Prestige Magazine issue 39

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SOUTH

AND AFRICA The Art of Business

& Pleasure

ISSUE NO. 39

R49.95

• Rupert & Rothschild Vignerons • Karkloof Spa • Chopard • Stealth Yachts • Goodwood Festi v a l o f S p e e d • O H R : T h e A r t o f B u s i n e s s & P l e a s u r e • Miriam Makeba • Superyacht Alucia • Spier Contemporary • World Music • Ski L’Espace Killy • Franschhoek Motor Museum • Seychelles Regatta South Africa’s Premier Luxury Lifestyle Magazine

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contents 54

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Boating & Yachting

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Alucia – Marvellous Metamorphosis

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Ferretti & Aegir – In South Africa

44

Stealth Yachts – Top-End Luxury Powerboat Manufacture

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A Hard Act to Follow – Fairline Squadron 55

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Fab at Forty – Sebago's Iconic 1946 Limited Edition

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Seychelles Regatta 2010 – A Tour of Abundance

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Haute Horlogerie Bremont Watches – Take to the Seas

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Chopard’s 150th – A Quartet of New Watches

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A Matter of Time – Peter Machlup

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Motoring & Aviation

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Power, Beauty, Soul – Aston Martin Rapide

32

Automotive History – Franschhoek Motor Museum

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Petrol-Head Nirvana – Goodwood Festival of Speed

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Scene from Above – A Coastal Safari

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SINTRA JUBILÉ / HIGH-TECH CERAMICS / WWW.RADO.COM

011 911 1200

BLASTING DESIGN BY RADO

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92 Business & CSI

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Pleasure & Profit – The South African Property Market

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The Nirox Foundation – Caring for Our Cultural Heritage

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Spreading the Love – Mobile Technology in Africa

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The World’s Wealthy – A Bird’s Eye View

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Ivy League Education – How to Apply

134

Travel & Lifestyle

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Bushveld Bliss – Karkloof Spa Wellness & Wildlife Retreat

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Good Grooming – Love the Skin You’re in

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Rupert & Rothschild Vignerons – The Art of Living Well

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For Snow Good Reason – The Seduction of L’Espace Killy

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Tord Boontje – A Floral Romance in High Tech

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Veronica Anderson Jewellery – Inspiration & Creativity

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Antiques to Keep – National Antiques Faire

102

Feel the Rhythm – World Music

130

Okay, I do feel a little superior

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Special Features Exceptional South African Craftsmanship – OHR

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Morgan Freeman – On Playing Madiba

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South Africa – Africa’s Intellectual & Cultural Powerhouse

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So you think you Know SA – Our Fascinating Oddments

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Miriam Makeba – South Africa’s First Lady of Song

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Life through a Lens – Spier Contemporary

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Regulars

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Letter from the Chairman

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Letter from the Editor

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Premier Travel Portfolio

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Making Waves

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letter from the

chairman

This is a special issue for both Neo Africa and Prestige. With some of the greatest stars in the world converging on our great country, we cannot help feeling as though South Africa is the spot to be on the globe. With the world's attention on not just our country but the entire African continent, where FIFA is the most exciting four-letter-word to impact positively on us for a long time, the next month and a bit is sure to be action-packed and exciting.

This time in our history has seen a series of firsts for South Africa. It's not just the Soccer World Cup that is making its first appearance on the continent. In these few months we have seen a nation unite and a leading multinational rugby tournament have its final in the heart of Soweto. Never before have I seen such magical synergy, where the South African national anthem was proudly sung (all of it, not just the Afrikaans part), with blue and yellow vuvuzelas drowning out everything else. The day was a celebration of South Africa's diversity and the event turned Soweto into a massive, multicultural party.

If anyone is looking for evidence that the World cup does have a positive impact on the country, this can now be found in abundance. With the number of people in our national team's colours, the country's flag streaming behind cars, and side-view mirrors wrapped in flag socks, there is just a vibe about the land that has never before been seen.

In the communities where participating teams are basing themselves, foreign language

programmes and etiquette training has been made available to locals. The key is to prolong this; to effectively and sustainably deploy these skills after the World Cup so that everyone gets a tangible long-term benefit from hosting the tournament.

We, at Prestige, have presented our readers with a well thought-out issue catering for every taste and have taken this opportunity to showcase some of Africa's best. This colourful edition is a tribute to the rainbow of diversity we possess, as well as the depth of talent that Africa has brought to the world, starting with the legendary Miriam Makeba.

Our uniqueness is what sets us apart. This, coupled with the extraordinary magic that South Africa has, makes me feel as though our Cinderella country has finally slipped her foot firmly into the glass slipper that has won over the hearts of many nations to firmly entrench us in the mind of the world, as one of the places that just must be visited in any lifetime. We should celebrate this success and recognise our achievement, so as to plan and anticipate the next milestone for South Africa's history.

As a final note, keep the letters coming to escuchar@neoafrica.com.

We are compiling a database of letters and will publish the special ones into future editions.

Liked what you read but not sure where to find us each month? Prestige is available on-shelf in select CNA, Exclusive Books and Woolworths stores.

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www.prestigemag.co.za

letter from

the editor What makes a person, a place, a moment great? Is it in their accomplishments, in their treatment of others, in their conquering of adversity? Is it in their beauty, their rarity, their offerings? Is it in the way they make you feel, the memories they leave you, the actions to which they spur you?

South Africa has bestowed upon the world some of humankind’s greatest individuals. Miriam Makeba was a child who dreamt of becoming a star. Many years later, some of which were spent in exile, Miriam Makeba found herself standing tall on a stage in front of hundreds of thousands of adoring fans, serenading them with songs she sang in her native African tongue. Mama Afrika made our country proud time and again, not least with her acceptance of two separate Grammy Awards and the example she set for the world.

Nelson Mandela spent the better part of his life locked away because he stood up for what he believed was right, and fought for fairness and freedom. Madiba will forever be revered as the greatest political and moral leader South Africa has ever seen. A man so admired that one of Hollywood’s most accomplished actors, Morgan Freeman, would aspire to play him in a movie, which he did, in the 2009 film, Invictus.

And we’ve given the world much that is great, too, a good deal of which you’ll find between the colourful covers of this month’s Prestige. We’ll baffle you with trivia you might not have known about South Africa – that we have had six Nobel Prize winners to date, for example, or that a scientist from one of our country’s

“Be not afraid of greatness; some are born great, some achieve greatness, and others have greatness thrust upon them.” – William Shakespeare smallest towns developed an adhesive so strong it was used to hold together pieces of Apollo 11. And we’ll remind you of a few things you probably know but have perhaps forgotten – like South African doctor Chris Barnard performing the world’s first heart transplant, or the world’s largest diamond being found in one of our country’s mines, or maybe even that famous author JRR Tolkien once called South Africa home.

At the Franschhoek Motor Museum you can ogle at and slaver over a collection of rare and classic cars; one of the most exceptional collections the world over. If you have the time and the money, might we suggest you take a helicopter and travel the length of South Africa’s coastline. You’ll be rewarded with spectacular scenes from this awesome vantage point. If you share a love of finer things, pore over our feature on South Africa’s most exclusive ostrich leather products, which are so perfect, so beautiful, they are sure to leave you gasping for air as they did me.

Read about why this is the perfect time to invest in property in our fine country, why Karkloof Spa is South Africa’s only Relais and Châteaux member, how Rupert & Rothschild Vignerons has established itself as a producer of some of the world’s most desired vintages, what South Africa is doing to aid the technological development of fellow African countries, and which proudly South African-made yacht we recently launched onto international waters.

Greatness is a combination of many things. Tenacity, beauty, grace, humility, honour; South Africa and its people are all of this and so much more. If you are proud enough to call yourself a citizen of this fine country, I thank you. If you are visiting us for the first time, I welcome you.

Toni

PUBLISHER – Neo Publishing (Pty) Ltd Tel: +27 11 484 2833 Fax: +27 86 699 2266 CHAIRMAN – Vivien Natasen vivien@neoafrica.com MANAGING EDITOR – Charl du Plessis charl@prestigemag.co.za EDITOR – Toni Muir toni@prestigemag.co.za ADMIN & CIRCULATION – Lodene Grobler lodene@prestigemag.co.za ADVERTISING Jean Ramsay (Cape Town) Cell: +27 79 508 0428 jean@prestigemag.co.za Rui Barbosa (Sales Manager) Tel: +27 84 290 2070 rui@prestigemag.co.za Adie Ceruti (Gauteng) Tel: +27 83 601 2291 / +27 11 465 1572 adie@prestigemag.co.za Katy Essa (Gauteng) Tel: +27 82 633 2962 katy@prestigemag.co.za Namibian BUREAU Mynard Slabbert (Commercial Manager) Tel: +264 81 227 2380 mynard@prestigemag.co.za DESIGN & LAYOUT VDS Design Studio Liesel van der Schyf Tel: +27 82 336 7537 liesel@vdsdesign.co.za Proof-reading Clive Moses Print Paarl Web, Gauteng SUBSCRIPTIONS R499 for 12 issues; R949 for 24 issues SMS the words SUBSCRIBE PRESTIGE, followed by your name and email address, to +27 79 876 4130.

Alternatively, email your name, cell number and delivery address to mail@prestigemag.co.za.

DISTRIBUTION Prestige is available on newsstands and through subscription. Free public space distribution includes over 50 charter fleets operating in the Southern African region. Top five-star hotels and all major business class airport lounges nationally receive free monthly copies.

Also look for Prestige in upmarket coffee shops, spas and private banking waiting areas.

Cover Images Maritz Verwey; Rupert & Rothschild; AP Photo and/or PictureNet

All rights reserved. Prestige is published by Neo Publishing.

Opinions expressed in this publication are not necessarily those of the publisher or any of its clients. Information has been included in good faith by the publisher and is believed to be correct at the time of going to print. No responsibility can be accepted for errors and omissions. While every effort is made to ensure the accuracy of the information and reports in this magazine, the publisher does not accept any responsibility, whatsoever, for any errors or omissions, or for any effects resulting therefrom. No part of this publication may be used, or reproduced in any form, without the written permission of the publisher. Copyright 2010. All copyright for material appearing in this magazine belongs to Neo Publishing and/or the individual contributors. All rights reserved.

COVET

Exceptional South African

Craftsmanship

You know what they say; the devil is in the detail.

At "OHR The Art of Business and Pleasure," it is this detail that makes the brand what it is – extraordinary.

Words: TONI MUIR Images: © MARITZ VERWEY

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O

n the golden plains of the Great Karoo, more than half a century ago, Norman Gruskin, a great South African visionary, dedicated his life’s work to seeking out the world’s finest ostrich leather, his search culminating in the world’s greatest ostrich brand – OHR. Until the mid eighties, ostrich was only obtainable in South Africa – it is after all a South African bird. But it was available in limited supply and was highly sought after. The world couldn’t get enough of this fine leather.

What was born under the blue skies of the Karoo has manifested into remarkable beauty, style and

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sophistication. Norman’s knowledge and legacy of ostrich has passed from generation to generation, his only son Neville continuing his father’s legacy and sharing his same love for ostrich.

“What makes OHR so flavoursome in being a South African product is that it has taken an entirely South African resource philosophy and made it like the “Rolls-Royce” of ostrich. That’s how we’ve honoured ostrich; what we believe to be the world’s most exotic and enigmatic leather. Why nobody has yet put such creative energy and investment into ostrich is a mystery.”

OHR makes a point with the quality of their merchandise, which is exceptionally high. Everything about an OHR product is 100 percent South

African, from the breeding of the ostriches and the tanning of the hides, to the hand-stitching of the leather and hand-setting of the diamond in the perfectly positioned white gold OHR icon.

Neville leans back and gazes up at a framed photograph of his late father. “What is art?” he muses. “What is beauty?” He leans forward, eyes intense, “You can take an ordinary object, a classic concept, and turn it into something beautiful, something extraordinary. And that’s what we do.” He rises from his armchair and moves towards a cabinet in the corner. He removes something; a shaft of afternoon sunlight bounces off it and sends a spray of tiny sparkles

across the room, and presents it to me, perhaps the most incredible business accessory ever: a leather folio gleaming with a pearlescent hue; lustrous, sophisticated – spectacular really. Eyes wide, mouth agape, I reach out to touch it, my skin brushing again the softest, silkiest leather. I run my hand over the delicate bumps – quill marks Neville tells me they are called – and marvel at the craftsmanship. The stitching; the fine, perfect stitching, is a feature in itself. Every loop evenly spaced, equal in length and not a degree out of place in the neat, even line that traces the edge of the folio. I imagine myself striding into a high-profile meeting brandishing this gorgeous folio like a weapon.

Neville rouses me from my reverie.

“We are very picky,” he says, gently prying my fingers from the folio and running his hand over the leather. “All

our products have to be fully quilled and the quill marks must be consistent throughout. For the connoisseur of ostrich this is very important. And this is one of the aspects that make OHR most distinctive. We have a certain level of perfection and will not accept anything below this.” To get this consistency in the quillage, only certain parts of the hide can be used.

Neville explains that, while one might normally get a ratio of eight wallets, for example, out of one skin, OHR will only get two to three. “You have to cut away the bulk to leave you with just the very best,” he says.

Once the hides are selected the products are hand-stitched and approximately 40 quality studies passed – nothing like being pedantic,

right? “A true connoisseur wants the best and is prepared to pay for that,” Neville says. A Kimberley-certified, virtually flawless diamond is then hand-set into white gold by OHR’s master jeweller, and positioned into the product. The diamond makes up the “O” in the OHR icon. Says Neville, “The setting is so precise, more so than the stitching, with little margin for error. Developing this icon was a lengthy process; there was much to consider. It couldn’t be too big or too small. But when people see it they always go ‘wow’ so I think it elicits the desired response. It is very tasteful, very discreet.” I nod in agreement.

Neville takes me through OHR’s line of products. I gawk at and pore over a parade of wallets, purses, belts, BlackBerry and iPhone covers, folios, briefcases, clutches, handbags and travel bags. Talking about the unusual

designs, the use of different leathers, contrasts and colours, Neville says, “You need to be creative and in touch with what your market wants. Then you have to go beyond that and really excite them; that is our goal at all times. The travel bags make a statement, the clutches make a statement.” I laugh, I think every product makes a statement. I reach for a purse made of sky-blue leather.

“When you take something and you change its colour, you transform it.

When we did our colour study I was fascinated by how everybody loves different colours. We soon realised we could not restrict our colour range.”

And they certainly didn’t. The range of colours is vast and varied, from subdued hues of brown, tan, cream and pearly white, to vivid orange, cerise pink, soft lilac and apple green to name but a few. As he surveys the collection before him, Neville says

thoughtfully, “The OHR brand is different; the OHR products are unique and magnificent.” He points to a red handbag, the front inlaid with ostrich shin which, in all honesty is so striking it made my pulse quicken when I first laid eyes on it. “At OHR we don’t like making handbags or any other product that looks like somebody else’s. Actually, we deliberated over doing ladies handbags at all.” He pauses, considering, “People seem to have an emotional connection to OHR pieces, which I think only happens when one has created something that comes from a love and a passion within. This is the energy of OHR: ardour, creativity, love, zest, delight, fun. You cannot create anything spectacular without these properties, these energies, these investments.”

