to explore the themes Ballard navigated in his writing.
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From Nadal Suau’s Suspended Pool (which explores themes such as faith, wellness, depression and luxury) to Begoña Méndez’s Poetics of the Ballardian Bodies (which investigates the phenomenon of madness), the work is thought-provoking and surprising. Ballard Baluard, Runs until March 17th, www.esbaluard.org
The Städel Museum, Frankfurt, presents one of the most momentous chapters in the history of European art: Venetian painting of the Renaissance. Titian and the Renaissance in Venice is a major exhibition which unites more than a hundred masterpieces and features more than twenty works by Titian alone. These works will offer comprehensive insights into the artistic and thematic breadth of the Renaissance in Venice and elucidate why artists of later centuries looked back to the art of this time and place again and again. The exhibition runs from 13th February - 26th May 2019, Städel Museum, www.staedelmuseum.de
Cultural highlights from Jumeirah cities
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February - March 2019
ICON Terence Stamp and Jean Shrimpton, London, 1963 Terence Stamp’s journey mirrored that of English cinema. When he started out in the early 1960s, he was forced to put on an upper class English accent. By the time he broke out with films such as The Collector and Ken Loach’s Poor Cow, he spoke in his natural – cockney – accent. He worked with all the greats: Ken Loach, Peter Ustinov, Federico Fellini, Pier Paulo Pasolini. He had a string of high-profile relationships; indeed his relationship with Julie Christie was immortalised in the Kinks’s song, Waterloo Sunset. He also dated model Jean Shrimpton, and it was the heady mix of cinema and high fashion that turned them into England’s first glamour couple. There was nowhere else in the world like London in the late 1960s and Stamp and Shrimpton epitomised not only the glamour, but the upward mobility of the 1960s generation. No longer constrained by class, the 60s ushered in new era of meritocracy – if, of course, you happened to be fabulously attractive. As the ’60s era ended, so Stamp’s star declined. Unable to get more than bit parts in the early 1970s, he decamped to an ashram in India for nearly ten years, only returning in 1978 where he played General Zod in Superman 2. This was Stamp MK II: older, wiser and about to usher in a marvellous career as a character actor. Stamp embarked on his third act: with films such as The Limey, The Hit and The Adventures of Priscilla, Queen of the Desert. Yet for many fans, Stamp will be indelibly linked to London’s swinging sixties, a time and a place where, for a brief moment, everything seemed possible.
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OBJECTS OF DESIRE
FROM TOP: Hay - The Sonos One; Bang & Olufsen Beoplay A1; Fendi Wireless Headphones
Of Sound and Style While the first patent for wireless speakers was filed way back in 1994, it’s only in recent years that the technology has gone mainstream. And while the first generation of wireless speakers worked, they were far from attractive. Thankfully things are different these days, with a number of speakers on the market that look as good as they sound. Take Sonos’ collaboration with Danish furniture brand Hay ($290). The Sonos One combines a stunning palette of colours with the impeccable Sonos sound. Small and beautiful, these can be placed around any room for the full surround sound effect. It’s
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not just tech brands that are embracing aesthetics, but fashion brands that are embracing tech. Take the Fendi Wireless Headphones ($575), which, thanks its canary yellow case, will turn heads. With an internal battery that lasts up to 60 hours, and an USB port that doubles as a power bank, it’s a deceptively robust piece of kit. Choose between yellow, red, blue, pink, black and white. Finally, the Bang & Olufsen Beoplay A1 ($285) is a small but powerful speaker that allows up to 24 hours of play time. It also has a built-in microphone (and Wi-Fi) which allows you to use Apple Siri and Google Voice. Sweet.
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9.30am: RAC
24 HOURS IN SHANGHAI Explore one of the most romantic neighbourhoods in China’s largest city Words − Cat Nelson From the futuristic skyscraper skyline of Pudong to the historic buildings along The Bund to the ancient alleyways of the Old City, the romance of Shanghai is real. But nowhere is it stronger than in the tree-lined streets of the Former French Concession. Perennially
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hip, the dynamic neighbourhood blends Shanghai’s past with its present, pushing heritage homes, soup dumpling shops and vegetable stalls up alongside fashion-forward boutiques, contemporary art galleries and the city’s latest cocktail bars.
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For as far back as the memory goes, Shanghai has been China’s most cosmopolitan city, influenced and shaped by the foreign presences residing in the city. In the 1930s, urbane youth might have sipped cocktails at the Peace Hotel on The Bund. Now, they converge over breakfast and brunch at hugely popular – and very tasty – French eatery RAC (322 Anfu Lu; +86 136 3659 5172). Weekend mornings see the courtyard heaving with well-polished Chinese hipsters, millennial expats and young families snapping photos of picture-perfect Breton galettes with brilliantly orange egg yolks and tiny mason jars of oeuf en cocotte. The hype is real, however, with a menu of truly crave-worthy savoury buckwheat flour crepes oozing with cheese and breakfast sandwiches on buttery brioche rolls. Beyond breakfast, RAC boasts the city’s best natural wine list, perfect for splitting a bottle at the space’s large, communal table later on in the day.
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11am: Capsule Shanghai Despite Beijing long having been known as the country’s cultural capital, in recent years, Shanghai’s art scene has outstripped that of its northern counterpart. The momentum is undeniable; galleries continue to sprout up across the city and massive international art fairs are making Shanghai a stop on their maps. Tucked at the end of a traditional Shanghai residential lane, Capsule Shanghai (Building 16, Lane 275, Anfu Lu; +86 21 6417 0700) occupies a secluded, low-slung 1930s villa. Opened by Italian native Enrico Polato, the gallery’s four rooms showcase international and Chinese artists, working in painting, sculpture and mixed media. The garden house juxtaposes the city’s historic past with cutting-edge modern art.
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12pm: Oha Oha Eatery (23 Anfu Lu; +86 136 2164 7680) is a deep dive into the flavours of Guizhou Province, twisted and screwed. What started as a test kitchen for the team’s more ambitious
space Blackbird and Table Black in Changning district developed an identity of its own. Bold and funky are the words best fitting for what’s happening at the hands of New Zealander Blake Thornley. The product of intense research trips and development with founders Diao Wei and Gong Xian to their home province, Thornley’s menu reworks Guizhou’s signature flavour profile (sour and spicy), dishes and ingredients into unapologetic, modern interpretations. Think ‘moldy’ tofu salad, with fermented tofu that’s reminiscent of blue cheese and Chinese clover, or burnt bell pepper with a preserved egg puree. The narrow space lends itself to an intimate lunch with a curved bar seating roughly a dozen and wines that are as unchained as the food.
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2.30pm: Pawnstar Quality vintage, thrift and secondhand stores are few and far between in Shanghai. Luckily there’s Pawnstar (No 1, Lane 34, Xiangyang Bei Lu; +86 156 1833 1415). Spend the early afternoon combing through the racks at this two-storey vintage consignment shop. Founded by husband-and-wife team Nels Frye and Jane Jia, the shop’s ethos revolves around reuse and upcycling. It’s an ethos that diverges sharply from the city’s overriding obsession with fast fashion, ‘the new’ and convenience. Frye and Jia carefully curate preloved items for an abundant but cohesive collection. Scour for a wide gamut of styles – one recent visit unearthed a pair of men’s red and grey cameo New Balance, pastel blue Dolce & Gabbana heels adorned with teapots, an NFL 49ers jersey and an eye-popping purple, blue and yellow Coogi Modigliani sweater with extreme levels of swag.
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3pm: LABELHOOD Pillar As designers, artists and craftsmen continue stepping into the global spotlight, ‘Made in China’ is taking on a new meaning. Shanghai-based platform LABELHOOD has been instrumental in promoting and supporting emerging Chinese fashion designers inside and outside of China, international fashion weeks
as well as Shanghai Fashion Week and retail stores. Started as Dong Liang in 2009, the brand evolved over the past decade, finally merging and re-branding its two Shanghai stores as LABELHOOD last year. Set in a narrow three-storey lanehouse, LABELHOOD Pillar (184 Fumin Lu; +86 21 3469 6926) offers a quick 101 on current names in Chinese fashion. Browse womenswear brands like the retro-elegant Ms Min and whimsical, lively Museum of Friendship, spirited menswear from Staff Only or bold and intensely colourful styles from unisex label Angel Chen. The space flows effortlessly over the three floors, punctuated by the occasional art installation and pop-up shop tucked onto landings and under staircases.
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9pm: Sober Company From delivery services on steroids to a nearly cashless society, ‘convenience’ is king in Shanghai. Cocktail mastermind Shingo Gokan (also behind the city’s most acclaimed bar Speak Low) takes this next level at Sober Company (99 Yandang Lu; +86 21 5309 8261), where you can bar crawl through three distinct concepts – café, restaurant and
cocktail bar – within a single building. Start with a clarified coffee milk punch and avocado fries at Sober Café before moving upstairs to Sober Kitchen for Chinatown and Kong Kong-inspired tipples with modernised Chinese sharing plates like a creamy foie gras mapo tofu. Just adjacent, moody, copper-ceilinged cocktail bar Sober Society serves up more involved creations. A drink at each of the three venues within this Asia’s 50 Best Barsranked spot grants you access to the space’s one-room, no-menu speakeasy Tipsy, where the bartender will create a bespoke cocktail for each of your party.