Neville waxes lyrical about one OHR product in particular: the Genius.

“I am a highly organised sort of person,” he says. “I like to have everything on me – wallet, phone, pen, notepad, bank cards. I wanted something akin to a Filofax but which you could fit in your pocket – and which could hold a cell phone.” In one deft motion he whips from his pocket a posh-looking leather item only an inch larger than the average European

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wallet. A gentle flick releases the phone, which glides into Neville’s open palm. His thumb slides open an ingenious leather “flap” – for want of a better word – and the inner Genius is revealed. It is beautifully made, detailed and precise; practical, and really quite marvellous. The small notepad is finished in leather at the top, silver foiled on the cover and watermarked on each page. And should your Genius run out of notepads, OHR will deliver new ones to you anywhere in the world in less than 72 hours – personalised, if you wish. What really finishes the Genius off, though, is the sleek silver pen, which uses technology developed for astronauts in space. “The Genius is designed to keep everything together, for convenience – and for looks. It makes sense,” says Neville. I agree. “It has to be carefully hand-crafted because of its many complications – like a Swiss watch.” And boy is it complicated, and it makes a serious impression too.

Neville excuses himself, reappearing moments later with something I had not expected – another handbag. But this isn’t just any bag, oh no, this particular item overwhelms. It is indisputably a work of art. “So special,” Neville says

quietly, “it takes six weeks to produce – that’s one craftsman working solidly for six weeks.” Small pieces of black leather alternating with white, set against each other in perpendicular placements to create something of a three dimensional illusion. It needs to be seen to be believed. Noticing the burning yearning in my eyes, Neville quickly slides it back into its soft flannel bag and out of harm’s way.

OHR products are only available from the company’s boutique store.

Anything purchased elsewhere claiming to be OHR will be a counterfeit. The boutique store, located at the Sandton Eye Radisson, has been designed akin to a gallery, all the items on display. The aim was to give each customer a sense of value and importance, and an exceptional shopping experience, achieved through a private-viewing-only appointment. This means that the customer “owns” the store for the period of time they have booked, without any interruptions and in absolute privacy. “Customers are going to have a magnificent shopping experience, and we want them to feel that they have been treated like royalty.” Looking ahead, OHR has plans to open their first international store in Paris, having met with various proprietors who have expressed great interest in having OHR in their centres as a unique attraction for their clients.

“We want to make OHR part of the energy of a visitor’s experience of South Africa,” says Neville. “When people are here they are going to want a taste of this country, a taste that will linger long after they have left. They will want to buy something uniquely South African. And that’s something from OHR.”  Visit OHR The Art Of Business And Pleasure at Shop 5, the Sandton Eye, Radisson Blu Hotel, corner of Rivonia and West Streets, Sandton, Johannesburg (diagonally opposite the Gautrain station).

• Tel: +27 86 0466 640 • Email: privateviewing@ohr.za.com • Visit: www.ohr.za.com

Fourways • Sandton • Menlyn • Pavilion • Gateway www.arthurkaplan.co.za

S TA R E

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Marvellous metamorphosis Expedition Vessel Alucia “Most simply stated, our clients want to fall in love with their yachts and as designers, our fundamental mission is to create the object of their dreams: an exciting, functional, satisfying seagoing work of art.”

– Joseph Artese Words: TANYA GOODMAN Images: © DEEP OCEAN EXPEDITIONS/ NEIL RABINOWITZ

A

s an artist, Joseph Artese is a perfectionist who designs with a keen appreciation and respect for the particular needs of each of his clients, taking the time to ascertain, understand and creatively expand on their desires. His attention to detail is legendary among the yards with whom he has interfaced and his custom yachts have been recognised by both the International Superyacht Society and the ShowBoats Design Awards.

Artese was commissioned by Deep Ocean Expeditions to refit the Frenchbuilt 55.7-metre (185-foot) research vessel Alucia (formally known as Nadir), redefining her interior spaces and providing exterior cosmetics.

demonstrates Artese’s sense of human engineering; he designs spaces that are safe for use in extreme conditions, seating that invites lounging, and functional galleys and stairways that are expressions of grace. Alucia’s fundamental styling is contemporary with a distinct hi-tech feel, maple joiner work and brushed stainless steel with an aqua colour scheme.

Alucia now serves as a modern oceanographic research vehicle and a mother ship to her submersible fleet – twin Deep Rovers and Dual Deep Worker – with accommodation that meets, and exceeds, the expectations of any luxury superyacht clients.

The original space was gutted and the 20-metre long passageway that connects these living spaces – from the helicopter and submarine decks

the yacht. The windows include blackout shades for viewing the day’s rushes on a 50-inch plasma screen.

The client requested that the entire main salon bulkhead have an aquamarine glow. Artese designed a series of maple-framed electroluminescent, back-lighted Lumicor panels for this underwater effect. A spiral staircase connects the observation deck above with the salon and then descends to the guest accommodation deck below, which includes four triple staterooms for the scientific team, captain’s cabin, ship’s office as well as the owner’s and VIP staterooms.

On announcing her launch, Expedition Project Manager, Rob McCallum, said, “Alucia is perhaps the most capable private expedition

Alucia was originally owned and operated by the French ocean research institute IFREMER, where she functioned as principal support ship and launch/recovery platform for the Nautile, one of the world's few (four) submersibles capable of diving to 6,000 metres. Her new owners at Deep Ocean Expeditions are passionately involved in the preservation of marine life, are serious underwater documentary film makers and are also avid art lovers. These elements combined to form the inspiration and point of departure for Artese.

The fundamental design question was how to combine the demands of a high-tech research charter vessel with the desire to achieve bold, artistic expression and a luxurious experience at sea. The result clearly

aft to the foredeck – was expanded to become an art gallery displaying the lavish images produced by the deepsea explorers. Artese laid out a whole new bridge deck from the pilothouse aft to include a grand salon and dining area with floor-to-ceiling windows that wrap around the rear of

vessel ever built. Her three submersibles, complex dive support systems, sonar capacity, high technology communication systems and helicopter support provide her with unparalleled functionality and a global reach. Conceived as a deep-sea exploration vessel, her ability to chart, visit and explore the abyss to 3,280 feet equips her well to make a meaningful contribution to the scientific knowledge of our planet’s last frontier: the deep sea.”

Now ready to embark on a series of Pacific expeditions, Alucia is also available to private clients seeking adventure of a totally different kind.

To view Artese’s other designs, visit www.artesedesign.com. To enquire about Alucia, contact Expedition Project Manager Rob McCallum at rob@deepoceanexpeditions.com. 

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The fundamental design question was how to combine the demands of a hightech research charter vessel with the desire to achieve bold, artistic expression and a luxurious experience at sea.

Freeman

Morgan

ADMIRED

Morgan Freeman recently portrayed the charismatic Nelson Mandela in the film Invictus, which told the story of the little-known partnership between President Mandela and South African rugby team captain, Francois Pienaar.

Here, 72-year-old Freeman and movie producer Lori McCreary talk about what it was like to portray such a well-known and respected man and tell a story such as this.

Words: KATE TURNER; FEATURENET.CO.ZA Image: © GALLO IMAGES / GETTY IMAGES

on Playing Madiba

D

o you remember the 1995 Rugby World Cup? Did you watch it?

Where were you at that time?

Morgan Freeman: No! I think I must’ve been in the Caribbean – I have a sailboat, I’m a blue-water sailor. That’s probably where I was – out of touch, as it were.

But I’m not a big sports fan; I don’t make it a point to be in the right place to watch sports. I try to make the Superbowl, but to be honest I’m not a huge football fan either. But that’s the only game that I try to make a point to see. For the World Series I can always ask, “Who won?” But no, I’m not a rugby fan as a result, by any stretch.

I’m sure you had to watch a lot of rugby to prepare for your role, do you agree with the line in the movie, “It’s a hooligan’s game, played by gentlemen?”

MF: I think that nails it, yeah. I know why he said that. Do you remember that guy [Zidane] head

butting that guy? That’s hooliganism!

So I agree, soccer is a gentleman's game played by hooligans and rugby is a hooligan’s game, played by gentlemen.

You’ve starred in several highprofile films such as The Shawshank Redemption and The Dark Knight, would you regard Invictus as a highprofile film as well?

MF: Oh, absolutely! Wouldn’t you? (laughs). Somebody’s already said, “It might be Morgan Freeman’s greatest role to date.” So yeah, having played such an iconic figure and pulled it off, I’ll get pats on the back that’ll sustain me for the next year.

How do you feel about playing somebody who is still alive and will witness your attempt to portray him?

MF: It’s a daunting thought. I was concerned about Madiba seeing this.

Uhm, you know all of us [the crew] have said, “Oh Morgan, you’ve done such a wonderful job and you got so much of the man and you look just like him and yada, yada, yada,” but

Madiba might disagree. It’s daunting to think about. Actually making the movie was great, great fun. All of us had such a wonderful time. But still, there is that self-doubt that lingers with me in any case.

You admit that imitating Madiba’s accent was tricky, how did you approach it? Did you get a voice coach?

MF: No, no, I don’t think a voice coach would’ve done me any good at all. The only real consternation I experienced and contemplation of doing the role was the idea of trying to sound like him, since I don’t do accents.

So I crammed during the week when I was waiting to go on camera. I just watched tapes and videos that Lori [McCreary, producer] had got me. I decided that I was not going to try and do much more than get his rhythms, but apparently in doing it that way I managed to incorporate much more, so lucky for me.

From a producer’s point of view, what was the most exciting part of the filming process for you?

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Lori McCreary: Well, there were a few key moments during this process, Morgan and I had been working with a South African producer on Long Walk to Freedom for quite some time when we saw this proposal by John Carlin [Author of Playing The Enemy: Nelson Mandela and the Game That Made a Nation], about four years ago and when I read it I thought “Wow! This is a really great way to tell Madiba’s story and maybe we can fit this into two hours,” – because this is one of the challenges of a biography – but we needed to get Madiba’s blessing because we had already looked him in the eye and he had agreed to Long Walk to Freedom being made. So I suppose the first big moment was when we sat across from Madiba and Morgan explained to him that we were considering doing this other project, [Invictus] which was a time in South Africa’s history where the country was divided and subsequently united, and Madiba immediately knew we were referring to the 1995 Rugby World Cup story.

So Madiba’s second blessing was a really big moment. The next really big moment was when Clint Eastwood agreed to direct the movie. When you have someone like Clint helming your film and bringing his team it’s a wonderful thing. And the next big moment was sitting at the LA premiere with Zindzi Mandela in front of me, Morgan, who hadn’t seen the movie yet, across the way from me, and Francois Pienaar a few rows down – I don’t think I looked at a single frame of the film – I was so busy looking at all of their faces, trying to gauge their reactions…

MF: She’d already seen it like 80 times...

Recently there has been quite a lot in the South African press about American actors playing South Africans, especially high-profile South African figures like Mandela and Francois Pienaar. In this case it’s different because Mandela did actually say he wanted you to play him one day, but, just in the context of you as an African American in the

United States, having fought a long and hard battle to be able to tell your own stories, don’t you think that South Africans should play South Africans?

MF: I fully understand your question, and I believe that you should play you. I don’t really subscribe to the idea of others playing others because there’s something kind of discriminatory about it, you know, like in the old days of American cinema when somebody black was played by somebody white with a painted black face. For example, Show Boat. Ava Gardner played a black woman in Show Boat when they had Lena Horne there who would’ve been a perfect choice, so no, I don’t think that it’s the best idea. I don’t think that as a rule it works to hire somebody else to play a certain ethnic group. Get that person to play that role. Because number one, they gonna do a better job than anybody else, and, as you say, I get a pass because I’m the anointed one. So I understand the controversy.

Who would you describe as your current champion or great leader of this time now? Madiba was in the nineties and still remains for many now, but in terms of contemporary leaders or newsmakers, who are you admiring or holding in high esteem right now?

MF: Well our President [Barack Obama] I hold in high esteem right now. I think he’s a young man with his heart in the right place. He’s very intelligent and he exhibits great promise for us. Time will tell, but right now I’m on his side.

I read that you wanted to make a film version out of the book Long Walk To Freedom. Do you still hope that that will happen?

MF: No not with me. I’ve had my shot, and it looks like I just might survive it. I won’t challenge the gods again!

What do you know for sure, out of all life’s uncertainties?

MF: That I’m gonna stay black and die! Real certain about that (chuckles). 

LIFE PASSION ADVENTURE

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9/8/09 8:07:07 PM

Power, Beauty,

Soul

New Aston Martin Rapide Passion and motoring are closely related, and not just at the top end of the scale. You don’t need to be a motoring enthusiast to spot a car designed and engineered by people who have passion and a love of all things motoring.

Words: ALEXANDER PARKER Images: Š ASTON MARTIN

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nd yet the opposite are, indeed, everywhere – cars built to the bottom line much like the white goods that can be found in an average kitchen. Altogether too many cars are built with the same love and passion as a microwave. They work perfectly well and they don’t break down, but they offer nothing more than a means of getting from A to B. And you see this at the other end of the scale too. A Maybach is evidently a car designed by the finance department, where a RollRoyce Phantom is so very clearly a car designed by people who love what they’re doing.

Marek Reichman is such a man.

Despite his name, he hails from Huddersfield in South Yorkshire, UK. Like all Yorkshire folk, there is little pretence about him. I meet Reichman at the Sandton Aston Martin dealership. He’s casually dressed, relaxed and instantly accessible.

Reichman has some serious pedigree. He was working in Ford’s PAG division which, in the early 2000s, owned the brands Jaguar, Land Rover, Aston Martin and Volvo.

Reichman was involved in the design of the Discovery 3 and the currentshape Range Rover, both cars widely lauded as clean, elegant designs.

In 2005 he was asked to head up design at Aston Martin, where, he says, passion for building excellent cars suffuses everything that people do. “It’s great to work with people who love what they do,” he says. And from the way Reichman talks about his latest creation, the Aston Martin

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Rapide, it’s clear he’s in love with what he does too.

Reichman was in South Africa for the local launch – delayed by a certain Icelandic volcano – of the Rapide, the British sports car maker’s first stab at a four-door GT. For Aston Martin it has not only been a step in a different direction but has certainly presented some distinctly difficult engineering and design challenges as well. “An Aston Martin has to be beautiful,” says Reichman, which apparently can mean conflict between the engineering and design teams. “It’s never combative, always collaborative,” he adds.

An example is the B-Pillar, which appears not to exist. “It was signed off in the concept, so engineering had to make it happen.” The solution, ingenious as it is, is to have the pillar inside the windows which, in a rather elaborate choreographic movement, shut over the pillar. From the outside it appears that there’s no B-Pillar at all, and the clean sweep of the car from front to rear is undisturbed.

“One of our greatest challenges was the pole test,” Reichman adds, refering to the EU law that demands that all cars perform to a certain standard in a side-on collision with a “pole” such as a signpost or lamppost.

“Engineering the necessary stiffness into the body, as opposed to the chassis, without impacting the allimportant design, was highly challenging,” he says.

The Rapide sits on a chassis about 300mm longer than the DB9. That’s not terribly much when you consider that there genuinely is space in the rear for two adults and a proper-sized boot. “You have to be realistic and say

that it’s not the 6’4” guy that gets asked to sit in the back. It’s the kids or maybe a smaller partner,” he says.

“When you’ve got two people in the back onlookers do a double-take. They can’t believe that there’s space for adults in the back of this Aston Martin sportscar.”

Maintaining those all-important classic Aston lines and not building a sedan was difficult and required many tricks of the designer’s pen. While the car is significantly taller than a DB9, it certainly doesn’t look it. That’s to some extent to do with the fact that the car is longer but also because of Reichman’s clever treatment of the window line. In most cars the top window line would run parallel to the actual roofline, but in the Rapide that window line drops away from the roof, tricking the eye into seeing a car that’s lower and more swooping than it really is.

Reichman is absolutely clear on the Aston being a sports car, believing that the Rapide has no real rival. In reference to the Porsche Panamera, he says that as far as he’s concerned the Porsche is a “sporting sedan,” whereas the Rapide is the world’s only four-door sports car.

And what a car it is. A bristling V12, elegant and swooping lines, bunched haunches. Reichman has pulled off the seemingly impossible.

Simply put, the Rapide looks like an Aston Martin. Praise doesn’t come much higher than that, and the fact that there’s space for four is evidence of inspired design and superb engineering. The Rapide, I suspect, will go down in history as one of the greatest car designs. 

AT T O R N E Y S

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South F E AT U R E

Africa’s Intellectual, Commercial and Cultural Powerhouse

From left to right: Vuvuzelas, Dr Chris Barnard and the Kruger National Park

T

he thing that strikes the overseas visitor most readily about South Africa, even if they’ve been here for only a short while, is the fundamental warmth of the place – not just its congenial climate but an earthy groundswell of goodwill between its people in daily

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life that comes at you on a one-onone basis and belies much of its political history. What, then, has this young country, settled in 1652 by three shiploads of Dutch sailors who built a sprawling stone castle on the seashore at Cape Town, given the world? The story of South Africa is the story of the coming together of its

cosmopolitan population here at the sunny southern tip of Africa.

Some 140 years ago, the thriving, cosmopolitan commercial hub that is Johannesburg was a featureless stretch of windswept plain. Its characteristic mine dumps and headgears still bear mute testimony to the Witwatersrand’s once pre-

Africa F E AT U R E

From Nobel Prize winners and acclaimed artistes to stellar achievements in

numerous fields, South Africa gives as good as it gets. This 1.2-million-squarekilometre chunk of real estate at the tip of Africa, one-eighth the size of the United States, twice the size of France and three times the size of Germany, lives up to its much-hyped tourism slogan “a world in one country” not only for its stunning geographical, regional and scenic contrasts but also for the impressive string of “firsts” to which it lays claim.

Words: GAVIN BARFIELD Images: © ISTOCKPHOTO.COM; HEART OF CAPE TOWN; Haywood Magee; AP Photo and/or PictureNet

From left to right: JJR Tolkien; one of the Big Five – the African Lion; commemorative Nelson Mandela R5 coin

eminent position as the world’s leading gold producer. Stories of early gold rush days are the stuff of pure adventure. Three mines in the country’s mineral-rich North West Province are alone responsible for 74 and 34 percent respectively of the world’s annual production of platinum and palladium. Some 500 kilometres

to the south-west, Kimberley’s famed Big Hole, although no longer mined, remains the biggest open-cast diamond mine in the world. The avalanche of glittering gems that poured from it led to the formation of De Beers, the company at the centre of the world diamond trade. De Beers’ surface mining operation at Kimberley

recovered more than 400,000 carats in the last year.

The oldest colonial building in South Africa, built by the Dutch East India Company between 1666 and 1679, when company officials established a way-station at the Cape of Good Hope to supply the company’s ships rounding the tip of Africa on

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Actress Charlize Theron participates in a pre-game ceremony before Inter Milan and Chelsea played their friendly soccer match in Pasadena, California in July, 2009.

their way to the East, Cape Town’s Castle is built in the form of a fivepointed star. Back then, the ocean lapped against its grim, grey battlements at high tide. Now, Cape Town’s Foreshore is rapidly becoming a financial centre. A remarkable landreclamation project that ended in 1945 resulted in about 480 acres being reclaimed from the sea for the building of a new harbour, dry dock and commercial development. The pioneering and remarkable civil engineering techniques and knowhow involved in wresting it from the encroaching ocean have been exported to the world, and are the reason why the Castle now finds itself more than a kilometre from the ocean whose waves once broke against its walls.

On the subject of the sea one has to ask, what exactly are dolosse? Their curious name derives from the small, odd-shaped bones thrown by traditional tribal healers. You’ll see dolosse in their millions all over the world in tumbled profusion near major harbours or along the breakwaters that guard them. Designed in East London (South Africa, not the UK) to protect harbour walls or civil works from the destructive effects of wave action, these odd-looking concrete contraptions that look a bit like outsize anchors are a South African engineering and design first. It takes

about 10,000 of them to protect a kilometre of coastline. Put into place using cranes, their random positioning and complex but clever shape means that, with time, they are tumbled together by wave action into porous, tightly-packed rows that have the effect of deflecting waves off to the side. Engineers often number them so that their movement can be tracked by satellite over time, and so that more can be added where they are most needed if it should become necessary.

South Africa has an enviable international reputation for the standard of its universities, and perhaps particularly for its achievements in the world of medicine.

There is no better illustration of the country’s pre-eminence in the medical field than Chris Barnard. Barnard, born in Beaufort West in 1922, grew up in modest circumstances with the bloodied knees and muddy feet of an idyllic country boyhood, before qualifying in 1945 as a General Practitioner at the University of Cape Town. By 1962 he was Associate Professor of Surgery at his old university, with surgical privileges at the nearby teaching hospital, Groote Schuur. Said hospital leapt to world fame in early January 1967, when 45-year-old Barnard carried out the world’s first successful heart transplant operation on retired grocer Louis Washkansky. Although Washkansky

died 18 days later, Barnard’s methods became a benchmark throughout the medical world and transplant patients now routinely lead normal lives. If you’d like to visit the original operating theatre where this groundbreaking surgical feat was performed, it and much associated with the event has been preserved in the old building of the much expanded Groote Schuur Hospital as a permanent museum called The Heart of Cape Town.

Visit www.heartofcapetown.co.za.

Speaking of things therapeutic, medical tourism is a relatively new fad that sees patients from other parts of the world, tired of long waits and decaying health systems abroad, travelling to South Africa to undergo major surgery and recuperate in inexpensive comfort before returning home.

Marvels of medicine aside, South African engineers have too been at the forefront of recent achievements.

Built by Optimal Energy and giving around 300 kilometres to a single charge with a top speed of 135km/h, the wholly South African-developed Joule is stylish, yes, but better yet, requires minimal support infrastructure and leaves behind only a very faint environmental footprint, if any at all. Developed as an allelectric car rather than a “hybrid,” this smart little runabout rubbishes the traditional market apprehensions that have bedevilled electric cars until now. Its anticipated launch date is sometime in 2013.

South Africa has made its mark on the worlds of literature and entertainment too. One of South Africa’s best known and more decorative exports is the lovely Charlize Theron. Perhaps best known for her performances in The Italian Job, The Cider House Rules, North Country and 29 other films, Charlize recently won an Academy Award for her portrayal of serial killer Aileen Wuornos in Monster and a nomination for North Country. Growing up on a modest farm outside Benoni – which, for the benefit of our foreign visitors, is a town near Johannesburg – she is directly descended from the first early A herd of Cape buffalo.

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Johannesburg, South Africa – on the left, the massive cylindrical Ponte building and the Hillbrow Tower clearly seen in the centre.

Huguenot settlers who came to the Cape in 1688 and established the wine-growing area around Franschhoek. Charlize attended the National School of the Arts in Johannesburg before flying out of South Africa to eventual fame on a one-way ticket to Los Angeles. A staunch supporter of animal rights and an activist for PETA, Charlize has taken part in anti-abortion marches and is heavily involved in campaigning for women’s rights. Her Africa Outreach Project provides soccer fields for disadvantaged rural areas in South Africa.

Famed for his hairy feet and agreeable disposition, Frodo and his hobbit comrades of Middle Earth are the enduring creation of another South African legend, English language scholar JRR Tolkien, who was born in Bloemfontein in 1892 and died in 1973. Professor of AngloSaxon (Old English) at the University of Oxford, Tolkien’s prodigious output most famously includes The Lord of the Rings and The Hobbit. Awarded a CBE (an order of chivalry in the class of commander) by Britain’s Queen Elizabeth in 1972, a year before his death, Tolkien is arguably although popularly identified by Wikipedia as “the father of modern fantasy literature.” The Times placed him sixth on their list of the 50 greatest British writers since 1945.

Perhaps South Africa’s most famous icon, aside from Table Mountain, is one Nelson Rolihlahla Mandela, elder statesman, long-time Apartheid era prisoner, voice of reason and moderation in a divided land and, together with the last apartheid-era president FW de Klerk, whose sweeping reforms set him free and paved the way to a new future for the country, Nobel Peace Prize winner.

Known worldwide as Madiba, an honorary title bestowed by elders of his clan, and elected to power as president in South Africa’s first

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democratic election in 1994, the 91-year-old Mandela now enjoys a well-deserved retirement in the comfort of his home in Houghton, Johannesburg. Mandela epitomises the hope, restraint and fundamental goodwill that underpin the South African condition, and regrettably has lately ceased all public appearances in deference to reportedly shaky health.

The Kruger National Park, covering more than two million hectares and bordering South Africa’s Limpopo and Mpumalanga Provinces in the west, Mozambique in the east and Zimbabwe to the north, is one of those places to which no words, aggregation of websites or collection of photographs can even begin to do justice. You simply have to go there. Established more than a century ago, in 1898, this gem of the country’s national parks and private reserves is home to 336 varieties of trees, 40 types of fish, 34 different amphibians, 114 species of reptile, 507 bird varieties and 147 mammals.

There are several comfortable rest camps throughout the park and sipping sundowners while

The thing that strikes the overseas visitor most readily about South Africa is the fundamental warmth of the place – not just its congenial climate but an earthy groundswell of goodwill between its people.

you watch a herd of elephant stroll slowly towards the water-hole for a long drink or messy mud bath against the backdrop of a blazing bushveld sunset is an experience that will linger in your memory forever.

There is, however, one thing that South Africa has given the world that the world could well do without. This is a sort of debased, yard-long plastic trumpet locally called the vuvuzela.

The chosen instrument through which South African football fans express their excitement, the sound it makes is somewhere between that of an Aboriginal didgeridoo and someone trying unsuccessfully to repair a defective foghorn. Vuvuzelas are a feature of any and every South African football match and the 2010 FIFA World Cup is likely to be remembered as much for the endless and mournful braying of the vuvuzela as for anything to do with football.

I have had the great good fortune to have done a lot of travelling over the years – and the great ill-fortune to have lived in cold places with funny names a long way from home for varying spells, where on the last occasion – a six-year stint in London – the first thing I would do in the morning was fire up the computer and look at some South African webcams in order to be able to face the day. That’s how the place grabs you. And despite the fact that they’ve almost certainly been told to be nice to people entering the country, the courtesy and the “welcome home” of the passport official at OR Tambo airport on my return told me I was home. And we’ll happily share our home with you. 

F E AT U R E

Bremont Watches

Take to the Seas Having conquered the skies with their range of pilots’ watches, English brand Bremont has its sights set on the sea. Last year’s launch of their first diving watch, the Supermarine 500, has been followed by that most unexpected of new models: a mechanical marine clock aimed at yacht owners, in the tradition of John Harrison, who gave us longitude.

Words: KEN KESSLER Images: © BREMONT

E

ven though navigation at sea is now in the hands of computers, mechanical clocks retain their appeal.

If you’re an enthusiast who sails a vintage craft in one of the many historic regattas, something in your psychological

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make-up will lead you to a clock for which “batteries are not required.”

While a number of watch companies continue to issue mechanical marine clocks on a small scale, they tend to be – primarily – exercises in nostalgia. Not so Bremont, a watch company barely five years old

but which has already made its mark on the timekeeping scene. Among the company’s specialities are steel cases with a hardness of 2000 Vickers, more than three times the norm for a wristwatch. Having also produced timepieces that surpass the standards set by Martin-Baker – the company

F E AT U R E

manufacturing the world’s finest aircraft ejector seats – and a diving watch tested by pros, Bremont has responded to another muse.

Co-founder Giles English explains that, “John Harrison, who produced the first accurate chronometer for naval use, has always been a hero of mine and my brother Nick. We were always fascinated by the longitude saga. And as English watch manufacturers, we’d always wanted to build a proper Ship’s Clock. We just needed to be nudged. The trigger came from a client, who wanted one for his yacht. It follows logically from the introduction last year of our first diving watch.”

Developing a ship’s clock is consistent with Giles and Nick’s sense of adventure: they’re both highly experienced, professional pilots, partial to historic planes, while Giles worked as a naval architect. “And, as boys,” Giles adds, “we sailed halfway around the world in a boat our father built. We grew up around clocks, which Dad taught us to dismantle and assemble. So we simply can’t understand why someone would want a quartz clock on the wall of their yacht. And to know that an Englishman, the son of a carpenter, solved ‘the longitude problem’ – it’s irresistible.”

With the successful transition from air to sea in 2009 via the Supermarine 500 diving watches, and now thanks to customer demand, Bremont has announced that it is producing an all-new Ship’s Clock.

The professional timekeeper is a completely in-house design, devised in its entirety, including the escapement, by the company’s Technical Director, Peter Roberts.

Roberts has created a modern take on a form that goes back over 300 years, though the functions would communicate their purposes immediately to a navigator from the 1700s. “Bremont is an English company, and we were guided by the English chronometers of the past. And

it’s something we were actually told there’s a demand for; we already have clients who have expressed interest in it. Essentially, they wanted a Bremont clock to go in their yachts,” he says.

Despite the sophisticated, satellite-fed navigational equipment found on all modern oceangoing craft, the hidden desire for allmechanical ship’s clocks led Roberts to devise a modern take that will appeal for its technical merits as well as the obvious retro element. As Peter wryly points out, “Should there be an electrical failure, the completely waterproof Bremont clock will continue to operate. We didn’t want to go the way of a traditional chronometer because, in many ways, they’re not terribly useful in modern times. When you have a gimbalmounted chronometer, you have to go to the box, lift the lid, look at it – it’s something you won’t do very often on your yacht. But if you have something mounted up on the wall, you can see it all the time.”

As one who is unimpressed by the current craze for outré complications, Peter insists on “functions that have a purpose.” He says, “What I wanted, design-wise, was something that not only told you the time, but also gave you other indications that would be useful on a yacht. Our clock will tell the time locally and at home, and the duration of a trip up to 90 days, by days and hours and months – rather like a chronograph, but with longer intervals than minutes, seconds and hours. So you go off on your voyage, from, say, Rio de Janeiro to Monte Carlo, and a glance at the clock will tell you how many days

As English watch manufacturers, we’d always wanted to build a ship’s clock. We just needed to be nudged.

and hours you’ve been travelling.”

To ensure the reliability of the clock and its ability to track long intervals, Peter says that, “fullywound, it will run for at least a month.