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5pm: Bitter and Bird
11pm: ALL
Sip on an aperitif as the sun sets at airy, relaxed café and bar Bitter (58 Wuyuan Lu). The polished yet unpretentious space opens at 8am, caffeinating an ebb and flow of neighbours, freelancers and young entrepreneurs throughout the day before serving up unfussy pre-dinner drinks once dusk hits. One storefront over, you’ll find the café’s sister space Bird (50 Wuyuan Lu; +86 135 0172 6412), a wine bar and kitchen. Here, Shanghai-born Chris Zhu turns out creative plates drawing on the flavours of his childhood – a mac and cheese riff with rice cakes, béchamel and mozzarella or peppers stuffed with pork, lotus root and mushrooms.
For nearly a decade, gritty underground club The Shelter (literally both underground and in a bomb shelter) was a mainstay in the city’s nightlife scene, known for its boundary-pushing, alternative music programming and wild parties that lasted until the early hours. Its sudden shuttering in 2016 left a palpable void for a short few months until the legendary club’s co-founder and manager Gaz Williams opened ALL (Second Floor, 17 Xiangyang Bei Lu; +86 21 6495 8595). On weekends, the minimalist club, designed by digital artist Kim Laughton, throbs with an edgy young crowd throwing back beers and highballs to hypnotic,
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08 flickering visuals alongside live, avantgarde DJ acts that more often than not flirt with performance art. ALL plays host to album release parties for artists on Williams’ electronic music label SVBKVLT, seminal figures in the country’s electronic scene and international acts like Cakes Da Killer.
While in Shanghai stay at the luxurious Jumeirah Himalayas Hotel Shanghai. jumeirah.com
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Comptoir 102 A concept store with a difference in the heart of Dubai’s Jumeirah Beach Road
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Words − Conor Purcell
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Wander down Jumeirah Street (calloquially known as Beach Road) past the bougainvillea-strewn villas and the low-slung shopping malls and you will come across something rather different. Located at number 102, in a pretty, one-storey converted villa, is Comptoir 102, part furniture store, part clothes store, part beauty store, part café. It’s relaxed, it’s chic, it’s original, and it’s become something of a sensation since it opened its doors in 2012. Set up by two French expats, Alexandra de Montaudouin and Emma Sawko, the brand has quickly become a favourite for those who like their food – and their homeware – made the natural way. Despite the store initially only selling furniture, it has become more known for its café and its constantly revolving menu. It was, like most successful entrepreneurial endeavours, set up to solve a need. “After I came to Dubai from New
York, I was looking for a one-stop shop to do my shopping, whether that be clothes, jewellry, beauty products or food,” Sawko says. “In 2012 it was a challenge to find organic products, let alone a store dedicated to organic ranges. Eventually we decided to fill that gap.” Filled with artwork, objects, furniture, fashion and beauty products, it’s an Aladdin’s cave of carefully curated products, all of which reflect the sensibilities of Comptoir’s owners. Take Raw, for example, their range of own brand jewellery. Created by designer Mathilde Danglade, the collection features intricate, eye-
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catching designs using precious metals, precious and semi-precious stones that perfectly reflect the Comptoir 102 ethos. That ethos is also reflected in the space the women chose to call home. “We wanted to open it in a villa. If you are in a villa, you have to have a few different things on offer, so we offer food, interior design, jewellery, and fashion. We have to be a destination and offer as many things as possible,” Emma says. Both women have travelled extensively and picked up ideas along the way. “We saw places in different cities, in New York, in Paris, but we did not see the same in Dubai – maybe it’s a more European thing: somewhere to eat, to relax and to shop under one roof,” says Emma. The biggest challenge was finding the right villa, and then, dealing with the reams of red tape that engulf any new business. “We are so different that it was difficult for the municipality to understand where to put us,” says Alexandra. “They told us that we should not sell food and sofas together that it would not work,” adds Emma. “When they came and saw the cement floor they thought it was not finished.” They can look back now and laugh, for the hard work has paid off. It helps that the ethos the brand lives by has become increasingly popular, both in Dubai and worldwide. “We evolved thanks to the growing demand for more natural products,” says Emma. “Basically less bling and fast food, and more low key luxury fashion and slow food. From the very beginning the focus was on the healthy café, furniture and jewellry, but very soon after we realised there was a gap in the fashion scene and therefore decided to introduce this into the concept store. In 2017 we opened a dedicated Beauty corner, offering only clean, organic, natural and sustainable beauty products. We’re talking ditching plastic, eschewing toxic chemicals and supporting sustainably-sourced, plant-derived products; brands that care both for you and the environment.” That is reflected in the kitchen where they use ‘age old techniques.’ “These techniques are mostly abandoned today as they are so time consuming,” says Emma. “Things like pre-soaking, fermenting, cooking at low temperature, steaming and dehydrating.” The brand is looking to the future as well, having launched an online store in December last year. “With Dubai being a stopover for many tourists, it was only natural to bring Comptoir 102 closer to those who visited the store in Dubai,” says Emma. In a region often dominated by identikit malls and identikit products, Comptoir 102 is a breath of fresh air. Conceived with love and created with care, it’s a slice of home.
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Three to Try
Buckwheat and Millet Raw Chocolate Porridge Start the day in the right manner with this frightfully healthy concoction. It consists of gluten free rolled oats, almond milk, raw cacao powder topped with blackberries and mint.
Heaven on Earth Smoothie A mix of dates, banana, almond milk, raw cacao, almond nuts and cinnamon, this supposedly helps skin and hair health and enhances brain function. Oh, and it tastes amazing.
Halloumi Toast These slices of heaven feature organic halloumi, tomato, cucumber, radish, coriander, black olives, spring onion, homemade pesto, almond nuts, sunflower seeds, pumpkin seeds and gomasio all on homemade organic bread.
BELOW: Comptoir 102 founder, Emma Sawko
Comptoir 102, 102 Jumeirah Beach Road, Dubai Tel: 971-4-3854555; www.comptoir102.com
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Building Blocks The Kuwait-based architecture firm reimagining the interface between public and private space
It’s a long way from Vienna to Kuwait, both geographically and culturally, yet it was a journey the founders of Studio Toggle decided to make after signing a number of contracts in the Gulf state. Toggle AKA Hend Almatrouk and Gijo Paul George met at Vienna’s University of Applied Arts where they were both studying for their masters. Hend, a Kuwaiti, and Gijo, an Indian, found they had similar ideas about architecture and decided to work together: Studio Toggle was born. The studio has become something of a success, putting Kuwait City on the global architectural map. Both Almatrouk and George take their inspiration from myriad sources. “We derive our language from a wide gamut of inspirational sources,” says George. “We are equally inspired by the aesthetic works of artists such as Donald Judd and Richard Serra on one end of the spectrum and by the provocation of Jackson Pollock or Yayoi Kusuma.” It’s not hard to see comparisons between Studio Toggle’s work and the Serra’s. Serra of course, is the renowned American sculptor, famous for his embrace of minimalism, and the importance he places on materials. Witness Studio Toggle’s Edges Apartment Block, a 20-unit apartment block over ten storeys. A deliberately playful façade differentiates it from the identikit blocks that dominate the surrounding area. “Aesthetically, the façade represents a break from the generic curtainwalled apartment blocks that are the norm in the region, choosing to play with the massing and shadows rather than a collage of materials,” George told the architecural publication Dezeen. The design has a functional benefit too, effectively acting as a windbreaker. “It mitigates the constant strong wind blowing from the sea, as well as affording a certain amount of privacy to each apartment,” says George. Or visit Bean2Bar, a stunning chocolate boutique in Salmia, in which the materials used
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transform a rectangular room into a cellular vault. It’s a stunning work and one that highlights the fact that neither George nor Almatrouk are afraid to take risks. Another watchword is sustainability. Acutely aware of the environment they are building in, the studio focuses on large openings and understands the nuance of light and shade. Examine the monolithic splendour of their F.Lot project in Kuwait City, a detached villa that both understands and embraces its desert surroundings. And that relationship between and a building and its environs is particularly prescient in Kuwait City. “When the majority of the traditional mud architecture of Kuwait was demolished in the 1960s, a huge part of Kuwait’s architectural context was unfortunately erased as well,” says Almatrouk. “This has led to a lack of cohesion in the architectural styles that has been adopted in the decades that followed. Out of these myriad styles, the Mediterranean of the arabesque styles have proven to be the most popular and we believe this will continue into the future. What we call “modern” is simply an evolution of the international style that originated in the 1960s and we believe the demand for that will always be on the fringes unless it adapts to the local context.” That attention to detail is apparent in how Almatrouk describes what a house should do. “A well designed house is much more than a roof above your head and walls to protect you,” she says. “It is a sanctuary that relaxes and rejuvenates its inhabitants. It should fit the inhabitants’ lifestyle like a well fitted glove. We work closely with the clients to understand their needs, their specific lifestyle and their routines to find optimised solutions over a course of increasingly refined iterations. The concept design process takes anywhere from six weeks to three months based on the complexity of the project.”
Words − Conor Purcell Photos − Gijo George
RIGHT PAGE: Edges apartment block in Salmia
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THIS PAGE: The Bean2Bar chocolate boutique in Kuwait City RIGHT PAGE: Exterior and interior of the F. Lot villa project
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“The process starts with a questionnaire that asks key questions designed to bring out the needs and likes of the client. That is then used to formulate a design brief. This design brief forms the basis of the planning exercise taken up in collaboration with the client over a series of intensive work shops. The consultation covers topics such as space planning, materiality, lighting design, services and the landscape.” For George, there’s a simplicity about good architecture. “Good architecture should not feel forced or convoluted,” he says. “We aim to create timeless spaces harmonious with and sensitive to their surroundings; spaces that make use of the cutting-edge technologies available to us. We believe good architecture should be responsible and should solve more problems that it creates.” That attitude is reflected in the materials the studio uses. “We prefer to disassociate ourselves from any stylistic trends although most of our projects do have a sparse monolithic and subtractive aesthetic,” says Almatrouk. “Generally restrained in our palette, we prefer the honesty of materials like exposed concrete, brick and simple white washed walls.” Drive around Kuwait (or any Gulf country) in 2019 and you will see a huge variety in architectural styles, something that’s not always a positive. As Almatrouk says: “In Kuwait there is a
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tendency to treat buildings like islands. Fantastic buildings totally disconnect from the urban fabric. This has led to the disintegration of streetscapes and general low urban quality. We believe that the interface between the buildings and the urban fabric is just as important. Harmonious interaction with the urban fabric increases the quality of life.� Words to live, and indeed, build by.
Combining Kuwaiti hospitality with the Jumeirah mark of quality, the Jumeirah Messilah Beach Hotel & Spa is a good central place to base yourself. jumeirah.com
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How I Made It
Globemaker Peter Bellerby on getting started, creating the perfect sphere and the value of patience
As told to − Conor Purcell
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Photos − Alun Callender, Andrew Meredith, Ana Santi
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It started as more of a hobby rather than a career direction. I had the idea to purchase a globe for my father’s 80th birthday and I searched extensively but only found poor quality reproductions, factory made plastic globes or fragile and very expensive antiques. So I set off on a mission to create one for him and maybe one for myself. Once the budget had been blown a few times over and I still had not figured out how to properly make a globe, stubbornness set in. It was about two years before I made my first globe. Everything from start to finish was a challenge. Making a perfect sphere requires perfect moulds which requires a lot of trial and error. I ended up having to make a map from scratch. Getting the sizing of the gores (slices of the map that form a correct map on a sphere) correct for each size globe. Then learning to wet and stretch paper across a sphere without the paper ripping, rippling, tearing
It is airy and full of plants and globes and pieces of globes. Downstairs we have our woodworking studio where we make and finish the bases as well as the huge space needed to make the Churchill globes. Upstairs painters and makers and apprentices in training all work side by side. It is a warm atmosphere, quiet most of the time. Every day the team takes an hour lunch break together to catch up – on the rooftop when the weather is good… twice a week they all do yoga together in the studio as well. It feels like more of a family with most people staying in the company since I first hired them years ago. We are a team of about 25 now. We have two full-time cartographers as each globe is made to order and each customer has the option of requesting special edits to the map and added personalisation. We then have woodworkers, painters, globemakers and two new apprentices
Most of the day we work in total silence, concentrating on each movement of our hands. It is very precise and delicate work. or turning into mush. Even now when I train a new Globemaker – and give them all the tools they need – they have to try to make a globe every single day for six months at least before they get it right. I was surprised to find there were no 'how-to manuals' and the joy of learning from trial and error – it meant I had some ‘eureka’ moments as things started to make sense. It also means that the way my company makes globes is entirely unique to us which is quite fun I think. Patience is key, and that is a quality we look for when hiring new members of our team. Most of the day we work in total silence, concentrating on each movement of our hands. It is very precise and delicate work. We are based in Stoke Newington. The first studio was down a little side street and much smaller, like a shopfront. When we got our first order for a 127cm diameter Churchill, I had to look for a new premises simply to have double doors. I found a place that had been empty for years and transformed it into a usable workspace. We have been here 7 years now, changing the space to suit us as the team grows. It is a former warehouse down a little mews. Spread out over a mezzanine area and lower level – I built it as an open plan space making best use of the floor to ceiling windows and high ceilings.
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in training. Then there is an illustrator, an engraver, my partner handles all the PR requests and the sales side of things. And let’s not forget the accountant. Each globe passes through many hands which is really nice I think. At least five different people are involved in making each globe from start to finish. You can see why the family atmosphere is important, there is so much teamwork required In order to make a globe, you need to create a perfect sphere, using two half-moulds. My first globes were made using plaster of Paris but for the larger globes we now use modern composites and the smaller ones are made from resin. Next, we edit our map, since each globe is made to order we are updating our cartography regularly and personalise depending on our customers preferences. Once the map is ready, it is printed and cut up into precise oval shapes called gores. The gores are painted by hand using watercolours, which give a unique result for each globe. When the gores are dry, they are ready to be attached to the globe, which is called ‘goring the globe.’ That stage is very precise work and very difficult because you’re wetting the paper and stretching it, wet paper as you can imagine is very fragile. The paper wants to rip, ripple, bubble or tear naturally. If you work with one piece too long it
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will naturally degrade. After the gores are applied many more layers and detail of watercolour are added and the globe is sealed with either a gloss or matte finish. The globe is then placed into its base, we make a variety of traditional and modern bases of our own design. Everything is bespoke and the customer can choose from a large range of colours, woods, finishes... we recommend based on what we have
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created previously or we work with them to create something one-off. It takes between a few weeks to a few months to make each globe depending on the size and level of personalisation. The globes that spin 360 degrees in a fluid motion by hand (Albion Series coming in sizes from 23cm – 127cm) tend to be the most coveted. We have a one year waiting list for the 23cm and 36cm sizes, and a three-year waiting list for the largest size. We have had some really amazing customers, people I admire immensely, but I always keep their details private. Without naming names there was a band we made a globe for, they had been touring continuously around the world for 20 years and we were given about 60 pages of information regarding their tours. We plotted on the globe each and every flight path along with the travel detail. It looked very cool. Handcrafted globes are fascinating as so much work goes into each one and it was a dying art. People seem to have newfound respect for traditional crafts in these modern times of GPS on your phone and everything being mass produced. People want something with fingerprints on it, something one of a kind. Each story is so unique. There are birthdays, anniversaries, globes for children just born to grown up with and grow old with, [globes] as a wedding gift to remember all their adventures together and hopes for future travels. People commission globes for themselves. We are often told by customers that they have been searching for decades and never found what they were looking for until they stumbled upon us. One customer is commissioning one in the memory of his late wife, to remind him of all the places they travelled together. Another customer has commissioned one for her daughter in memory of her late husband, so her daughter can see everywhere her parents travelled together, so one day she can follow in their footsteps. The most challenging globe to make is the 127cm Churchill. It takes six months to make and two people to apply each gore together. I have learned patience through this job and been put in a lot of situations that are entirely new to me. I never expected this profession would lead me to appearing on television or flying to other countries to speak to rooms of people interested in what I do. I am now able to give back to charities that I am passionate about, and I have gotten involved in animal conservation. I was amazed to see a oneoff “egg-globe” I made for The Elephant Family charity be auctioned off at Sotheby’s in New York for $25,000. That was great. www.bellerbyandco.com
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Words − Iain Akerman
Photos − Rory Gardiner, Simone Hutsch, Klaas Vermaas
How LONDON Learned to Love BRUTALISM Again Iain Akerman explores how a once much derided architectural form came back into favour
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Battersea Power Station
Few architectural styles have divided opinion as dramatically as brutalism. Bold and austere, raw and rugged, its surly aesthetic has been both vilified and adored. Yet something strange has happened. Brutalism is undergoing a renaissance. It is being photographed and tweeted, pinned and hashtagged, savoured and cherished. Those hulking concrete masses that were once demonised as architectural monstrosities are being reclaimed as objects of beauty. For anyone who has lived through the gradual destruction of our brutalist heritage, this is a strange place to be. Brutalism was born out of a post-war era of austerity. It was a striking and innovative departure from the bourgeois elements of modernism, embracing utilitarian designs, functional reinforced concrete and steel, modular elements, and the sort of architectural brashness that led to its later vilification. It cared little for traditional ideas of beauty, prioritising function over form, and frequently leaving mundane functions exposed. It used concrete to create “dramatic forms that were singular rather than generic, sculpted and heavy rather than
“It’s become a benchmark against which our aesthetic inclinations are tested, measured and reoriented. And it’s this power to provoke that makes brutalism so incredibly important, and why its survival is essential.” thin and light, and, frequently, civic and institutional rather than corporate”, wrote Michael Kubo, Mark Pasnik and Chris Grimley in Architect magazine. As such, its appreciation has been chequered. In fact, no other architectural style has attracted such intense negative emotion. “Brutalism is like a powerful artwork: it evokes strong feelings,” says Harriet Harriss, reader in architectural education at the Royal College of Art’s School of Architecture. “As a consequence, it’s become a benchmark against which our aesthetic inclinations are tested, measured and reoriented. And it’s this power to provoke that makes brutalism so incredibly important, and why its survival is essential.” Although a celebration of the possibilities of concrete, brutalism was far more than just a style. The British architects Peter and Alison Smithson – regarded as pioneers of the movement – believed it to be “an ethic, not an aesthetic”. They challenged modernist approaches to design and urban planning, creating buildings that fostered community and reflected the realities of life in post-war Britain. As such, brutalism can be viewed as an heroic, even noble or dignified movement,