There’s a power reserve indicator on the dial because we don’t want anyone to forget to wind it." The watch also shows GMT and date Equally important for Roberts is the insistence that, “every component in the Ship’s Clock be made in England.”

Bremont hopes to deliver the first of its fully-waterproof Ship Clocks by December. “Each is made to order,” says Giles, “and we anticipate a production rate of one per month.” It will be offered with a wall-mount frame that allows the 12-inch diameter clock to be removed and fitted to a second or third frame on a private plane or in an office, or to be placed on a table, while finishes can be customised to match a craft’s interior. Prices will start from around £40,000 which, Peter points out, is astonishing value for a multifunction, handmade, limited-edition ship’s timekeeper made entirely in England.

Visit www.bremont.com. 

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Italian Flair Enters Southern Waters

Ferretti&

Aegir

There was good news emanating from a recent international dealers’ meeting of the Italian yacht-manufacturing Ferretti Group. For local and regional lovers of beautiful power yachts, the appointment of Cape Townbased Aegir Performance Yachts as agent for South Africa, Mozambique, Mauritius and Seychelles means that eight of the world’s most beautiful yachting brands are now fully represented and serviced in our own backyard.

Words: CHARL DU PLESSIS Images: © FERRETTI

I

t is easy to fall in love with the Ferretti Group’s yachts. Italian yacht designers have consistently proven that their national flair for creating aesthetically pleasing products, be they cars, clothes or furniture, has

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ebbed into their approach to the marine world. And as any yachting aficionado will tell you, any one of the prestigious brands produced by this group is likely to turn heads in the marina. The Group, directed by Chairman and Founder Norberto

Ferretti and CEO Salvatore Basile, has always been at the very top of the pleasure boating world. Constant product and process innovation, and continuous research into cuttingedge solutions within the sphere of yacht design and construction

LIVE

technology are reflected in every detail of a range that now includes Ferretti Yachts, Pershing, Itama, Bertram, Riva, Apreamare, Mochi Craft, CRN and Custom Line.

Speaking to Frederic Makelberge

new Ferretti 800. Other projects include collaboration between Riva, the darling toy of stars and playboys on the French Riviera for the past 40 years, and fashion label Gucci. The new Itama’s 50 foot brings another winner

world first, and one which enables serious buyers to visit the yachts any day of the year. By booking through Aegir, local buyers can visit the marina and try the range out at sea privately, accompanied by a

from Aegir Performance Yachts, he says, “We share a strong belief, along with Ferretti, that there are fantastic growth opportunities in the upcoming markets of the world, and that Cape Town is the ideal hub for expansion into the region and the continent. The success of Pershing since its entry into South Africa has shown that there is a huge appetite and ample means to make our attractive range of Italian yachts the yachts to own. Ferretti has demonstrated their willingness to grow this market and are strongly commited to supporting us in the region.” Frederick also quips, “It is an amazing group of people to have behind you. Salvatore Basile, the Ferretti Group’s CEO, is incredibly professional and knowledgeable, yet hands-on and down-to-Earth. He represents everything one needs to have the ultimate confidence inspired about this Group’s continued march at the forefront of the industry.”

The Group has just concluded a series of international yacht shows where several of their latest innovations were introduced. Top of the line was the exciting launch of the

to a band of ultra-loyal followers. And, the latest CRM80 was launched with a sideway garage. Fun, gorgeous and playful, yet underneath all of this some of the most durable construction and cutting-edge hull creativity on the water today, as Ferretti yachts are designed by highly specialised technicians and engineers at the Advanced Yacht Technology centre – one of the most advanced naval research and design units in the world.

On the marketing side, the Group is also about to turn the yachting world on its head, through the recent unveiling of their Easea concept in Marina Nuova in Cattolica, Italy. This is a permanent and exclusive showcase of the Ferretti range in one marina – a

dedicated, highly knowledgeable crew.

Allessandro Diomede, Ferretti’s regional representative, is full of praise for Aegir Performance Yachts and the Makelberge family behind it. “With the recession in Europe and the US, we have seen our biggest growth in the emerging markets. Our durable yachts are ideal for your regional waters, and as more and more people from that side of the world visit Europe and see the magnificent marine playgrounds, the demand keeps growing. Aegir is a valuable partner, not only because we have a great personal relationship but because the Makelberge family understands the yachting culture, both in Europe and in Africa. Most of all, we were very impressed with the strong effort they put into launching Pershing in South Africa and where they never held back on their investment. They are as committed as we are in offering our owners not only the best choices, but also the best service and support.”  Contact Frederic: • Tel: +27 21 557 5351 (Office); +27 72 244 1982 (Frederic Makelberge) or +27 683 2660 (John Makelberge) • Email: frederic@aegirperformanceyachts.co.za • www.aegirperformanceyachts.co.za

Aegir has shown their commitment to promoting the brand in South Africa and investing in a fully serviced solution to local yacht owners.

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UNWIND

Bushveld

Bliss

Karkloof Spa Wellness & Wildlife Retreat

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Driving through the gates at Karkloof, a large, lethargic rhino enjoying forty winks in the shade of a fever tree sets the pace for our weekend in the KwaZulu-Natal Midlands – one of unhurried ease carried out to the thrumming backtrack of the African wilderness.

I

’m sitting cross-legged on a futon facing the window. Inside the wood-panelled room the air is cool, lightly scented.

Behind me, a soft-spoken Thai therapist is methodically massaging the knots in my shoulders.

In front of me, a bushveld vista stretches on as far as I can see.

A large, male nyala edges into the frame, munching languidly on the grass beneath his hooves. He is not the first animal I’ve seen in the vicinity of the spa. When I arrived, his mate was grazing on the rooftop – yes, rooftop – of the spa complex while a small sounder of blasé warthogs trotted past.

I watch a Trumpeter hornbill land gently on a rock not far from the window. He tilts his head in my direction and stares in my direction, but deciding I am either no threat or in no state to be threatening, as relaxed and half asleep as I am, sets about hopping through the grass in search of something. Lunch, perhaps.

A flock of glossy starlings interrupts his forage as it swoops gently in, sunlight glinting purple and turquoise off the birds’ backs, to settle in a nearby acacia tree.

While I am prone to dozing off during massages, I manage to stay awake for the full duration of this one. I’m certain that this treatment will linger in my memory for a while

Words: TONI MUIR Images: © KARKLOOF SPA

to come. I leave feeling completely energised, and wobble my way back to the main spa complex, where I will next be set adrift in the floatation pool. I am told that 30 minutes in the salted warm water will be as good for my body as several hours of sleep.

Water is the main element around which the Karkloof Spa was created, and features range from streams and man-made channels running throughout the complex, and plentifull water features trickling gently down the walls, to extensive hydrotherapy facilities. Here, guests can relax on chaises longues by the bubbling Roman pool, sweat it out in the sauna or steam room, or plunge bravely in the Kneipp therapy pools – first so hot your blood will surge through your veins as your core temperature soars, then ice, ice cold so that the blood vessels constrict to give your circulation a serious boost.

The experience is quite something, but exhilarating at the very least.

The spa complex comprises 17 treatment rooms, all with a different theme. One section is dedicated solely to the Thai Sala rooms, with all of the therapists handpicked from their native Thailand. Built with recycled and environmentally friendly materials, Karkloof is proud of its “green” spa; figuratively in its use of natural or organic products and literally in the fact that some of its roofs are, in fact, green. These living roofs, planted with soil and grass, keep the buildings cool in summer and warm in winter.

And when the estate’s docile wildlife graze upon them, gives this otherwise international spa a distinctly African zest.

Karkloof’s main lodge, with its vaulted thatched roofs, is light and airy with plenty of comfy couches,

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sun loungers and armchairs spread throughout. Mealtimes, like the resident wildlife, are relaxed. Guests may dine whenever they wish – be it breakfast at noon or lunch at sundown. And the fare is superb; three courses each for breakfast and lunch and a four-course supper; all wholesome, tasty and very, very good.

My other half and I were impressed with the perfectly proportioned courses; never too much, never too little, something not a lot of places get right. The walk-in wine cellar, which can be found in a corner of the library, is well stocked with an excellent selection of South Africa’s best vintages. Guests are left wanting for nothing.

Sated and by now a little sleepy, we stroll along the elevated wooden walkways back to our villa where, I have decided, a bubble bath seems the order of the evening. We open the door to the surprise of rose petals scattered through the hallway, spread across the bed and leading into the bathroom, where a steaming bath of bubbles and a chilled bottle of bubbly are already waiting.

Candlelight dances off the mirror as we ease ourselves into the effervescent tub for a languid soak.

Karkloof has 16 individually decorated villas, purposefully built to blend into the surrounding bushveld and offer privacy from neighbours.

Private decks stretch out towards the valley, affording superb views of the sun setting over the hilltops in the distance. All the desired luxury amenities and lodge necessities, from fine percale bed linen and a double bathtub to bird books and

binoculars, and that’s not forgetting the homemade cookies and complimentary mini-bar, replete with top-of-the-range Nespresso machine are to be found. The attention to detail here is unparalleled.

In the morning, we climb aboard a khaki-coloured game viewing vehicle and set out on an early drive. Our guide is knowledgeable and responsible – getting us close enough to the animals to properly appreciate them but not so close that our stomachs need knot and our knuckles turn white. We stop to hike the couple of kilometres up to Karkloof Falls.

Meandering through the damp forest, a cool, light mist tells us we are almost there. We round a corner and come face to face with the 105-metre tall Falls in all its tumbling glory.

Karkloof is set in a fertile bowl surrounded by towering cliffs; the shimmering waters of the Albert Falls Dam in easy view. The waters of both the Umgeni and Karkloof Rivers converge on this 3,500-hectare property, which is home to large herds of zebra, antelope, giraffe, wildebeest, buffalo and warthog, as well as several black and white rhino. There is

also abundant and diverse birdlife and we are thrilled at the sight of a pair of hamerkops standing knee-deep in the rivulet waiting for their midday meal to come swimming past.

Everything played an intrinsic part in our stay at Karkloof – from the cocktail and cool towels on arrival to the sincere farewell outside the lodge when we left, lighter in body but heavier in heart to be leaving such a blissful spot in the African bush.

Karkloof Spa was the recipient of Tatler Magazine’s coveted “Most Exciting Discovery of 2009” award and was officially inaugurated as a member of Relais and Châteaux at the end of 2009. It is the only property in South Africa to have membership of Relais and Châteaux bestowed upon it in 2010. Having only opened in September 2008, this is a phenomenal accolade for a new property and firmly positions Karkloof as one of the top destination spas in the world. The Spa is open to overnight as well as day visitors.  Contact Karkloof Spa: • Tel: +27 33 569 1321 • Email: reservations@karkloofspa.com • Visit: www.karkloofspa.com

F E AT U R E

A Wealth of Automotive History

Franschhoek Motor Museum

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Revolutionising Africa There’s a charming little town roughly 70 kilometres outside of Cape Town. This is the town of Franschhoek, home to the Franschhoek Motor Museum, one of the most impressive collections of cars on Earth.

Words: ALEXANDER PARKER Images: © FRANSCHHOEK MOTOR MUSEUM

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Y

ou know it’s a special place when you walk into one of the four huge sheds that house the cars and see an F40 parked just up from an Enzo. The Enzo, named after the company’s founder, Enzo Ferrari, was such an extraordinary car that Ferrari would invite you to buy one. No popping to the dealer to put in an order.

That’s an indication of the regard Ferrari holds for the Rupert family, and with good reason. Just a few minutes’ drive outside of Franschhoek, the Rupert wine estate, L’Ormarins, provides a suitably luscious locale for

the museum. The four large sheds, styled Cape-Dutch to complement the environment, contain, at any one time, as many as 80 cars on show.

This, of course, is not the full collection. Cars come and go, as there are more than 220 cars in the Rupert collection.

The story began in Heidelberg where, upon the closing of the museum there, Rupert bought the collection and moved it to the Western Cape. He was always very clear on his motivation in keeping and adding to such an extensive collection.

Speaking in 2007, Rupert said that “so many priceless cars have been lost to the country – when classic car prices

hit the roof 20 years ago, the money was just too good and we saw literally hundreds of special cars that were so important to South Africa shipped

there’s an almost endless sea of desperately exciting rare cars. Who’s ever seen a Mercedes-Benz 540K? They only made 400 or so and the

astonishingly beautiful Cord 850, a hugely advanced, front-wheel-drive car for its time in 1935, but a car that was far too expensive and which was

out for big prices. Still today we're seeing cars disappearing all the time. We have to stop that at any cost – we cannot afford to lose any more of South Africa’s motoring heritage.”

To protect their precious contents, the giant sheds are temperature controlled and kept de-humidified.

And you need not be a complete petrol-head to enjoy what’s on show.

While the exhibits go as far back as the late Victorian era, even the average Joe can’t help but be blown away by that first hall, containing, among others, a Ferrari F40, Ferrari F50 and the Enzo. There are a couple of rare 250 GTs as well, an Aston Martin DB4 GT, a silver Porsche Carrera GT and a Mercedes CLK 55 DTM. Not far from that there’s a concourse Mercedes 300SL, the conqueror of the Carrera Panamericana in the 1950s and perhaps best known as the legendary “gull-wing” because of the way its doors opened. For the classic nut,

only one that ever came to South Africa has, in the Rupert way, been saved at this motoring museum. And the car is just immaculate, gleaming in all its enormous 1930s elegance and intimidation.

And there are cars aplenty that many will find obscure, like the

destined to drive its manufacturers bankrupt.

No collection of this nature would be complete without some old Fords, and the motoring museum boasts a 1903 Model A, and, of course a couple of Model Ts, the car that completely changed the face of motoring.

Rolls-Royce fans aren’t forgotten either. Other than an immaculate Silver Shadow, the collection also has a 1928 Phantom I, a huge and menacing machine.

The collection styles itself as a museum and is, therefore, curated properly in order to take the visitor on a journey through motoring history. Wayne Harley, who has curated the museum since its Heidelberg days, says that it is never clear when a new car will arrive. He is not always involved in the purchasing of vehicles and is sometimes suprised to find that Mr Rupert has acquired something new which needs to be cared for and, of course, driven. Some guys have all the luck.

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And you need not be a complete petrol-head to enjoy what’s on show. While the exhibits go as far back as the late Victorian era, even the average Joe can’t help but be blown away by that first hall, containing, among others, a Ferrari F40, Ferrari F50 and the Enzo.

C E L E B R AT E

LUC The Tribute

LUC One Tourbillon

A Quartet of New Watches and Movements for

Chopard’s

150th Anniversary

Anniversaries provide everyone from car manufacturers to rock stars with an excuse to create reissues or “limited editions.” For the watch industry, anniversaries supply a stand-alone theme for enthusiasts, because there are sufficient brands that have been around long enough to mark impressive spans. And when a company is celebrating a century or more, its specials need to rise to the occasion.

Words: KEN KESSLER Images: © CHOPARD

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C E L E B R AT E

LUC 150 All In One

C

hopard’s big “one-fiveoh” has inspired the manufacturer to create not just new models, but whole new movements. As watch connoisseurs will tell you, making one’s own movements in-house separates the men from the boys, and Chopard is one of those with true manufacture status. Watches with Chopard’s own movements enjoy the L.U.C tag, the initials standing for Louis-Ulysse Chopard. This tale of two companies begins in 1860 in Sonvilier, Switzerland, when a then 24-year-old Chopard (1836-1915) founded the watchmaking house that bears his name. From the outset, the L.U.C manufactory would produce ultrathin, high-precision pocket watches that foretold the elegance that pervades everything the brand now produces.