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embodying a radical social honesty that was designed to lift a traumatised and impoverished post-war society. “In the UK especially, brutalism embodies the post-Second World War sense of optimism and a unilateral commitment towards a more meritocratic and, by implication, more peaceful society,” says Harriss. “So many of Britain’s best brutalist icons – from housing and schools to theatres and civic buildings – were funded by local government, intended to be both public assets and accessible to a diverse public. “Given the urgency of addressing post-war housing shortages and to transform bomb-damaged cities into functioning, habitable and productive places, architects worked with the most affordable material available: concrete. The plasticity and malleability of concrete offered an open invitation to architects to experiment with new forms, spaces and textures and to imbue their buildings with the principals of the postSecond World War social programme: by democratising typologies that were originally intended for the wealthy and ensuring that good design was accessible to all.” Nowhere is this more profoundly felt than in London. It’s where you’ll find Ernö Goldfinger’s Trellick Tower, with its 32 stories of raw concrete, and Neave Brown’s Alexandra Road Estate, which snakes along a railway line in Camden and was built over a six-year period from 1972. Perhaps the most striking of all are those projects that were designed with both community and culture in mind: the layered concrete landscape of Denys Lasdun’s National Theatre; the enormity of the Barbican Estate, which cascades over 16 hectares of Central London. Designed by the architects Chamberlin, Powell and Bon, the Barbican is a confusing yet remarkable architectural fantasy. It gave pedestrians as much importance as cars, brought art and learning to the heart of the community, and radically re-envisioned public mobility via a maze of corridors, walkways, sky bridges and tunnels. “All buildings tell you things about the moment they were built,” says Barnabas Calder, a senior lecturer in architecture at the University of Liverpool School of Architecture and the author of Raw Concrete: The Beauty of Brutalism. “Brutalism was often used for socially progressive commissions like social housing and universal healthcare facilities, but architecture also continued to serve all the other clients and tendencies of its period: huge commercial projects for private profit, housing for the very rich, masonic lodges, government buildings for oppressive regimes. Some see brutalism as left-wing, but you have to ignore a lot of buildings to make that story work. “Architecture is not just a visual art,” adds Calder, who is a trustee of the Twentieth Century Society, a charity that campaigns for the preservation of architectural heritage. “It’s also a bringing together of technology, social ideas and so on. The 1960s stood at the peak of a very steep, rising curve of technical and social development, with powerful new technologies available free from the guilt and pessimism that has rightly overtaken architecture since we realised that all our energyhungry machinery can’t be used without serious environmental consequences. Brutalism profited from an unprecedented range of architectural options and a thrilling atmosphere of optimism and excitement.” Yet, despite that optimism and the social
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Clockwise from top left The National Theatre, Tower 42, Robin Hood Gardens, Barbican Center, County Hall
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US Embassy
Sampson House
Images from Atlas of Brutalist Architecture (Phaidon)
convictions of those who embraced brutalism, it didn’t take long for the movement to fall foul of public opinion. What were deemed as merits by its designers – innovative internal layouts, ‘streets in the sky’ etc – soon became viewed as cold, alienating and unwelcoming. Brutalism became the architecture of the poor and the downtrodden. You need look no further than the Smithsons’ Robin Hood Gardens – two crooked concrete slabs sandwiching a central garden in Poplar – to understand why. Imagined as a beacon of modern social housing, it was plagued by structural problems and renowned for criminality, and effectively ended the couple’s public career. Demolition of the building began in 2017, although the V&A museum has salvaged a three-storey section for posterity. The couple’s son, Simon Smithson, described the move as an act of civic vandalism. Similar problems affected Trellick Tower before it was showered with much-needed attention following Goldfinger’s death. Yet across London, and indeed across the wider UK, brutalist buildings became synonymous with neglect and decay. They were not only viewed as eyesores, but as poorly designed and badly built social projects that had gone awry. Many were badly insulated, requiring air conditioning and lifts to make them habitable, and became unliveable. And yet here we are, 15 years on, in the midst of a renewed appreciation of brutalism. There are brutalist London maps, books such as Peter Chadwick’s This Brutal World, and Instagram accounts such as @thisbrutallife. Even Calder’s Instagram handle is @BrutalConcrete. Why the pendulum has swung from condemnation to reverence is down to a number of factors, not least nostalgia, a rejection of conspicuous consumption, renewed critical admiration, and the nature of fashion. The latter was something that journalist Rory Carroll noted in an article for The Guardian 20 years ago. “Tenants adore it, Blur sing about it, directors and advertisers film it, T-shirt designers transpose it, architects study it, coach-loads of tourists photograph it,” wrote Carroll of Trellick Tower. “A Mongolian planner seeking inspiration visited, followed by South Africa’s housing minister. Trellick’s transformation is the closest urban renewal gets to fairytale – one which planners hope will become a model for Britain. It is a story of a flawed ideal, a vilified architect, a doomed vision and tenants who refused to give up.” The renewed interest in brutalism also owes a debt to photography. There’s something about its monumentality that makes it so visually engaging. The simplicity of its materials, the spaces that lend themselves to moments of human interaction with architecture – these too are significant, believes the London-based photographer Rory Gardiner, who has been snapping London’s brutalist buildings for years. “You can get away with a lot of technical slips with so much concrete,” says Gardiner. “It’s possibly why I enjoy it. You can be quite loose in your approach… You can see concrete as either warm or cold. Therefore the buildings could be austere and exclusive, or inviting and nuanced.” It’s a feeling shared by Calder. “I was drawn to their appearance first: mysterious great grey shapes in the cityscape,” he says. “I grew up fearing and hating them (like most people in the 1980s and 1990s), so when I started to become interested
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in them they had the massive pleasure of being beautiful and brilliant works of art hidden in plain sight. It’s hard to feel neutral about buildings that make their presence felt with so much toughness and punch.” “From a personal perspective,” adds Harriss, “brutalism’s tendency to use formwork – casting in situ using timber shuttering, resulting in the imprint of the timber remaining on the cast concrete – provides a texture that is both sensual and sculptural, inviting touch and evoking natural forms. In effect, brutalism is both a political and a sculptural project: engaging both intellect and emotion.” But there is a deeper reason for its resurgence. Just as gentrification has become a dirty word, brutalism can be viewed “as a physically conspicuous reminder that a meritocratic society is possible”, believes Harriss. “Many of today’s politicians would rather we forget that.” “Brutalism emerged after a devastating war had pointlessly destroyed millions of lives, and the knowledge of this fuelled a commitment to ensure that the inequalities that caused this war would never re-emerge,” she says. “Fast forward to today, and we are fast re-creating the pre-conditions for another period of conflict and unrest. Brutalist buildings therefore serve to remind us that we can, if we choose to, reignite the social project that built them and make society fairer again.” Ensuring that brutalism survives in depth, however, will be a challenge. Not even Instagram popularity can save the architecture from the developer’s destructive touch. Such buildings are particularly vulnerable, with Welbeck Street car park in Marylebone currently under threat of demolition. Critical appreciation may have turned in favour of it, just as photography has helped to further its position in the popular imagination, but brutalism is still widely regarded as ugly. “Sadly, much of the best brutalism worldwide is under serious threat of unsympathetic alteration or demolition,” says Calder. “Its moment out of favour was normal. Victorian and even Georgian architecture each had their decades of near-universal condemnation. Architecture goes out of fashion for a bit before coming back in and staying in. We just need to make sure that the best examples are still there for people to enjoy.” When the Smithsons-designed Economist Plaza was recently renovated it was given more than just a new lease of life. It was given renewed purpose. But for other neglected or unloved brutalist structures, only hard work will suffice. That means lobbying for their protection. “The Barbican, the National Theatre and a number of other masterpieces are already listed, but mystifyingly the Hayward Gallery and Queen Elizabeth Hall complex has been repeatedly turned down against the advice of Historic England, and even grade II-listed brutalist buildings like Balfron Tower have been altered very damagingly,” says Calder. “The best thing anyone in Britain can do for brutalist buildings is to join the Twentieth Century Society. They fight tooth and nail to protect the best post-1914 architecture, and they need and deserve your support.”
Jumeirah have three stylish properties to choose from in London: Jumeirah Lowndes Hotel, Jumeirah Carlton Tower and Grosvenor House Suites by Jumeirah Living. jumeirah.com
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National Theatre
The Age of Influence
Words − Ashley Dudarenok
How a new breed of Chinese influencers have revolutionised the business of fashion
Four minutes. That’s how long it took Becky Li to sell 100 MINI YOURS Caribbean Blue Limited Edition cars (priced at $45,500 each) through her WeChat channel. You probably haven’t heard of Becky Li, or any of the elite Chinese influencers that are changing how fashion is consumed in the world’s biggest consumer market. And that’s OK. But that day, July 9th, 2017, was something of a
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watershed, as it illustrated to global brands and marketing agencies that the biggest Chinese fashion influencers could sell a lot more than just handbags. Becky Li. Gogoboi. Mr Bags. Papa Jiang. Dipsy. These are just some of the names that have tens of millions of followers on Chinese social media platforms, and shift hundreds of millions of dollars of luxury goods each year. For brands looking to
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access the often opaque Chinese market, they are manna from heaven; a golden opportunity to tap into the biggest consumer market in the world. And despite China’s current financial downturn, the performance of the luxury brands such as LVMH, Gucci and Hermès, has remained steady, with some achieving double digit growth last year – it seems that the Chinese love affair with luxury Western brands shows no signs of abating. And that’s good news for the influencers, and even better news for the brands. To put it in context, it’s predicted that China will replace the US as the world’s biggest fashion market this year, with a total value of $29 billion. That’s an awful lot of handbags. And with such rewards on offer it’s no surprise the battle for the hearts and wallets of the Chinese consumer is heating up.