In 1904, in Pforzheim, Germany,

LUC 1937

the young Karl Scheufele I (18771941) launched a company that specialised in jewellery watches, which were distributed under the Eszeha brand name. Crucially, he developed a special clip device that could attach a pocket watch to the wrist, a clever system that he patented in 1912 and which would be honoured again nearly a century later. At the time, pocket watches were the norm for portable timepieces, but Scheufele clearly understood that wristwatches would supplant them – as they did within 20 years. He passed the company to his son, Karl Scheufele II (1907-1966), to run it after World War I. Control later went to 20-yearold Karl III, the founder's grandson, in 1958.

After the death of Louis-Ulysse Chopard, his son Paul-Louis (18591940) continued to run Chopard, opening a subsidiary in La Chaux-deFonds in 1922. The company relocated

to Geneva in 1937, under the control of Louis-Ulysse’s grandson, PaulAndré Chopard (1898-1968). His sons, though, were not interested in taking over the family business.

As luck (or L.U.C) would have it, Karl Scheufele III was eager to turn his company into a proper watch manufacture, producing its own movements. In 1963, he let it be known that he was shopping around for a Swiss movement manufacturer.

Discouraged by the lack of enthusiasm he persevered, finally getting through to Paul-André Chopard. Their chemistry was immediate, a deal was struck and the foundations were set for the company now revered for both its watches and its jewellery.

Having involved itself in charity work with José Carerras and Elton John, and supported the film industry at Cannes International Film Festival and in Hollywood for the Oscars, Chopard is one of the most proactive

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of all the major watch houses. So maybe it shouldn’t be a surprise that they found the time to create four new mechanical movements – or “calibres” – and the appropriate watches to house them.

Referencing Louis-Ulysse Chopard’s genius invention of a device to convert pocket watches to wristwatches, the 148-part L.U.C Calibre EHG found in The Tribute has been developed as a collaboration between Chopard and the Geneva Watchmaking School, to help the students to create their “school project” marking the culmination of their studies. It is hand-wound and has a power reserve of over 80 hours.

Its pristine, white dial bears Roman numerals in black, with the seconds in a small dial at the six o’clock position.

Its prestige is assured by both chronometer certification from the Swiss Official Chronometer Testing Institute (COSC) as well as the Poinçon de Genève quality hallmark.

Appropriately, it can be removed from its frame and used as a pocket watch.

For lovers of complicated timepieces, Chopard has created the hand-wound L.U.C Calibre 4TQE, found in the L.U.C 150 All In One. It boasts 516 parts and four barrels, which endow it with a seven-day power reserve. Also, chronometercertified by the COSC and bearing the Poinçon de Genève quality hallmark, its dial shows the hours and minutes with the small seconds on the tourbillon, perpetual calendar with 24-hour indication, day of the week, date, month, leap year, power reserve, equation of time, sunrise and sunset times and moon phases.

Reflecting the Chopard affinity for things automotive, the 209-part, chronometer-certified, hand-wound L.U.C Calibre 1TRM which drives the

L.U.C Engine One Tourbillon oozes motoring details, even resembling the valve covers atop an engine block. Its upper surfaces, which serve as the dial, feature reamed and sloping plates one engraved with the name “Chopard,” the look familiar to anyone who’s ever gazed under the bonnet of a supercar. The L.U.C Calibre 1TRM is even mounted, motor-style, on shockabsorbing “silent blocks” to absorb the shock of day-to-day movement, held in place by three lever-arms carved out of the case middle. It boasts a 60-hour power reserve, displayed at the 12 o'clock position in an arc, opposite the tourbillon bridge at six o'clock.

Lastly, for those who prefer something simpler and self-winding, Chopard is offering the 207-part L.U.C Calibre 1.010, found in the L.U.C 1937 dress watch. Its importance is that, unlike its three siblings, the Calibre 1.010 is intended for industrial-scale production rather than limitededition watches with production in the tens or hundreds. Chopard developed it for accuracy, reliability, efficiency and easy assembly, yet it will meet the most demanding standards of performance, including the COSC. It stands apart from conventional rivals in that its winding crown is located at four o'clock. Date is displayed in a window at the six o’clock position. The 1937 offers a 60-hour power reserve. It also merits Côtes de Genève and an L.U.C engraving.

For lovers of fine timepieces, this quartet represents something for everybody: sporty, dressy, modern, retro, simple, complicated. But they’re anniversary editions, which means “limited.” And some of us just can’t wait until Chopard’s 200th for the next selection. For more information, visit www.chopard.com. 

Publicis JHB 6130

AND ON THE EIGHTH DAY…

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DISCOVER

So you South Africa’s size, colourful history, geographical and cultural contrasts as well as its growing popularity as a tourist destination mean that not only are there larger numbers of people looking for something to do or talk about but that some of the country’s fascinating oddments, least-known places and practices are clamouring to be recognised by a wider audience.

Words: GAVIN BARFIELD Images: © ISTOCKPHOTO.COM

H

ere, then, is a list, in no particular order of importance, of things you probably didn’t know about this sun-soaked land of milk and honey.

If you’re down in Cape Town (that’s that sort of appendix-shaped bit right at the bottom, hanging off the continent on the left), you may find yourself in Simon’s Town and go to the Naval Museum there. If you do, there is a picture on the wall that it is evidently impossible to photograph.

When your film is developed, the area

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inside the picture frame will be blank.

Cape Town and surrounding countryside has a lot of quite big rocky things. One of these, overlooking the city, is flat on top and instantly recognised all over the world – it is sometimes draped in a “tablecloth” too. These are mountains, and they play host to a unique floral kingdom, if you’re interested and take the time to look. The smallest and richest of the world’s six floral regions, the 90,000-square-kilometre Cape Floral Kingdom plays host to more than 8,500 plant species, of which the Cape Peninsula alone has 2,285; more

than 90 of which are endemic.

The world’s biggest hospital is in South Africa. The Chris HaniBaragwanath Hospital, just outside Johannesburg, had 2,964 beds at the last count, and is a celebrated teaching hospital. The hospital and its staff of over 5,000 serve the sprawling phenomenon of nearby Soweto – official home to just under a million South Africans, and probably unofficial home to roughly the same number of immigrants, who come from elsewhere in Africa to seek their fortunes in the Golden City.

The world’s largest uncut

UE RR E D I FS ECAOT V

think you Know

South Africa?

diamond, the 3,106.75-carat Cullinan diamond, was found at the town of Cullinan, near Pretoria, in 1905. The two major polished diamonds taken from it, Cullinan 1, or Star of Africa, and Cullinan 2, or Lesser Star of Africa, at 530.2 and 317.4 carats respectively, are both in the British Crown Jewels.

You probably won’t have been aware that South Africa, after Europe and the Mediterranean, has the largest wine industry in the world. Jan van Riebeeck, who landed at the Cape in 1652, planted the first vineyard there in 1655. At the time of writing,

South Africa was producing around 780 million litres of seriously good wine per year and sending it far and wide to be enjoyed by connoisseurs the world over.

Rather than struggle with lost baggage, long trips to the airport and infuriating waits while they tell you that your plane is still in Durban and

South Africa wasn’t the top-performing tourist destination in 2002 for nothing, boet.

has to take a cargo of penguins to Windhoek before it can come back and load you up in the wee hours of the morning, you could travel between Pretoria and Cape Town on the famed Blue Train. Whisper-quiet and sybaritically luxurious, this airconditioned, velvet-shod monument to quiet good taste does the trip twice a week and simply kicks the competition into touch.

We weren’t the world’s bestperforming tourist destination in 2002 for nothing, boet.

Sticky situation? You don’t know what sticky is until you’ve tried to

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The

ultimate

experience

Two lodges set 4km apart, depicting their own unique design and marvel of a breathtaking Namibia Experience true hospitality unified in an idyllic Namibian landscape www.bergeckmissionlodge.com www.melrosegamefarm.com

Mission lodge

GAME FARM

ME LROSE

prise apart things that were stuck together with another South African innovation – Pratley’s Putty. Once it has set, nothing but an atom bomb will move Krugersdorp scientist George Pratley’s tenacious paste.

More adhesive than even the most persistent of self-appointed car guards, this stuff held together parts of Apollo 11 and can claim the distinction of having been to the moon in the company of three Americans.

With six Nobel Prize winners to date (Albert Luthuli for Peace in 1960; Aaron Klug for Chemistry in 1982; Bishop Desmond Tutu for Peace in 1984; Nadine Gordimer for Literature in 1991; Nelson Mandela and FW de Klerk for Peace in 1993 and John Maxwell Coetzee for Literature in 1993), South Africa has more winners than many other countries of its size.

Once upon a time we had a thing called a Quagga, which is a sort of depressed-looking donkey in striped pyjamas, if you can visualise that.

However, they all got shot, and the naturalists got very cross about it. So much so, in fact, that the formerlyextinct species is being brought back from the dead by dedicated scientists who have discovered that its DNA is almost the same as that of the stillcommon Burchell’s zebra. It’s a South African achievement, by the way.

Do you have a swimming pool at home? Have a Kreepy Krauly – one of those underwater vacuum-cleaner things – to clean it? Used all over the world, widely imitated but never equalled, the proudly-South-African invention first slurped its flatulent way to public notice in 1974 and

since then has humped eagerly at the legs of some really important people in pools from Hollywood to Houghton.

We can lay claim to the oldest meteor scar in the world, too. The Vredefort Dome, recently proclaimed a World Heritage Site, marks the arrival two billion years ago of a very large and noisy visitor from outer space, reportedly at a time when there wasn’t even any oxygen, or multi-celled life to breathe it, for that matter. Just in passing, we have at Barberton in Mpumalanga Province some of the oldest rock formations in the world. They had already been here for a billion years when the meteor arrived. Some would say that not much has happened in Barberton since then, but they’d be wrong.

Still not enough?

We have some odd customs too. It is true that you can order a monkeygland steak in restaurants here, and the waiter, without turning a hair, will take your order and ask you if you want it with the deluxe trimmings – the French fries and tired lettuce.

Allegedly created as a form of culinary revenge by an overseas chef peeved at the habit of visiting South Africans of pouring Worcestershire and tomato sauce over everything, you can order it here without fear of dreadful internal organs or sinister little lengths of grey tubing ending up on your plate. In fact, a monkey gland steak involves nothing more ape-like than tomato, chutney, garlic, Worcestershire sauce and some other things like Tabasco and sugar. It’s really rather nice.

Welcome to our fine country. 

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SPEED

Stealth Top-End Luxury Powerboat Manufacture in South Africa

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SPEED

Every so often we are found staring at our preconceptions, not because we feel the need to, but because occasion or experience has left us no choice.

And this is just what the experience of a Stealth Yacht has done to some of the world’s most jaded maritime enthusiasts.

Words: RALPH DILL Images: © STEALTH YACHTS

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T

he Stealth 540 flybridge and 520 RUV are both vessels that have induced jaw-dropping numbness in even the most discerning scribes the world over.

Locally, both models have garnered the prestigious annual award for Best Vessel in Class as voted by the South African boat building industry at large. But why all the hullaballoo?

From its ground-breaking technologies and uncompromising quality of fittings and finishes, to the comfort of the ride; the effect of a journey onboard a Stealth yacht manifests itself in excitement levels unparalleled and a grin very hard to remove. Even those who are new to the sport of leisure boating are left with impressions akin to awe. Dare we say it, no one leaves a Stealth ride without stopping, staring and gushing about the experience to all who will listen.

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The Stealth principle is not a simple one, though the result is incredible. Essentially, these are hydrofoil supported catamarans (HYSUCAT®), which means that the vessels feature a catamaran configuration (twin hull), specifically designed asymmetrically to accommodate a foil joining the two hulls amidships as well as two lesser tab foils in the aft inner hull cheeks.

Underwater, these act as wings, lifting the vessels out of the water, which means reduced drag and increased speed and efficiency in equal measures. The vessels also feature Q-SPD® surface piercing propulsion, using revolutionary VEEM® propellers that work most effectively when only the bottom half is submerged. Again the result is reduced appendage drag – friction caused by appendages in the water – and increased speed and efficiency. Steering is dealt with by an electronic fly-by-wire system from TMQ® of Australia.

There is a need to introduce some kind of perspective here, but it’s not easy. This 54-foot, 19-ton flybridge cruiser reaches speeds in excess of 85km/h (45 knots), with the help of two relatively small MAN R6-800 engines. When running at optimal efficiency, around 67km/h (36 knots), fuel consumption is as low as 88 litres per hour per engine. To better understand we can compare this to a high-end sports car using a fourcylinder engine as opposed to the obligatory monstrous V10, yet beating its opposition in acceleration, top speed and fuel efficiency.

In practical terms, the technologies in concert facilitate the use of smaller, lighter and more fuelefficient engines while achieving significantly improved performance, ride comfort, seaworthiness and fuel efficiency than any vessel in this size and weight peer group. The hydrofoil system was pioneered more than two decades ago by Professor Günther

F E AT U R E

Hoppe of Stellenbosch University, South Africa, who has referred to Stealth Yachts as being the most successful and mature user of these technologies globally.

But the envelope-pushing does not end here. Stealth vessels feature the ground-breaking Moritz Aerospace OCTOPLEX® electrical management system. Gone are switches and dials, breakers and analogue gauges, all of which have been replaced by an A5-sized touchscreen that allows the owner or captain intuitive access to the heart of the machine. Everything electrical is but a gentle touch away. Lighting moods and tank levels, battery reserves and pump operating parameters are set or monitored by the touch of a finger. The sophisticated system features self-analysis of any electrical failure and spells out the causes of problems, in turn bringing possible solutions to the user much more effectively, even if he or she is

not well versed in the ways of electronics.

Construction methodology is also cutting edge. Employing high-end coring materials, infusion practices and previously unseen GRP surface finishes are part and parcel of this vessel’s DNA. Every construction element is dealt with as critical. From weight sensitivity and balance to strength and durability considerations, nothing is left to chance.

The HYSUCAT® principle is not only incredibly efficient but also results in unheard of seaworthiness and comfort levels – acceleration does not result in traditional lurching and bouncing.

Kidney-bashing, motion illness and drink-spilling sideeffects are now things of the past. The Stealth furiously gains speed yet only hands to the occupant a sensation of immense acceleration and power.

There is no need for a white-knuckle grip on grab-rails and a total lack of the old-fashioned levitating stomach

contents. Swells and waves of most proportions are reduced to minor irritations as the foils deal with them much like a really good cheese slicer does with extra mature cheddar. The result is a ride which, once experienced, will become the benchmark by which others will mostly dissapoint.

Finishes are sumptuous, bringing with them a distinctly modern twist.

These range from Italian Alcantara, genuine leather, HiMacs acrylic solid surfacing and solid American red cherry to name but a few. AV Entertainment is provided by the range-topping Bose Lifestyle 48 system, piping surround-sound tunes and video to three zones and featuring iPod integration. The master cabin and saloon are fitted with full HD LCD monitors which, in concert with Bose, make for a really immersive entertainment experience. Settees are finished in genuine leather while the flybridge features its own icemaker

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What others have said about Stealth Yachts: and griller for relaxed barbeques and sundowners.