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The good news for the brands – and the influencers – is that Chinese millennials are more receptive to luxury brands than any previous generation. According to a 2017 McKinsey China Consumer Survey, the millennial consumer will contribute more than 20 per cent of the total consumption growth in the luxury sector, higher than any other population age group. Another difference: Millennials would rather make their purchasing decisions based on the recommendation of social media stars rather than traditional advertising channels. KOL (Key Opinion Leaders, another word for ‘influencers’) marketing is becoming more and more dominant in the Chinese luxury fashion market, and is gradually replacing TV and press. Weibo and WeChat have replaced Vogue and Harper’s Bazaar; the models are being replaced by the influencers who are themselves replacing the media companies of old. It’s a revolution, and one that the likes of Chanel, Gucci and Givenchy have been quick to adapt to. Influencers such as Kris Wu, Lu Han and Papi Jiang get invited to fashion show front rows, collaborate with labels on their own fashion lines and get new products before anyone else. In return they push the brand’s products out to their own followers, creating a virtuous circle where everyone profits. The Chinese influencer phenomenon has gone through three distinct stages: the first was all about appearances, where the prettiest social media stars gained the most followers and the biggest brand tieups. One such influencer, Zhu Chenhui, who goes by the name Cherie online, founded her own clothing brand in 2015, after the popularity of her Weibo account soared. The second stage saw the influencers attempt to rely on more than just their looks. Their content became quirkier and they branched out into other subjects; personality became more important,
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although it was still part of a carefully constructed identity. The latest stage has seen the tie-ups between the influencers and the brands become more professional. Influencers such as Zola Zhang are less like freelance bloggers and more like a small business, with staff (Zola has thirty), business plans and media and marketing campaigns. This is just one of the many differences between Chinese and Western influencers. As the blogger Becky Li pointed out, many western influencers are more casual in their approach, focusing on their content. Chinese influencers, she says, are in charge of sales as western brands expect them to get eyeballs, but generate direct sales as well. There are many ways the brands work with influencers. The most common – and it’s a tactic used in the West as well – is to give product samples to the influencers, who then blog, post and record videos about it. The key for the brands is picking the influencers whose audience matches its own. Get that right and it’s a relatively cheap way to create a buzz around a product. Another tactic is the so-called soft ad post. These are paid-for ‘advertorials’ where the blogger publishes a post about a brand in return for money. Many brands use this type of marketing when they are launching a new product as it’s a good way to build excitement about a new product in a short time. And while the most popular influencers are obviously the most expensive, brands are looking to work with up and coming influencers as well, betting that as their follower count grows, so will sales. The French banking group, BNP Paribas last year ranked the influencers in order of how effective they are at converting their followers likes to actual purchases. Unsurprisingly, the most effective influencer was Becky Li, who we have met before. She was quickly followed by Gogoboi and Mr. Bags. Li has become something of a standard bearer of this new generation of bloggers, and she’s worked with a who’s who of the international fashion brands, including Hermès, Chanel and Dior. Another star of this nascent form is the rather brilliantly named Mr. Bags AKA Tao Liang. His watershed moment came on Valentine’s Day 2017, when he launched a limited-edition bag in collaboration with Givenchy. It sold out in 12 minutes, for a combined sales total of $230,000. Last year he went one better, selling $475,000 worth of Tod’s handbags via his ‘Baoshop’ on WeChat in just six minutes. Liang is a dream for brands, given his channels focuses only on handbags, meaning he has a multi-million strong captive audience ready to be persuaded. And for the likes of Givenchy and Tod’s, relying on Mr Bags and his ilk to promote
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RIGHT PAGE: Clockwise from top left Zola Zhang, Dipsy, Becky Li, Thomas Ye/Gogoboi, Mr Bags/Tao Liang
their products to their audience rather than trying to build their own makes perfect sense. This is reflected in a 2016 report on the Chinese influencer phenomenon by L2, a New York-based marketing agency revealed that on average Chinese influencers WeChat accounts got four times as many views as the official channels of the luxury brands. With the Givenchy promotion, the bags were only available from Mr. Bags’ WeChat account, which linked directly to Givenchy’s official website. Each person could only buy one bag, which helped generate a buzz around the brand and ensured Mr. Bags’ cool rubbed off on Givenchy. “Every brand I talk to wants to know how to work with [influencers], and every brand dreams of connecting to luxury consumers through social media. China’s digital landscape is unique, and this applies to [influencers] too. The influencer market has become a business in its own right, and key influencers can charge astronomically high fees too,” Chloe Reuter, CEO of Shanghai-based luxury communications agency Reuter Communications said. “The most important thing is for luxury brands to develop real relationships with their preferred influencers, in the same way that they would with brand ambassadors.” As the influence of Chinese influencers has grown, so they have morphed from endorsers of brands to sellers. More and more bloggers now run their own e-commerce platforms, and brands are selling their products directly through these channels. Limited-edition collaboration pieces do best, and that will be something we see more of in the future. Another trend: Expect to see brands ‘develop’ the smaller influencers too, much like the Hollywood studios of yore would bet on an unknown starlet and attempt to turn her into box office gold. These day the gold lives on the hundreds of millions of smartphones in the hands of Chinese millennials.
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Five to Watch 01. Mr Bags/Tao Liang Influencers don’t get much bigger than Tao ‘Mr. Bags’ Liang. His ability to turn followers into customers has seen many of the big fashion brands knocking on his door – and with good reason. When he launched his Givenchy Mini Horizon bag on Valentine’s Day last year, he sold out in 12 minutes. He started his blog in 2011 when he was studying International Relations at Columbia University. He quickly went from writing about fashion to creating it, and he launched an e-commerce fashion line via WeChat last summer. Followers: Weibo 3.7 million; WeChat 850k; Instagram 37k
02. Becky Li You want influence? Witness Becky Li selling 100 Mini Coopers (priced at $45,500 each) on her WeChat in just five minutes in 2017. She only launched her blog in 2015 and her experience as a journalist meant her writing is a cut above many of her contemporaries. The collaborations keep coming: she worked on a line of accessories with Rebecca Minkoff in 2017, when she sold 1,200 bags in two days. She then launched her own fashion line on WeChat: it earned $150,000 in less than a minute. Who says writing doesn’t pay? Followers: Weibo 3.2 million; WeChat 3 million; Instagram 40k
03. Dipsy A former graphic designer picked by Chanel to star in its 2018 Valentine’s Day video, Dipsy is one of the most visually interesting Chinese influencers. “My layout, colour tone and
order of pictures are fundamental to me,” he told Vogue, and it’s not hard to see that aesthetic in his posts. His feeds are a mixture of live videos from fashion shows, events and premieres, fashion commentary and vlogs. He’s second in influence only to Gogoboi among male bloggers and his star shows no sign of waning. Followers: Weibo 5.6 million; WeChat 80k; Instagram 21.4k
04. Thomas Ye/Gogoboi Starting off as fashion editor with Grazia China, Ye made a name for himself with his biting critiques of celebrities. Now he’s a celebrity himself, routinely getting more than 100,000 views per WeChat post. The big brands have bought into his snarky take on the fashion scene, with Louis Vuitton allowing him to take over its official Weibo account during Paris Fashion Week 2015. More recently he’s transformed into a celebrity interviewer, interviewing the likes of Tim Burton and Kate Moss. Followers: Weibo 7 million; Instagram 85k
05. Zola Zhang Seen as more cerebral than many of the other leading influencers, Zhang, a former film writer, covers everything from the Cannes Film Festival to highend couture shows. She’s one of the busiest of the new breed of influencers, having collaborated with more than 300 brands in the past three years. That’s reflected in the fact she now employs thirty people to run her burgeoning empire. Followers: Weibo 1.6 million; WeChat 1.5 million; Instagram 54k
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Food for Life
After seven years heading up the Michelin guide, Michael Ellis takes up a new role with Jumeirah that was created especially for his refined palate: Chief Culinary Officer.