Essentially, Stealth currently builds two very distinct derivatives based on a common chassis: the Stealth 540 flybridge and the Stealth 520 RUV (Resort Utility Vessel).

The Stealth 540 flybridge is just that, a high-speed flybridge cruiser aimed squarely at the discerning speed junkie who gets a rush from tears-in-your-eyes, open-air speed sensation.

The 540 flybridge can be equipped with dive compressor and a tender for the dive enthusiast or if preferred, customised for fishing.

The luxury cabins with independent air conditioning, fully-equipped galley and ample refrigeration make her suitable for longer cruises and live-aboard users. Onboard watermaker and generator ensure total independence from the harbour wall.

The Stealth 520 RUV is the younger cousin, an excursion vessel without peer. Capable of all that the Stealth 540 flybridge is in terms of speed and efficiency, the Stealth 520 RUV focuses its energy on carrying up to 36 people on shorter trips, whether the trip is destination or sight-seeing oriented. The Stealth 520 RUV principle arose from a need to

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transport top-level guests in numbers to and from remote resort destinations in total luxury and at high speed.

Exposure to the Stealth 520 RUV has turned the actual conveyance of passengers into the most important aspect of the outing, rather than just a mode of transportation from point to point. Simpler in appointments and layout, this platform represents a basis from which further models are very easily derived.

From the moment one steps aboard a Stealth yacht and turns the ignition key, to the instant a sad, wobbly-kneed departure is made, levels of astonishment seem to rise without ever abating, much as the spectacular, and by now signature, roostertail left behind while underway at speed. The Stealth brand and its top-end products have been pointed squarely at the loftiest possible mark in every sense.

The latest Stealth 540 flybridge, Isis, was launched this month and will be available for viewing by appointment only for the duration of the World Cup. To sneak a peek, or better still, arrange a test run, contact Ralph Dill at Stealth Yachts by calling +27 21 534 8837 or emailing ralph@stealthyachts.com.

Visit www.stealthyachts to learn more. 

Some of the comments made by the press over the years have been nothing short of glowing: • Penned in the USA’s Yachting Magazine, September 2009, by Chris Caswell, legendary yachting personality, author of seven books about the industry and editor of two of the industry’s standardbearing magazines in the USA: “I’d be the first to admit that I’m jaded when it comes to boats: it takes a lot to get my adrenalin flowing. After running the Stealth I couldn’t wipe the grin off my face. My gums were dry. The muscles around my lips were in rictus, I wanted to come across to those onboard as a hardened yachting expert, but I was grinning like a kid... I came away from my short spin on the Stealth 520 RUV a changed man. I had seen the future. And it is unbelievably cool!"

• Ben Ellison, a veteran and something of a guru in the motor yachting world travelled to the factory in South Africa when Stealth Yachts was in its infancy. He wrote in Power and Motoryacht USA, May 2007: “Time after time – it’s addictive – we slipped this 54-foot luxury cruiser into a slipstream, pinned the twin Bosch electronic controls, waited a moment while the five-blade surface-piercing props wound up (a good chance to glance aft as the twin roostertails climbed up over 35 feet) then felt her narrow hulls gently rise a couple of feet out of the water as her speed got up to around 20mph, then 30, then 40 … right up to 50mph plus, by which time we’d be over the wake and waving our ‘bye-bye’ condolences.”

PA M P E R

Learn to

Love the Skin You’re In

Just as earrings like dwarf chandeliers, fluttering false eyelashes, tottering stilettos and a spray-on dress slit from here to next Christmas do not a lady make, especially if she has a skin akin to brown linoleum from too many hours on the tanning bed, so too will draping himself in Armani from head to foot do little or nothing for a man who does not have style. And style is indefinable.

Words: GAVIN BARFIELD Image: © ISTOCKPHOTO.COM

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sking for “the secret to good grooming” is pretty much as pointless as the wannabe society journalist and future critic who once fawningly asked a noted scribe of great experience and polish what he needed to do in order to meet this “intelligentsia” he was always being told he ought to get to know. The old veteran looked at him in that haughty there’s-a-very-deadkipper-here-somewhere way that only the English can pull off and said, “I’m afraid, dear boy, that is not a question I can answer if it is necessary for you to ask it in the first place.”

That, more than anything else, sums up the key to good grooming – an innate sense of yourself and an instinctive, intimate knowledge of what looks good on you and increases your appeal to the people to whom you wish to appeal. So, simply because we have to begin somewhere, let’s start with skin – the body’s largest organ by far; the complex stuff in which we’re wrapped and which stops our sensitive new-age souls and all those interesting, squishy bits inside from falling out onto the carpet.

Soap is what we use to get our skin clean – soap, liquid or in bar form, and nothing else. But which soap? Male grooming is big business these days, as the advertising boys will gleefully tell you. Bigger by far than ladies’ cosmetics, it’s a bewildering minefield of nostrums and potions calculated – it sometimes seems – to confuse. But before we buy the soap or “cleanser” as it is

often called, we need to understand our skin type, its shortcomings and advantages, and nourish it correctly to get it looking its best.

Prevention being better than cure, as the saying goes, it makes good sense to be aware of the things that harm your skin and to avoid them wherever possible. The sun, of course – especially from mid-morning to mid-afternoon and particularly our blazing hot sun in the Southern Hemisphere – is your skin’s archenemy. Sun exposure is the number one skin killer and a good sunblock is non-negotiable – especially if you have fair skin. Some critic once said unkindly of poor Arnold Schwarzenegger, “He looks like a brown condom stuffed with walnuts.”

The undeniably muscular Mr Schwarzenegger was less than amused, but then he’s a public figure.

Tanning is not compulsory these days; ending up with melanoma through prostrating yourself under the blazing celestial orb as a kid will suddenly make your all-over tan something you wish you hadn’t done. Elegant and lovely women, who know about this sort of thing, will tell you that pale and mysterious can often be just as intriguing as fried to a crisp. If you’re going to be exposed for any length of time, use an appropriate, quality sunblock of SPF30 or above and forget about what others say. If you don’t, quite apart from the skin cancer risk, your skin will wrinkle and age earlier and be harder to reclaim and maintain.

Other factors conclusively proved to have a detrimental effect are alcohol, cigarette smoke, a diet deficient in the nutrients your skin needs (vitamin B helps maintain an even skin tone, while vitamin A can help reduce the amount of oil your skin produces), and – oddly – lack of proper sleep. Seven hours is the minimum; more is better.

Moisturising, of course, is vital and should be paramount in your skincare routine. Less moisturising will generally be necessary if you make sure you drink plenty of water,

which of course you should already be doing for a plethora of reasons.

A good skin is clear, supple and soft. The experts tell us that male skin is generally oilier and thicker and that it therefore needs daily attention. A man’s skin is oilier because it has more sebaceous glands and more pores. Neglected pores will clog and blemishes of various kinds will rear their ugly heads as a result.

As with GIFT CARD so many other things, the simplest way is the best – in this case, all you need do is to use a good skin cleanser and warm water, lightly scrubbing your skin to remove any accumulated grease, dirt, bacteria and dead GIFT CARD skin cells.

Then there’s periodic exfoliating – the essential business of really getting rid of dead skin cells and surface debris that make the skin look dull and lifeless. Exfoliation brings new cells to the surface, giving your skin that firm, healthy and, let’s not forget, more youthful look. It becomes more important as we grow older, since the natural process of shedding dead cells and flaking skin becomes less efficient with time.

A good plan is probably to visit a salon to let them evaluate your skin and give it a good workout to start off with, and to pick up your new routine from there with the appropriate professional advice. You may want to continue visiting, of course, as growing numbers of men are doing.

Worry not, metrosexuality and increased awareness of one’s appearance is no longer taboo and shan’t be scoffed at.

Lastly, laugh not at those earlymorning pavement pounders or the guys who regularly pump iron – well, within reason – because exercise is an absolute must. It promotes a healthy cardiovascular system and good blood flow – both major contributing factors to good skin. And everything else, for that matter, including overall well-being.

If you’re already exercising, great, if not – no matter what your age – it’s like giving up smoking. It’s never too late to start.  VALID DATES

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“I don't know what jazz is, I just sing songs.” And sing them she did. In 2005 Miriam Makeba made the decision to retire but her fans and friends would not allow

Miriam

Makeba

South Africa’s First Lady of Song

S

adly, on 9 November 2008, her voice became a whisper on the stage of a concert near Caserta, Italy. 76-yearold Makeba had suffered a heart attack after the final rendition of what was perhaps her most famous song, “Pata Pata.” Doctors were

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unable to revive her and the world said a sad goodbye to Mama Afrika.

Miriam Makeba’s journey started on 4 March 1932, when she was born in Johannesburg, South Africa to a Swazi sangoma mother and a Xhosa father. Her home life, far from dazzling, was typical for a black person living in South Africa under

her velvety voice to disappear. Dutifully, Makeba allowed the show to go on. Three years later she was still performing in her farewell World Tour.

Words: CLAIRE PIENAAR Image: © GALLO IMAGES / GETTY IMAGES

the Apartheid regime. When she was just 18 days old, she accompanied her mother to jail, serving a six-month sentence for the crime of brewing homemade beer. As a child, she sang in the school choir, entering a talent show at the age of 13, where she was awarded first prize. She spent her teenage years singing along to the

JIVE

tunes of local stars like her heroine Dolly Rathebe as well as Billie Holiday and Ella Fitzgerald.

A young Miriam Makeba first toured with an amateur group, performing with various local Johannesburg bands before joining the hit-group Manhattan Brothers when she was 21. This marked the start of her professional career. Later, she formed her own group, The Skylarks, who sang a blend of jazz and traditional melodies of South Africa. In 1959, she performed in the musical King Kong, alongside Hugh Masekela, who she would one day go on to marry.

But Makeba had her sights set on the USA. Her break came when she had a short guest appearance in the 1959 anti-Apartheid documentary Come Back, Africa. Filmmaker Lionel Rogosin managed to organise a visa for Makeba to attend the premiere of the movie at the Venice Film Festival.

While touring Europe, she was asked to sing “Back of the Moon” from King Kong on a London BBC radio show.

Here she met Harry Belafonte, who she lovingly called her big brother.

Belafonte helped launch her career in the USA. On those foreign shores Makeba released many of her hit songs, including “Pata Pata,” “The Click Song” (Qongqothwane in Xhosa) and “Malaika.” In 1962, Makeba and Belafonte sang at President John F Kennedy's birthday party at Madison Square Garden. In 1965, Makeba won the Grammy Award for Best Folk Recording – a first for a South African – for the album, An Evening with Belafonte/Makeba. The recording dealt with the political difficulties faced by black South Africans under the Apartheid regime.

While in America, Makeba was shocked by the racial situation. She caught a glimpse of the Civil Rights Movement led by Reverend Martin Luther King at that time. Initially, she was wary about speaking out about her own country’s human rights abuses but after discovering that her South

African passport was revoked when she tried to return home in 1960 for her mother's funeral, she became known for her attacks on Apartheid.

In 1968 she married the Trinidadian civil rights activist and self-described “revolutionary” Stokely Carmichael. This caused incredible controversy in the US and saw all of her record deals and tours cancelled.

Because of this, the couple moved to Guinea, where they forged a close friendship with President Ahmed Sékou Touré, who had made a huge impression on Makeba through his policy of authenticité. The President was determined to create a new African style by using Western instruments to modernise traditional songs. Makeba was touched by the nurturing spirit that the President had towards musicians, whom he paid a regular wage, like civil servants. In effect, they were remunerated for their daily rehearsals from nine in the morning until three in the afternoon.

Makeba and Carmichael separated in 1973. Makeba continued to perform primarily in Africa, South America and Europe. One of these performances included the 1974 “Rumble in the Jungle” boxing match between Muhammad Ali and George Foreman held in then-Zaïre. Makeba also served as a Guinean delegate to the United Nations, for which she won the Dag

Nelson Mandela was released from Robben Island on 11 February 1990 and immediately began persuading Miriam to return home.

The next 18 years saw her solidify her presence in a democratic South Africa as a stalwart for peace and reconciliation.

Hammarskjöld Peace Prize in 1986.

She moved to Brussels in 1985, after the death of her only daughter, Bongi.

Nelson Mandela was released from Robben Island on 11 February 1990 and immediately began persuading Makeba to return home, which she did.

The next 18 years saw her solidify her presence in a democratic South Africa as a stalwart for peace and reconciliation. She starred in the much talked-about Sarafina film in 1992, which depicted the 1976 Soweto Uprisings. As time passed, various accolades were bestowed on her, from being nominated as the Goodwill Ambassador of the Food and Agriculture Organisation of the United Nations in 1999 to being nominated for another Grammy Award in 2000 for her album Homeland, which won the category “Best World Music.”

In 2001 Makeba was awarded the Gold Otto Hahn Peace Medal by the United Nations Association of Germany in Berlin for “outstanding services to peace and international understanding.” She also took part in the 2002 documentary Amandla!: A Revolution in Four-Part Harmony where she and others recalled the days of Apartheid. Makeba always said that “you sing about those things that surround you. Our surrounding has always been that of suffering from Apartheid and the racism that exists in our country. So our music has to be affected by all that.” In 2004, Miriam Makeba was voted Number 38 in a ranking of the Top 100 Great South Africans.

Said then-Foreign Minister Nkosazana Dlamini-Zuma, on hearing of Miriam’s passing, “Throughout her life, Mama Makeba communicated a positive message to the world about the struggle of the people of South Africa and the certainty of victory over the dark forces of Apartheid.” It was because of this dedication to her home continent that Miriam Makeba became known as Mama Afrika. And even Mama Afrika must rest. 

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CAPTURE

Life through a Lens The Spier Contemporar y

Artists in South Africa work under extremely varied conditions and see from radically different perspectives. These differences are what define our collective identity and diverse social and cultural landscape. The Spier Contemporary allows visual and performance artists to show their work, uncompromised by the limitations of technology, space and access. It provides a platform for exploring our diversity, giving audiences insights into our complexity and thus contributing to our understanding of divergence.

T

he Africa Centre’s Spier Contemporary is the only South African art biennale of its size and scope. In a national curatorial effort, 101 artists were selected from 2,700-plus entries. A total of R1.2 million in prize money and seven artist-in-residency programmes worth over R600,000 (to places as far afield as South Korea and Brazil) were awarded to the finalists and winning artists.

At the heart of the project; producers, The Africa Centre, have a vision of creating and supporting artistic initiatives that centralise the African perspective and approach. The

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Words: BRENDA VOS; TONI MUIR Images: © SPIER CONTEMPORARY

Spier Contemporary arose in part from a need to find a national voice for South African art but also to reflect South African contemporary art within the definition of an African contemporary art framework.

Says Africa Centre director, Tanner Methvin, “Perceptions of African Art are often connected to the historic.We wanted to provide a platform for art that defies this limited perspective and transcends African art out of its box into what it is – contemporary art.”

The selection of works chosen comprised a cross-section of mediums and inspiration. Strong themes included a search for identity,

examination of the state, lack of faith in our leadership, FIFA World Cup representation and interpretations of urban landscapes. Humour and selfdeprecation ensured that the lighter moments of life were captured, too.