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What is the job of a Chief Culinary Officer? José Silva’s vision for the brand is to put food and dining at the center of the guest experience. It has been defined as one of the 3 brand pillars of Jumeirah’s development strategy going forward. For executing and creating this unique offering, Mr. Silva looked to me for the expertise and culinary experience required achieve this key objective. To summarize, I have 4 main activities: 1 Identify new culinary concepts that will enhance Jumeirah’s offering 2 Fine-tune existing food concepts, continuously tasting the current menus of our rich existing restaurant portfolio, in order to insure consistency and the best experience for the guests 3 Create restaurants concepts and new restaurant brands where people can enjoy their moments in those restaurants for the superb food experience, but as well as for the vibrant atmosphere, coming from a mix of decoration, lighting, sound design, and superb service. 4 And finally, anchor our best talent with Jumeirah and to seek out new chefs and culinary talents to join us. What do you bring to Jumeirah from Michelin Guide? I think I bring a range of skills and experience to Jumeirah. Perhaps one unique understanding I have obtained is with regard to culinary concepts. In the years I was with Michelin Guide, I was able to visit all 30 countries where the Guide is published and eat in almost 1,500 restaurants. I was able to experience a lot of new and interesting concepts in the world of gastronomy. My restaurant experiences were broad and wide. Some restaurants lacked longevity but during their time were very popular and financially successful. Some restaurants were more classic and will be forever timeless. It’s fascinating how restaurant concepts today can be global, whilst still being relevant to the local community, in fact, I am a strong believer that it is the local community that decides whether a restaurant is successful or not. I am excited to be bringing my experience to Jumeirah and particularly to have the opportunity to work on ideas generation and new restaurant concepts. Jumeirah is a fantastic laboratory! It has an amazingly diversified hotel offering across its portfolio from the beach to the city, with an astounding selection of restaurants. Do you consider yourself more of chef than a business man? I am a bit of both. I trained as a chef when I was a young man, and I share the same passion for food that chefs have. I feel that I always belong in the kitchen, and I have many chef friends, who have
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Michael Ellis takes on the role of Chief Culinary Officer at Jumeirah
been a huge influence on me. In my role as Chief Culinary Officer, I aim to use my chef network to attract talent into Jumeirah. I have a deep and wide range of contacts in the cooking world. José Silva, our CEO, made a bold statement bringing me to the Group, and his actions show the global chef community that Jumeirah is serious about food. I expect to add to the stable of excellent chefs already working within Jumeirah and to continue bring on board more culinary talent as time goes on. What do you think of the Dubai culinary scene? Dubai has an incredible intensity and vibrancy in its dining scene. There are restaurants that are absolutely packed all the time, with people waiting in line. It is home to many fantastic restaurants at all different price points. At Jumeirah we offer a vast range of dining outlets – Thai, Mediterranean, American, Mexican, French, Chinese…. and of course Arabic; truly something for everyone. Holidays are a great time to try something new, and I would encourage our guests to try new cuisines and taste experiences when they stay with Jumeirah. Now you have joined Jumeirah will the restaurants move more towards fine dining? No, but I do believe that Jumeirah could add an incredible fine-dining restaurant to its offering so watch this space! Jumeirah has great restaurants and there is still a place for more casual eateries across the hotels. In Dubai, our beach destinations are casual, relaxed and family-friendly such as Shimmers, Rockfish and Tortuga – and the food is excellent. Whilst fine dining and Michelin-starred food is wonderful, it’s not something I would want to eat every day. Variety is the spice of life.
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FAVORITE RECIPE
My favorite recipe is for a cheese and spinach soufflé; 8 eggs, 30 cl of milk, 20 gms butter, 20 gms flour, 80 gms grated gruyere cheese, 10 gms grated parmesan cheese, 50 gms fresh spinach leaves plus salt, pepper and Dijon mustard seasoning. Afterwards, the magic is in the preparation! FOOD HEROES
My food heroes are Joel Robuchon, Giro Ono, Bernard Pacaud, Anna Santini, Thomas Keller, Anne Sophie Pic and many other ground breaking chefs whom have changed the way we eat today. I also would like to give special mention to chef Kuldeep Singh, Executive Chef of Madinat Jumeirah and this year’s Executive Chef of the
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Year in the prestigious Hotelier Middle East magazine, for his incredible contribution to the culinary offering in our Group. My favorite dish from the USA is authentic Barbeque, whether it be from Texas, North Carolina or Kansas City, all world class BBQ capitals; great BBQ is one of my favorites. The best way to order in a restaurant in my view is to ask the server questions such as what do most customers like the most, the server’s favorite dishes, what the chef recommends, etc. The service team should be able to guide you to the best dishes. I think the best way to develop taste sensitivity is by practice, tasting the major taste groups, salty, sweet, bitter, acidic, umami, etc. via specific foods in order to learn to recognize the different tastes in dishes.
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Words − Conor Purcell
Ways of Seeing We meet Shane Taylor, an Irish photographer capturing London one shot at a time
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...an older man on the tube quietly said to me that “photographing people without their permission is quite rude.�
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I guess he was right – it is rude, but it has to be done because otherwise we're only left with non-candid photos of society.
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How did you get into photography? I was in my twenties pursuing a career in graphic design. I borrowed my sister’s film camera to photograph my grandmother’s derelict house. My Dad grew up in that house, so I wanted to have some kind of memory of it before it was renovated. When I got the film back and saw the heavily repainted doorknobs, and religious knickknacks through the lens of that camera, I was hooked. It wasn’t just a cold record of things. The photos felt like a half-forgotten memory. Does the camera you use inform the type of photos you take? I’d say it’s the opposite. The type of photos I want to take inform my camera and lens choice (after much trial and error). I like candid scenes of timeless beauty, so I use a small, quiet camera with a short tele-focal lens. That allows me to go unobserved and by using a lens that’s normally for fashion photography I find it easier to focus on details and create an image that's aesthetically pleasing. However, I change cameras if I’m working on a series or project that requires a different look. There’s no best camera for everything. Your photos have a certain 'classic' look. Is that something you set out to achieve? Absolutely. My favourite photographers are people who were in their prime in the 1950s. A lot of those photographers either started or ended up in fashion photography so they had a keen sense of aesthetic beauty. Like Gordon Parks; his documentary photography is powerful and aesthetically pleasing. There’s a big misconception that street photography needs to be raw and gritty for it to be honest. That’s just not true. How close do you get to your subjects? I get within two to three feet of people sometimes, depending on the lens I'm using. I avoid eye contact because if you do that then you may as well shake their hand and announce that you've taken their photo. I don’t get caught much anymore but when I first started in Dublin, I had a few encounters. Usually
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with stubborn middle aged men who knew their rights and couldn’t be persuaded otherwise. A builder chased after me once because he thought I was a spy from the insurance company. Since moving to London I haven’t had anyone shout at me. The worst was when an older man on the tube quietly said to me that ‘photographing people without their permission is quite rude’. That was far worse than the builder encounter because I guess he was right – it is rude, but it has to be done because otherwise we're only left with non-candid photos of society. Have you learned anything about human behaviour? I’ve had social anxiety since my early teens, which meant that I spent most of my twenties shutting off society. I use street photography as a way to reconnect and deal with my anxieties head on. I always feel better while I’m doing it, because every time I go out I see humanity working together and generally getting along. I’ll see thoughtful gestures like people giving up seats, or warning each other of dropped phones or open bags. My anxieties are proven false, every time. People for the most part are good and caring if you look closely. Especially in a city like London, with millions of people in such close proximity to each other every single day. It’s a bloody miracle. Who are the (street) photographers that inspire you? Louis Faurer, Robert Frank, Jill Friedman, Louis Stettner, Diane Arbus: all photographers who were in their prime in the 1950s. Vivian Maier inspired me to get back into street photography after losing interest in it a few years ago. She’s the most pure form of street photographer. Someone that pursued her own interest without any outside influence. She didn’t do it for fame or a career- she did it for a deep and peculiar interest in humanity, which I think is the reason most people start doing this in the first place. Where can people buy your prints? I offer limited edition prints through my site at www.shanetaylor. net/prints and via direct enquiries through my instagram account instagram.com/heroesforsale.