The winning artworks will be on display at the Eastern Province Society for Arts & Crafts, Port Elizabeth from 17 June to 17 July, contact +27 41 585 3641, before moving to Durban from 17 August to 5 September, venue to be confirmed. Exhibitions are also planned for Polokwane, Pretoria and Potchefstroom. Keep an eye on www.spiercontemporary.co.za for more info.

F E AT U R E

Araminta de Clermont, “Thembani, Maliviwe, Lonwabo & Sonwabo” Cape Town, South Africa The Motivation

For several months after his initiation, an ikrwala will wear clothing denoting his status as a “new man,” showing that he has entered a new phase of life, maturity and responsibility. This outward demonstration of an inner change is a hugely important part of the process and a great source of pride.

So significant is it that many schools will turn a blind eye to their pupils forgoing their uniforms for this period. The “new men” pictured here are all shot in their classrooms. As their suits demand instant respect, so too do the men wearing them. Yet what may be the validity of believing in a fresh start when one’s surroundings have not changed as one has oneself? Araminta won a cash prize of R100,000 for her photography series.

About the Artist

Araminta de Clermont was born in 1971 in Isle of Man, UK. She received her BSc in Architecture from the University College London and studied photography at postgraduate level at the St Martins School of Art, London and at Ruth Prowse School of Art, Cape Town. Major exhibitions include South African National Gallery and Joao Ferreira Gallery, South Africa; Djangoly Gallery, UK; Trustman Gallery, USA; and artSpace, Germany.

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Carla Liesching, “The Swimmers: Part I, II and III” Johannesburg, South Africa The Motivation

“The Swimmers” is an ongoing series of photographs in which I [Carla] am questioning identity linked to both space and how we think of home. The work has grown out of personal circumstances and is a set of responses to a current moment in my life. These circumstances are not particularly uncommon in that they involve a state of being in the world that is becoming the defining trait of our generation and time: a collective sense of displacement, an awareness of foreignness and a search for belonging that cannot be tied to one fixed geographical or geological place. “The Swimmers” refers to an identity caught in a state of constant flux, to minimal spaces where borders are constantly erased and redrawn.

About the Artist

Carla was born in Cape Town in 1985. She received her BA(FA) from Rhodes University. Major exhibitions include Art from the Ground Up, Germany and Absa L’Atelier, South Africa.

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Hasan and Husain Essop, “Halaal Art” Havana, Cuba The Motivation

This series of works forms part of a larger exhibition. These images were chosen, in particular, as they tell a story of our [Hasan and Husain’s] experience in a foreign country. The photographs were taken in 2009 and shot on location in Havana, Cuba. We faced many challenges in this socialist country and decided to document it by using our medium of digitally enhanced photography. We tried to highlight the importance of having a balance between the physical and spiritual well-being of the body, placing an emphasis on commitment to our faith. Hasan and Husain won R100,000, for their photography series.

About the Artists

Brothers Hasan and Husain Essop were born in 1985 in Cape Town. Both received a BA(FA) in 2006 and Postgraduate Diploma in Art in 2009 from the University of Cape Town. Major exhibitions include Goodman Gallery and ABSA Gallery, South Africa; Havana Biennale, Cuba; Galerie 102, Germany; and Spier Contemporary 2007/08, South Africa.

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Roelof van Wyk, “Young Afrikaner, a Self Portrait” Johannesburg, South Africa The Motivation

This entry is a representative selection of 4/48 portrait studies of young Afrikaners, the first post-Apartheid generation. The complete project serves as a self-portrait of the Afrikaner photographer. Each of the subjects is an Afrikaner. They are also personal friends of the photographer and, in choosing who to photograph, the photographer has slowly created this contemporary self-portrait. The individuals are well aware of their own picture’s making and their role therein, but are wholly unaware of the existing/ non-existing relationships they have with each other (apart from the tribe), and how that connection will now define them. However, this project is perhaps less about what an Afrikaner looks like than it is about looking at an Afrikaner. The photographer asks questions like, Can you read the image without projecting your own historical perception of what an Afrikaner is and should look like, into the image?

Can you even look at an image of an Afrikaner without a notion of race?

About the Artist

Roelof was born in 1969 in East London. He received his BArch from the University of Pretoria in 1995. Major exhibitions include The Premises, Brett Kebble Art Awards 2005, and Spier Contemporary 2007/08, South Africa.

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Dillon Marsh, “Invasive Species” Cape Town, South Africa The Motivation

In 1996 a palm tree appeared almost overnight in a suburb of Cape Town. This was the world’s firstever disguised cell phone tower. Since then, these trees have spread across the city, South Africa and the rest of the world. “Invasive Species” is a series of 12 photographs that explore the relationship between the environment and the disguised towers of Cape Town and its surrounds.

About the Artist

Dillon Marsh was born in 1981 in Cape Town. He received his BA(FA) from Stellenbosch University.

Major exhibitions include Vukela Art Competition, while awards and scholarships received include the Foto 2002 Competition (winner of photo series category) and the Timo Smuts Prize Exhibition (winner fine art category). 

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PRETORIA

Metrorail

Metrorail

TRAIN ROUTE MAP

Hatfield

Centurion

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Metrorail

Marlboro O.R. TAMBO

OR Tambo to Sandton in 15 minutes.

The Gautrain, Africa’s first integrated rapid-rail and bus network is here bringing you a safe, quick and comfortable way to commute in Gauteng.

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Ultimately, 24 trains will travel in both directions at speeds of up to 160km/h. The train service will operate from Monday to Sunday between 05:30 to 20:30. A train will be available every 12 minutes during peak times (05:30 to 08:30 and 16:00 to 19:00), every 20 minutes during off-peak times and every 30 minutes on weekends.

AIRPORT SERVICE The Sandton to Airport link launches in June 2010, offering commuters an efficient and cost effective way to connect to the airport in under 15 minutes. Each train on this link will have two slightly more spacious cars reserved for airport passengers.

JWT57388

BUS SERVICE The train service is complemented by a dedicated bus fleet which will transport passengers between the stations and surrounding suburbs and business nodes. The bus schedules are designed to match the train schedules with buses running from Monday to Friday (excluding public holidays) from 05:30 to 20:30. The Sandton station and Rhodesfield bus routes launch in June 2010 with the balance following in 2011.

stations and trains. There is also 24-hour uniformed security in every station and car park.

PARK-AND-RIDE

ENVIRONMENTALLY FRIENDLY

Drop-off and parking facilities are available at all stations (except the airport). Car-hire facilities are available at Sandton station.

Responsible environmental management enjoys a very high profile throughout the Gautrain system. An ongoing environmental programme has resulted in 5 000 indigenous trees being planted along the rail route. Also, did you know that you are more than halving your carbon footprint by using the Gautrain in preference to your car?

ONE TICKET. MULTIPLE SERVICES Gautrain’s train, bus and parking services are all fully integrated and may be used separately or jointly by transferring from one to another.

The services are all accessed by means of a contactless smart card – your Gautrain Gold Card.

Hatfield

PRETORIA

Metrorail

Metrorail

TRAIN ROUTE MAP

The Gautrain system provides you with a convenient transport service between O.R. Tambo International Airport and the Sandton CBD (the “Airport” service) and between Rhodesfield, Marlboro and Sandton stations (the “Commuter” service). Later more stations will be added connecting you to the Johannesburg CBD, Midrand, Centurion, Pretoria CBD and Hatfield.

All buses are fully accessible to people in wheel chairs and are air-conditioned for added comfort.

Centurion

Gautrain Gold Cards may be purchased from all ticket offices and ticket vending machines at any Gautrain station as well as at selected retail outlets in the vicinity of the bus routes.

Midrand

Rhodesfield Marlboro

Your Gautrain Gold Card enables you to load a variety of different journey products, ranging from single trips to monthly tickets, onto the same card and to re-use this card over and over again. You also have the opportunity to register your card with us which will enable immediate blacklisting of the card should it be lost or stolen. Any un-utilized value in the “T-Purse” section on the lost card can then be transferred to a new card for you.

SANDTON Rosebank

Metrorail

THE TRAIN ROUTE

O.R. TAMBO

PARK Metrorail

USER FRIENDLY & SAFE Wheelchair access is provided to all services as well as audio and visual prompts at stations.

Safety is a priority with hundreds of CCTV cameras monitoring the entire route and all

C A L L : 0 8 0 0 G AU T R A I N ( 0 8 0 0 4 28 87 2 4 6 ) | C L I C K : w w w. g a u t r a i n . c o . z a | M O B I : g a u t r a i n . m o b i

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Away from the frenetic pace of modern living, Frégate is a different world. Not solely a means of escapism, Frégate strives to set new standards by integrating luxury tourism with a focus on the environment. Private butlers are also assigned to each villa.

Combining the most elusive qualities – space, seclusion, security – makes it distinctive among its competitors. www.fregate.com Reservations: +27 21 556 9984

A member of the Leading Hotels of the World, The Michelangelo’s Renaissance architecture in the heart of Sandton's business and leisure district, service excellence and world-class facilities set it apart from others. Built around a central atrium, guests enjoy the decadent use of space and a feeling of grandeur. www.michelangelo.co.za Reservations: +27 11 282 7000

ONE&ONLY CAPE TOWN

In the finest tradition of this very select international group, the One&Only is located in the V&A Waterfront, walking distance (or water taxi) to the convention centre, conference venues and the best tourist attractions and restaurants. Enjoy spectacular views of Table Mountain and the city’s yachting life, with the world-famous Nobu restaurant ready to treat you. www.oneandonlycapetown.com Reservations: +27 21 431 5800

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S AV O U R

the art of

Living Well Rupert & Rothschild Vignerons

At the foot of the Simonsberg Mountain in the Franschhoek Valley lies the historic French Huguenot farm Fredericksburg. In this valley, some three centuries ago, the early Huguenots first discovered a terroir similar to that of certain winegrowing regions in France. They decided to settle. In 1984, Dr Anton Rupert purchased the land and in 1997 set about establishing upon it the world-renowned Rupert & Rothschild Vignerons, a partnership shared with the Baron Benjamin de Rothschild of France.

Words: CHARL DU PLESSIS Images: © RUPERT & ROTHSCHILD VIGNERONS

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he Rothschild family name has been synonymous with affluence and influence on the European continent for several generations. In South Africa, people speak with equal reverence of the legacy created by the late Dr Anton Rupert, a modest-living and philosophical magnate whose canny drive turned a £10 investment in 1940 into an international fortune worth billions.

Dr Rupert and his sons created an empire that controls global tobacco interests and includes luxury brands such as Panerai, Cartier, Dunhill, Montblanc, Piaget, Jaeger-LeCoultre, A. Lange & Sohne and Baume & Mercier through Swiss-based Richemont.

Continually expanding the reach of his companies, they became dominant forces in South Africa's wine and spirits, mining, industry and banking sectors. Internationally, his

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Swiss-based Richemont assembled a glittering array of luxury brands. In 1981, Rupert helped establish a nonprofit company that made loans to small businesses, which is credited with creating more than 500,000 jobs. He became dedicated to wildlife conservation and was a founder of the World Wide Fund for Nature. In his final years, he pushed through the creation of the Peace Parks, which cross the borders of South Africa, Mozambique and Zimbabwe. Today, the family interests are firmly in the hands of his highly accomplished son, Johann. The love of nature, which was such a defining element in Dr Rupert’s life, is still reflected in the deep commitment of the Estate to preservation and conservation of the environment, as signified by its being the first winery in South Africa to be awarded the ISO 14001 Environmental Management certification.

The Rupert & Rothschild

partnership was formed in 1997 by the late Dr Rupert and the late Baron Edmond de Rothschild. Carried forward by their sons, the late Anthonij Rupert and Baron Benjamin de Rothschild, the families jointly produce only the most prestigious selections of wines. Both the Rupert and Rothschild names are tantamount with wealth and privilege – but also discretion and style, which is why the joint venture was a natural fit. The

F E AT U R E

Rupert & Rothschild Vignerons are a cross-pollination of French and South African winemaking skills. Indeed this was one of the first South AfricanFrench partnerships in wine production.

The meticulous winemaking process at Rupert & Rothschild Vignerons starts with a collaboration between the viticulture and winemaking teams, who work closely together during the green harvest, the harvest, the pruning and the blending.

Bunches are harvested by hand and after destemming, the fruits are hand-sorted in order to leave the winemaker nothing but the finest quality juice for the next phase of this journey from vine to wine. Rupert & Rothschild wine is exported to forty countries and is a well recognised global brand.

Just three wines are made: a Chardonnay and two red blends. The entire red wine production is matured in small, French oak barrels, with the chardonnay grapes, once gently

whole-cluster pressed, also finding their way into 500-litre French oak barrels, where the wine is left to mature with minimum interference.

The Chardonnay is marketed under the name Baroness Nadine from vines between six and 20 years old. Described as elegantly structured with aromas of citrus leaves and honey blossom, it has clean mineral undertones with a subtle touch of nougat. Nothing compliments a local lobster or the famous Malaysian crab as does this exquisite wine. The 2008 vintage, now being shipped, has an ageing potential of six years from vintage.

The 2008 Rupert & Rothschild Classique is a red blend of 65 percent Cabernet Sauvignon and 35 percent Merlot. The Cellar Master notes that this wine is balanced, fresh and classic with smooth, silky tannins and aromas of wild blackberry and dark chocolate. Showing distinct earthy undertones of Karoo bush, truffles and tea leaves, this vintage is

recommended with springbok carpaccio or mushroom risotto. This wine has an ageing potential of six years from vintage.

For the boldest palates, the 2007 Baron Edmond offers a red blend of 53 percent Cabernet Sauvignon, 38 percent Merlot and nine percent Cabernet Franc. This is a dense wine whose structure includes aromas of blackberry, black pepper, coriander and roasted coffee beans. Velvety tannins and a lingering aftertaste make for perfect pairing with fillet of mature beef or a slow cooked shoulder of lamb. This wine can be enjoyed up to 10 years after vintage.

The discretion that is apparent in Rupert & Rothschild’s polished operation is equally evident in the character of their wines. The wines speak entirely for themselves.

Visits to the Estate can certainly be arranged by appointment. Contact +27 21 874 1648 or email info@rupert-rothschildvignerons.com for more information.

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F E AT U R E

Act to

Follow

Fairline Squadron 55 Very occasionally, a boat gains almost iconic status by advancing the whole offshore cruising concept to a new level, and moving as close to perfection as is achievable within the technological and design parameters of its time.

Just such a boat was the original Squadron 55, immediate predecessor to this already award-winning new model.

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hard act to follow for sure, but interest is running at unprecedented levels due, without doubt, to her avant-garde design, innovative use of space, unrivalled craftsmanship and supreme engineering excellence. In short, the Squadron 55 is luxury redefined;

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Words & Images: Š BOATING WORLD

another classic in the making.

The Squadron 55 is one of the most popular luxury yachts in Europe, where luxury yachts are commonplace.

But what sets the 55 apart from the crowd is Fairline’s incredible attention to detail. From the expansive, highly specified yet beautifully proportioned flybridge to the well-appointed forward cabin, this remarkable new

boat sets completely new benchmarks.