February - March 2019
Words − Natalie Westernoff
Fernando Garcia and Laura Kim are the founders behind the cool meets luxe brand, Monse. They are also the co-creative directors of Oscar de la Renta. We get to know the dynamic duo who are using their winning formula to change the face of Oscar de la Renta as we know it
The New Wave
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Fernando Garcia and Laura Kim
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As I sashayed in to meet the co-creative directors of Oscar de la Renta and founders of Monse, Fernando Garcia and Laura Kim, I was humbled by their serene energy. It’s unlikely that you will meet two people more grateful to be where they are. Starting out as interns for Oscar de la Renta himself, this is every fashion posse’ dream come true. Meeting the duo was every bit more than what I had anticipated; Laura was shy, wholesome and enthusiastic, whereas Fernando was serious, business-minded yet warm. It was the perfect combination to make magic. And that they are. Oscar de la Renta has made a clear shift in design and aesthetic. From something that was predominately for the older and more distinguished woman, Laura and Fernando are making Oscar de la Renta the go-to brand for mothers and daughters alike, introducing day dresses, denim and even T-shirts. Despite breathing a more casual air into the brand, they are still staying true to Oscar’s roots with fairy-tale inspired eveningwear – a glove fit for our market, which they both innately understand: “Middle Eastern women really understand how to dress up, they are a symbol to Oscar de la Renta as a brand. We have a wonderful fan base in Dubai.” Fernando was born and raised in the Dominican Republic, which is actually where Oscar de la Renta is from (few knew the man himself ) and as he puts it: “Oscar is a God in the Dominican Republic.” As a graduate in architecture, Fernando was lucky enough to have a family tie to Oscar de la Renta – something he utilised when he was ready to show off his sketches which he had been producing for years. “I have been a fashion person since I was a baby.” Oscar immediately offered him an internship and the rest was pretty much history. Laura has a different backstory. She gushed that she had actually been interning for Donna Karen in New York. Oscar and Karen were based in the same building. “One day I peeked in and looked around the door because I was intrigued. A few weeks later I was interning for Oscar de la Renta.” She recalled she initially had a lack of knowledge about the brand and only knew of it from seeing an image in Vogue with Kate Moss and P. Diddy wearing the designer – “when I saw the image I thought ‘wow this is so amazing and Oscar is so good looking’. I started to romanticise about the brand and have loved it ever since.” After both Fernando and Laura became interns to the fashion legend, they met and in their words, “have been inseparable ever since”. As I took a sip of my tea, the pair gave off the notion of fondness and familiarity between them. This synergy has been reflected in their work. Laura started to tell me about her hopes to always have her own business but exclaimed: “I never wanted to
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be a creative director of someone else’s company, I only wanted my own designs and my own company.” Fernando calmly interjected, “I never wanted my own company. It felt easier to be the head of another brand that already exists,” he explained “there would be less pressure if the company did not belong to us.” The duo did step away from Oscar de la Renta to create their brand Monse which has had international recognition for its expert re-workings of tailoring, being the go-to brand for cool girls all over the globe. Re-joining the house in 2016 seemed to be just the right timing for them as they had been fiercely working towards building Monse when Pete Copping stepped down and the duo were approached to take on the job. Fernando stated: “To tell you the truth, learning what we did from Oscar prepared us for many things. The only way we learnt the lessons we needed was through creating our own company. Those two years were fundamental for us to take the reins of the house and become its leaders.” The question really is: how are they doing it all? Fernando smiled as I questioned their stamina. From founding a brand to designing for another, the two are on a production conveyor belt. “The beauty of having two CEOs that trust each other implicitly is you can split the workload,” he explained. They are both young and vibrant, so I was curious to find out more about their lives outside of the crazed fashion bubble. “I love cooking, feeding people and we work out together,” noted Laura. Fernando also finds solace in exercise and inspiration from movies – “I see actresses I love and immediately want to see them wearing Oscar de la Renta”– but admitted that they don’t really ever switch off. I was so struck by the fact that they had spent so much time with Oscar himself. But what did we know of him? Laura tells me in detail: “He was wicked, he was a gentleman, he was very naughty and good at poking fun at people, especially if he knew you.” We wrap up on a note of new beginnings and industry talk. Their next move with the brand? “Oscar already had this vision to evolve the brand. We just made it happen in his honour and will continue to do so.” And when it comes to the industry at large, Fernando and Laura don’t mask the surprising ease of breaking into it. “It isn’t that ambitious, there are so many interns and assistants I knew that could have gotten further than they did, but you have to work for it.” Fernando also puts it straight: “I think in any industry you have to be determined and ambitious to make it.” Neither of them took anything for granted as they became increasingly indispensable to the Oscar de la Renta team over the years. Their advice? “Work for a big brand so you can make mistakes on their dime. That is the only way you can learn.”
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Jumeirah Beach Hotel, Beit Al Bahar Villas
Index Jumeirah Beach Hotel’s Revamp Jumeirah Neighbourhood Maldives Vittaveli
Words − Conor Purcell
As part of the Jumeirah Beach Hotel’s multimillion dollar relaunch, its outdoor areas have been transformed into a lush tropical oasis that reflect the ‘sea, stone, water’ theme of the revamp. We meet the company that made it happen
Modern Landscapes
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Walk through the redesigned Jumeirah Beach Hotel and you will be forgiven for never wanting to leave. The attention to detail – from the white Bianco V Cremo marble flooring to the HYPNO beds – needs to be seen (and experienced) to be believed. But the ingenuity doesn’t stop inside the hotel: wander out into the gardens and experience a lush, tropical oasis, one that perfectly reflects the ‘sea, stone, water’ theme of the revamp. For the company behind the revitalisation of the hotel gardens, the interaction between the hotel and the landscape that surrounds it is vitally important. “Soft landscaping plays a vital role in the UAE as it softens structures and it helps create a five-star experience for the guests who often spend most of their day at the pool or the beach,” says Desert Group’s Eric Zondagh, a South African who has worked for the Dubai based landscaping company for six years. “A large part of the hotel industry in Dubai is focused on the quality and maintenance of the gardens, which are there to provide guests with a tropical retreat experience,” he adds. And the ability to turn what is a rather harsh desert environment into a tropical one is one of the biggest challenges landscapers faces in the region. “A lot of it is down to the right selection of plants which suit the desert climate. The summer months are a real challenge with the high temperature and humidity posing problems for the maintenance teams. There are restrictions on the species of plants that can be used during that time of the year and getting that right is crucial. But this is the expertise we have gained from being in business here since 1988.” Sustainability has become more important in recent years as both hotels and guests want to experience luxury without harming the environment. It’s a tricky balance to get right. “We always look at using plants that can survive in this region,” says Eric. “In recent years there has been a shift towards using succulent plants which require very little water and thrive in a desert climate. And with the Jumeirah Beach Hotel, we created a dry wadi that reflects this type of planting.” Given that Eric and his team were not starting from scratch when it came to the Jumeirah Beach Hotel’s landscaping, a
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large part of the challenge was retaining as much of the soft landscaping as possible during the renovation. “Everyone went out of their way to relocate and keep as many plants and palm trees as possible,” says Eric. “Once we had saved as much as we could, we started to reinstate the area with lush tropical plants that would be sustainable throughout the year.” For Eric and his team, it was vital that they had open lines of communication with the Jumeirah team and that was something he is very grateful for. “Jumeirah really put their trust in our team and our decisions when it came to the selection of plants and getting the project over the line,” Eric says. “The biggest challenge for soft landscaping will always be that we are the last to get into landscape areas and this means things will need to be done overnight. The project started for us in May last year when we first started relocating works and we completed all everything by the end of November.” The result is stunning, and reflects the ‘sea, stone, water’ ethos that Jumeirah centred the refurbishment on. “We used a lot of tropical planting which is connected to the sea, so lots of coconut and royal palm trees were used. We also enhanced the existing stone by adding lush colourful plants that added a lot of colour to the entire landscaped area.” The water theme continues within the hotel, with the 599 guest rooms inspired by the blues and beiges of the sea. The floor design resembles water rippling over sand and the walls are covered with real stone water and reflective materials. In the lobby, look up and enjoy the three art installations which recreate the movements of underwater creatures, the glistening of light on water and the glow of the sun. The lobby walls are lit by tie-dye wave effects, while the white marble flooring mimics the pristine white sand beach a few seconds walk away. It’s that synergy between inside and out that makes this renovation so special. All there’s left for you to do is visit.
RIGHT PAGE: A décor rich in pastels and stunning mix-and-match is a prominent feature in the living rooms of the Jumeirah Beach Hotel
Three Plants 01. Coconut Palm Native to the Indian coast, it can grow to more than 30 metres in height and produces leaves up to six metres long.
02. Bougainvillea This thorny, ornamental bush is very popular in the Gulf as its in bloom all year round and requires very little water. If you see pink flowers in this region, it’s more than likely Bougainvillea.
03. Hibiscus tiliaceus Native to the tropics, this garden shrub blooms in a riot of yellows and pinks when in season and is robust enough to survive the harsh summers.
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ROCKFISH,
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JUMEIRAH AL NASEEM
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Starters
Mains
Start as you mean to go on with Tiger Prawns Salad, which comes with grilled baby vegetables and raspberry vinaigrette. Or try some ‘Italian sushi’ with Crudo, (which translates as raw) thinly sliced fish marinated in oil, lemon and seasoning. You can choose from Tuna Tartare, Hokkaido Scallops (complete with Avruga caviar and sour cream), Yellow Fin Tuna, or the Crudo Platter which features a selection of various fish.
Be sure to keep enough room for mains: we love the 36 hour Slow Cooked baby goat, served with fresh tomato Concasse and Pomme puree. Or try the Lobster Risotto served with Acquerello rice. Another new (but soon to be a classic) is the Line-caught Seabass with artichoke and lemon emulsion. For those of you hankering for the classic menu, never fear, the Veal Milanese served with Rocket, tomatoes and parmesan remains, and is as popular as ever.
Experience Dubai via Tuscany at Jumeirah Al Naseem’s Rockfish. The new Executive Chef Marco Garfagnini hails from Carrara, a small town on the foothill of the Apuan Alps, and brings a dedication to traditional Italian cuisine to the Rockfish table.
Dessert And for the most important part of the meal, Chef Marco has created a few new classics: Burrata Cheese into Ice Cream with citrus couli and candied orange, a Hazelnut Parfait served with caramelised hazelnut and gianduja ganache, and a Classic Meringue served with mixed berries, key lime and strawberry cream – all finished off with hazelnut crumble. Rockfish, Jumeirah Al Naseem, Tel: 971-4-4323232
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UMI SHIO AT SUMMERSALT BEACH CLUB Indulge yourself with this innovative pop-up restaurant overlooking the sea at Jumeirah Al Naseem. Created by Summersalt’s Japanese/ Argentinian chef, Christian Goya, it combines the craft of Japanese cuisine with the passion and flavours of South America. So, what does that mean in practice?
Let’s start with the starters: take your pick from Seabass Sashimi, Dried Mizo and Yuzu Juice, or Yellowtail Sashimi and Jalapeno. How about Roasted Langoustines and Sweet and Sour Sauce? Seafood, unsurprisingly, plays a big role here, with a mouthwatering range of freshly caught produce. A classic reimagined with Saikyo Miso Black Cod and Rice, or something more adventurous with Creamy Aji Amarillo Rice with Miso Marinated Seabass? To experience a true fusion between Argentina and Japan,
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Summersalt, Jumeirah Al Naseem, 971-04-3667680
work your way through the CornFed Chicken Breast with Teriyaki Truffle Sauce and Seasonal vegetables. Or, try the Mini Wagyu Burgers with Truffle and Parmigiano French Fries. If you prefer something lighter, try the exquisite Seaweed Salad with Daishi Vinaigrette or the Lobster and Baby Spinach, Yuzu, Parmigiano and Truffle Oil. Summersalt is the perfect place for sundowners and the team has created a host of fusion cocktails for the blue hour. We are liking the Jasmine Flower, which
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consists of pisco, lime, jasmine syrup and sparkling wine. For something with a bit more kick, try the Shiso G&T: Daffey’s gin, shisho syrup and cucumber and tonic. Or, if you are looking for a twist on a classic, check out the Ichiban, which consists of Japanese whiskey, mandarin and cedar syrup and orange bitters. So sit back and enjoy a taste of Japan (with more than a hint of South America) while soaking in the views of the Burj Al Arab and the sparking Arabian Gulf. The pop-up runs until the end of May at Summersalt.
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Words − Conor Purcell
Illustration − Trang Minh
Dubai Neighbourhood Guide Explore Dubai’s Jumeirah district Soak up the winter sun at (1) Jumeirah Public Beach, a lovely sandy enclave that offers wonderful views of both the Burj Al Arab and (2)Jumeirah Beach Hotel (971-4-348-0000). If you want to check out the hotel and its recent refurb, it’s a fiveminute walk. Make sure to try out one of the private beach cabanas. If you are in the mood for something more action packed, head south and cool down at (3) Wild Wadi (971-4-3484444), one of the Middle East’s largest water parks. Test your mettle on the Jumeirah Sceirah, where a capsule will propel you 120 metres at 80km/ph. Once you have calmed down, head next door and get your phone ready for the ultimate Instagram shot: (4) The Burj Al Arab (971-4-301777). Sunset provides the requisite glowing backdrop, or wait until after dark and capture the light show. If you want to check out the interior, we recommend the afternoon tea at the Sky View Bar. A few minutes away is (5) Jumeirah Mina A’Salam (971-4-3668888), which combines understated luxury with Arab opulence. We recommend a sundowner at Bahri Bar (971-4-4323232) which offers spectacular sea views and wonderful service. Try the Sugar Queen, which may or may not contain a generous helping of whipped cream. Located right next to it is (6) Jumeirah Al Naseem – beaches, Burj Al Arab views, landscaped gardens with pools, open-plan rooms. Pop-up restaurant concept Umi Shio is located in Summersalt Beach Club, where chef Cristian Goya fuses the artful craft of Japanese cooking with the utterly distinct flavours of South America setting your palate deliciously alight. Rockfish takes seafood feasting to a whole new level. Hop over to the Turtle Rehabilitation Lagoon to feed and learn
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about the endergered species. The hotel is part of the (7) Madinat Jumeirah complex, which transformed this part of the city when it opened in 1999. Wander the Madinat’s souks and pick something up for a loved one at home. We do like Gallery One (9714-3686055), which has a range of eye-catching graphic prints. If you start to feel hungry, never fear – Madinat Jumeirah has 25 restaurants. The Noodle House (971-4-3666345) is a perennial favourite, although we are partial to the pub grub on offer at McGettigans (971-4-4470219). If you are in the mood for a bit of culture, the 442-seat Madinat Theatre (971-4-3666546) hosts everything from classical music to comedy. Book in advance as tickets sell out quickly. If you want to head next door to (8) Jumeirah Al Qasr (971-4-3668888), why not take an abra? There are stations dotted around the canals that criss-cross the whole complex, and they’re the most relaxing way to get around. The hotel itself has been designed in the style of a sheikh’s summer palace, and offers as much opulence as you can imagine. Steak lovers rejoice: The Hide (971-4-4323232) offers one of the city’s best. If you are in the mood for some retail therapy, (9) Mall of the Emirates (971-4-4099000) is renowned for its giant indoor ski slope (and resident penguins!), but it also has a huge range of shops and restaurants. There’s also a world-class cinema, the immense Magic Planet entertainment centre and some of the city’s best coffee shops. And, if you want to discover the rest of what Dubai has to offer, the (10) Dubai Metro stop is reachable via an air-conditioned walkway. Buy a ticket or a Nol card which you can use to tap on and off at Metro stations and buses across the city.
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OUR HOTELS DUBAI Burj Al Arab Jumeirah This iconic sail-shaped hotel redefined luxury when it opened and still offers the finest in service and experience.
Jumeirah Beach Hotel With ocean-view rooms and suites, restaurants, cafés, bars, swimming pools and a private beach, this is the ultimate family hotel with its recent refurbishment is looking fresher than ever.
Jumeirah Al Naseem at Madinat Jumeirah This sprawling five-star property features lush gardens, generous terraces and stunning views of the Arabian Gulf.
Jumeirah Al Qasr at Madinat Jumeirah Designed in the unparalleled opulence style of a Sheikh’s summer residence, Al Qasr offers the ultimate in Arabian luxury.
Jumeirah Creekside Hotel Offers wonderful views of the Creek and the Dubai skyline. It’s perfect for business travellers who need to unwind.
Jumeirah Emirates Towers Jumeirah Dar Al Masyaf at Madinat Jumeirah Understated luxury is the byword here as this intimate yet generous property.
These two towers are icons of Dubai’s skyline. The hotel offers 400 rooms, eight meeting rooms, 11 bars and restaurants and lots of business and meeting facilities.
Jumeirah Mina A’Salam at Madinat Jumeirah
Jumeirah Living World Trade Centre Residence
Located in the heart of Madinat Jumeirah, Mina A’Salam is a luxury boutique hotel. Take an abra though the canals that surround the hotel and soak up the atmosphere.
Executive living reaches new heights at these serviced apartments in the heart of Dubai’s business district.
Jumeirah Zabeel Saray
Jumeirah at Etihad Towers
Nestled in the serene environs of The Palm Jumeirah’s West Cresent, this property exudes Ottoman-era charm and stunning views to bask in.
These five dramatically sculpted towers have become an Abu Dhabi landmark, an they are as spectacular inside as out.
Jumeirah Zabeel Saray Royal Residences Set amid lush tropical gardens and facing a magnificent lagoon pool, the Royal Residences set a new bar for luxury accommodation in the city.
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Jumeirah at Saadiyat Island Resort A resort that redefined luxury in the capital, this property, situated on a 400metre private beach offers a host of leisure activies.
Jumeirah Al Wathba Desert Resort & Spa Nestled in the spectacularly beautiful Arabian Desert, this boutique resort offers unrivalled tranquillity and views.
ABU DHABI
Jumeirah at Etihad Towers Residences Redefine the idea of home at these fully serviced luxury residences in heart of Abu Dhabi.
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CLOCKWISE FROM TOP LEFT: Jumeirah Al Naseem at Madinat Jumeirah, Dubai; Jumeirah Port Soller Hotel & Spa, Mallorca; Jumeirah Frankfurt; Jumeirah at Etihad Towers, Abu Dhabi
BAHRAIN
LONDON
MALLORCA
Jumeirah Royal Saray
Grosvenor House Suites by Jumeirah Living
Jumeirah Port Soller Hotel & Spa
There’s nowhere quite like Mayfair, and this Park Lane property exudes oldworld charm and understated service.
Nestled amidst Sóller Valley and the UNESCO World Heritage Tramuntana Mountain range, the Port Soller offers understated luxury in the heart of one of Europe’s hippest destinations.
Situated on a private beach in Bahrain’s new Seef district, the Royal Saray marries Arabian opulence with worldclass service.
FRANKFURT
Jumeirah Carlton Tower
Jumeirah Frankfurt
Tradition and luxury meet in this Knightsbridge property offering cuttingedge elegance in the heart of the city.
Experience discreet luxury in the heart of the continent’s financial hub at this 218-room five-star property.
GUANGZHOU Jumeirah Living Guangzhou Located in the heart of Guangzhou, this already iconic building offers 169 luxurious residences, a temperaturecontrolled outdoor swimming pool and a host of F&B options.
Jumeirah Nanjing Jumeirah Lowndes Hotel Located in the heart of Belgravia, and perfectly located between Hyde Park and the West End, Lowndes offers a boutique townhouse experience with the unrivalled hospitality Jumeirah is renowned for.
MALDIVES Jumeirah Vittaveli
KUWAIT Jumeirah Messilah Beach Hotel & Spa Go for the huge private beach, seven world-class restaurants, kid’s club and a comprehensive fitness centre.
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NANJING
The Vittaveli mixes island charm with world-class service. Enjoy the views, watch the sunset or cycle one of the complimentary bikes out to a deserted spot. Bliss.
Designed by the legendary architect Zaha Hadid, this hotel is a stunning piece of design.
SHANGHAI Jumeirah Himalayas Hotel From the 16-metre high lobby to the artwork that adorns the walls, the Jumeirah Himalayas Hotel is an eclectic fusion of new and old.
COMING SOON Bali – Jumeirah Bali Oman – Jumeirah Muscat Bay
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THE SHOT
Jumeirah Vittaveli Maldives @ajufaan_photography
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Montegrappa Boutique, The Boulevard Emirates Towers, Sheikh Zayed Road, Dubai, Tel: +971 4 3880620 Dubai Mall, Fashion Avenue Extension, 2nd Floor- Financial Centre Road, Dubai United, +971 50 529 3670