Once the sleek lines and external shapes have worked their magic, the feeling of unprecedented spaciousness and the light, airy ambience throughout this boat easily captivate.

Enter the sleeping quarters from a companionway leading forward from the main saloon. A pair of identical guest suites is fitted with twin berths

SKIM

that can be converted, with an insert, to a king size. There’s ample stand-up headroom and a hanging closet, with a door to port opening on the shared head with enclosed shower stall and a large countertop for dressing. The magnificent full-beam master stateroom amidships is one of Fairline’s finest ever, with panoramic hull windows, an immense, cabinwidth wardrobe and a state-of-theart bathroom layout. A small cabin, under the cockpit sole, can be fitted with a pair of bunks, a head and a sink. You enter via a hatch in the seat just forward of the transom. It is ideal for children or crew.

The saloon, galley and guest accommodation feature the same characteristics of unmatched light, space, facilities and comfort.

Throughout the boat, wood is used as

an accent rather than a main element.

While most builders would be satisfied to use one type of wood, Fairline opted for two types in each boat.

The main saloon is configured around a C-shaped lounge to port.

The entertainment centre features a bar, liquor storage, audio/video gear and an ice maker. Sightlines to the outside are unhindered in any direction and include a view through a floor-to-ceiling, port-to-starboard sliding glass door facing the stern.

Two steps above the main saloon, to port, is a dining area with C-shaped seating arrangement. The lower helm station opposite it has two seats that also convert to stand-up bolsters.

The helm accommodates three abreast in individual seats that

Where other boats would stop at the back of the cabin, the 55 extends its living area with an overhang above the cockpit. This translates to an outdoor entertaining space big enough for an American-style barbecue. Here, space for activities is quite generous. The sunpad on the foredeck will hold four people while the integrated swim platform can double as a landing pad for a water toy or dinghy.

At an overall length approaching 56 foot and a beam just over 15 foot, on the water the Squadron 55 behaves like a much smaller boat. She has a top speed of 35.4 knots and a cruising speed of around 19 knots.

The first in Fairline’s latest generation Squadron flybridge motor

convert to stand-up bolsters.

Almost the full array of engine instrumentation from the lower station is duplicated here, with plenty of space for electronics. Visibility to all quarters from the helm position is excellent.

The galley configuration on the Squadron 55 is somewhat unusual, situated two steps down from the main saloon deck. Standard fittings include a double-basin sink, fourplate electric stove, microwave, refrigerator, dishwasher and exhaust fan, plus plenty of storage and counter space. An access door in the galley leads to a utility room with a freezer, combination washer and dryer and additional storage space.

Above decks, a spacious classleading flybridge allows owners and guests ample room to relax in comfort.

yachts, the Squadron 55 made her world premiere in September 2008 and has been widely well received.

Within her first year, the Squadron 55 was awarded the prestigious accolade of “Motor Boat of the Year” award 2009 in the “Flybridge Above 50ft” category, judged by a panel of boat testers from UK marine titles Motor Boats Monthly and Motor Boat & Yachting.

With the first of the new Fairline Squadron 55s due to arrive in South Africa for the World Cup, this is sure to create great excitement.  Boating World has offices in Durban and Cape Town, contact: • Tel: 0861 324 754 • Email: info@boatingworld.co.za • Visit: www.boatingworld.co.za

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For Snow

Good

Reason The Seduction of L’Espace Killy

SKI

L’Espace Killy, tucked away in the snowy heights of France’s Savoy Alps, claims to be the most beautiful ski region in the world. This is no small statement, but judging by the number of enthralled skiers and snowboarders who return to its resorts year after year, it seems it could just be true.

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or some, it’s the hearty Alpine fare of French Savoie – think cheese fondues, steaming gratins and a mouth-watering variety of charcuterie, not forgetting the bibitory delights of vin chaud and Génépi liqueur. For others, it’s the dizzy hedonism of the aprèsski scene; that moment of quiet reflection in front of the fireplace, or the indulgence of having sore muscles eased on the massage table. But for the majority of visitors who frequent L’Espace Killy, it’s the sublime sensation of skiing and snowboarding on the area’s brilliant white slopes that holds an such allure.

Named after French skiing legend and 1960s Olympic champion JeanClaude Killy, L’Espace Killy is home to the two resort towns of Tignes and Val D’Isère, which share some 300 kilometres of well-maintained pistes

Words: JACQUELINE COCHRANE Images: © JACQUELINE COCHRANE; CLUB MED

connected by 96 ski lifts. Despite their proximity, however, Tignes and Val D’Isère could not be more different.

The more unassuming of the two, Tignes quite blatantly lacks the aesthetics one would expect from a traditional Alpine resort. You won’t find any quaint log cabins here; this town is all concrete and little rustic charm. So, why do so many snowboarders and skiers choose Tignes over its more glamorous sibling? Well, it seems that said lack of rustic charm acts as a kind of tourist sieve, guaranteeing that frivolous fun-chasers stay away and only the truly deserving and genuinely interested are granted access to what really is the town’s best-kept secret: superb snow that makes for unbeatable ski and snowboarding opportunities.

Should you prefer a ski holiday with a little more luxury, Val D’Isère is

an ideal option. A delightful smattering of boutique shops and techie stores more than justify an afternoon stroll through the town; this is the place to hunt for that everelusive snowboarding gadget or an exquisitely tailored fur-trim ski jacket.

The après-ski scene here is infamously wild, and culinary enthusiasts will no doubt enjoy the various eateries dotted throughout the town. But the real cherry on top here is, again, the highly rewarding ski and snowboarding scene. Intermediate, advanced and expert skiers will make the most of the adrenaline-pumping challenges that wait among the resort’s many slopes, while beginners can cut their teeth on the gentler green pistes under the guiding eye of a professional instructor. Indeed, many snow-sport enthusiasts describe Val D’Isère as the perfect, albeit pricey, all-rounder.

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L’Espace Killy offers some of the best and most varied ski experiences around, while Club Med provides expert skiers, first-timers, couples, groups of friends and families with a fuss-free, convenient and intelligent means of accessing this region and all its delights, by way of two excellently located resorts: Club Med Tignes Val Claret and Club Med Val D’Isère.

Club Med Tignes Val Claret might not be an architectural marvel but it’s easy to forget this once inside the building. The rooms, La Grande Motte restaurant and some of the public spaces were recently revamped by interior designer François Champsaur, which elevated the resort to fourtrident status (Club Med’s grading system). The subsequent atmosphere is one of sophisticated comfort and rustic chic. The resort has 229 rooms divided between the two interconnected hotels of Le Val Claret and Le Petit Claret. Wellness and lifestyle amenities here are rather modest, though a heated indoor pool, a Turkish bath, sauna, weight-training room and spa services are at the easy disposal of guests.

Club Med Tignes Val Claret is a great choice for anyone who wants a ski holiday, but is an excellent choice for ardent first-time skiers, true snow-sport fanatics and families.

Parents with little ones will enjoy the relative quiet of the town, and Club Med’s ever-friendly and capable team of GOs (Club Med’s multicultural staff) will keep the little ones busy while said parents perfect their skills on the slopes. Mini Club Med takes care of children between the ages of 4 and 10, while Juniors’ Club Med caters for those between 11 and 17 years of

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age. Both services offer a wide range of creative activities and kids from four years and up can take tailormade ski lessons. Adults need not feel left out, as they get their ski and snowboarding classes included too.

Lessons are organised according to one’s level and experienced instructors – whose seemingly endless patience should make them eligible for sainthood – will have any student confidently sliding down the slopes in no time. Club Med Tignes Val Claret is lauded for its excellent on-site equipment rental room and its “ski from the door” location. The ski room is conveniently located next to the locker rooms, which affords direct access to the lifts and pistes.

If it’s rustic, mountain-village ambience you’re after, you’ll no doubt enjoy the cosy yet stylish atmosphere created by Club Med Val D’Isère’s charming wood-and-stone chalets. If you’re into more lavish creature comforts, Club Med Val D’Isère, while also a four-trident resort, has recently seen the addition of a new five-trident luxury space within the resort. This dollop of the super lavish can be seen in its exclusive suites, a Savoyard speciality restaurant and a state-of-the-art Cinq Mondes spa with indoor pool and relaxation area.

At Club Med Val D’Isère, group lessons for all levels of skiers and snowboarders are included in your stay, with Val D’Isère offering the same “ski from the door” convenience as Tignes Val Claret. But, unlike Tignes Val Claret, Val D’Isère doesn’t have any children’s club facilities.

Guests will, however, find that Val D’Isère offers enough enjoyment and distraction, both around the

resort and in town, to keep nonskiing tourists as happy as those on the slopes.

Ski and snowboarding holidays are famously addictive. For some, it’s the fact that such vacations are inevitably spent in places of incredible natural beauty and an almost spiritual sensation of becoming one with nature as you glide down her snowy slopes and icy curves. For others, it’s the very wholesomeness of it all; a ski holiday is likely the only kind of getaway where you’re guaranteed to come back fitter, healthier and in better shape than before. And then there is a group of enthusiasts, often those who live in warmer climes, for whom the sheer presence of snow is so magnificent that they often find themselves overwhelmed by its splendour. After all, what is more quietly miraculous than opening one’s window at night and watching soft, lustrous snowflakes whirl silently from an inky sky?  Since 2004, Club Med has made a conscious effort to shift its products into the upmarket sphere of the travel industry. This new focus on atmosphere, design and other lifestyle elements is a welcome addition to the relaxed friendliness for which the brand is so famous. It isn’t easy to incorporate touches of luxury, quality and ultimately, exclusivity into a product that is based entirely on being all-inclusive, but Club Med has done well to balance this.

Visit www.clubmed.co.za or call +27 11 840 2600 to book your allinclusive holiday in the coming European ski season and discover affordable luxury in a relaxed and carefree atmosphere.

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Travel between 05 December 2010 & 24 April 2011 and SAVE R2 300* per Adult and R1 150* per Child Experience the luxury and exclusivity of the new Club Med 5-Trident Luxury Spaces

R21 625* per Adult with “EBB” from R19 325* per Adult from

Val d’Isere, France 4 Valid for selected departures between: 05 Dec. ‘10 - 24 Apr. ‘11

Add approx. taxes of R3 050

The Premium All Inclusive Package by Club Med

Return flight and transfers

Twin share accommodation with option to upgrade to a Deluxe room or Suite

All-day Dining on sumptuous buffet & gourmet cuisine

Open bar & snacking served during the day and night

6-day ski pass & 5-day ski lessons

Supervised activities and childcare for the little ones

Peace of mind

0860 109 428 sales.sa@clubmed.com www.clubmed.co.za *Terms & Conditions apply

Tord Boontje:

A Floral Romance

in High Tech

A design liege, a prescient alternative thinker and a treasurer of nature, Tord Boontje's work has an inscription of feral beauty and floral love. He believes in seeing through overgrown paths and finding influences from nature. Somewhere underneath the ordinary is where he finds his inspiration, his exploration and his mental state of tangible understanding. Somehow beauty is Tord Boontje’s autograph.

Words: DANIEL SCHEFFLER Images: Š DESIGN INDABA; TORD BOONTJE

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C R E AT E

T

ord Boontje spent his childhood making furniture and dens for his room and even jewellery, which he then sold to his classmates at school. With his mother being a textile designer and art teacher, Boontje found himself constantly nudged into a creative sphere. This young enthusiasm acted as a catalyst fuelling his desire to one day become a great designer.

Studying at Eindhoven in the Industrial Design Academy – revered as one of the world’s top contemporary design schools – Boontje made a daring impression on his peers and lecturers. His studies here were followed by a Masters degree at London’s Royal College of Art. Boontje lived and worked in London until 1995, after which he established Studio Boontje in BourgArgental, France.

His work lives gloriously in a

world context. Relevant to the times and with an understanding of modern living, Boontje translates his Dutch heritage and a feel of great bespoke vibrancy in his work though his packaging thereof, his website and his choice of retail.

Nature as the teacher, Boontje as the student and appreciative learner, Studio Boontje celebrates and glorifies technology and new property materials in a highly modern and advanced way, relating this relevance in a new decade of the 21st century.

The Studio has won many awards, including a Red Dot and Elle Décor prize. Works released from it have also been exhibited in galleries and museums around the globe, including London’s Victoria & Albert.

The Studio delivers work that holds the vivid and grand belief that modernism does not necessarily have to be minimal or minimalistic. Boontje and his team are also of the opinion

that a modern feel or contemporary design need not ignore or jilt tradition.

In Boontje’s design praxis – this loosely understood as design practice plus theory – technology does not relinquish nature, people or the finesse of human senses but rather leans in nature, dances with humans and possesses an understanding of technology.

While Boontje is permanently stationed at his studio in France, he spends whatever time possible traversing the globe for inspiration and influence. As a designer he believes it necessary to soak up as much as possible so as to create designs, things, items that can really survive out there in the world. He lists shopping, visiting museums and watching movies and sunrises as banal yet simple inspirations.

In his work, Boontje often stirs subcultural references with ancient traditional imagery. The elucidation of

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Leaders in All Watercraft Insurance, Yachts – Local & International Waters

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this chaos into true beauty is perhaps an indication of how this maestro craftily and succinctly delivers his thoughts and visions to the world. His claim to fame includes works entitled “Wednesday,” “Happy Ever After” and “Icarus.” His mythology-laden “Icarus” lampshade is based on the Greek narrative of Daedalus and Icarus, who carefully constructed wings of wax and feathers to escape the cruel and demonic Cretan King Minos. The lamp is a ruffling pinion of feathers representing the zestful attempt of Icarus combined with the foolish nature of his pride. It has a complete drop of 78cm and is sizable in tune with Icarus’s ideals. With ethereal plumage the lamp is something of a dream-like exploration of exactly who Boontje is: a visionary who can take from the past, from heritage, and give modernity to it fluidly.

Earlier this year, at the Design Indaba held in Cape Town, Boontje discussed his love for the phenomenon of the physical world in a collective; including plants, landscapes, animals and other living species. While showcasing those works inspired by natural settings, Boontje spoke vibrantly about how the physical force governing all of mankind drives him to heights of creativity. He continued by arranging his life’s work in a catalogue-like style of

appreciation in chronological book array, from his make-it -yourself style – such as the “rough and ready” chairs consisting of sticks and sewn together tapes and blankets – to simple, elegant pieces of furniture with a more personal note attached to them.

Boontje identifies his most rewarding project as the “Tranglass” production in Guatemala. Here, in a glass workshop he has set up, teams of local staff collect empty bottles from restaurants in the surrounding neighbourhoods to use as raw materials for decorative lamps and exotic crockery. The impact has been tremendous, assisting an otherwise struggling community.

Boontje is currently designing for American retailer Target, where his work has gravitated towards a wider appeal, so spilling over into mass production. He has even shot a Hollywood-filmed TV commercial that will air across the USA as an exposé on the partnership with Target. This, as well as working with another retailer, Habitat on the “Garland” light, has further bolstered Boontje’s commercial appeal.

Boontje is a firm believer in optimism even when there is no sunshine, a trait that shines through all his work and philosophies.

If your interest has been, visit www.tordboontje.com. 

F E AT U R E

DOCKSIDES

®

are Fab at Forty

Sebago® Launches its Iconic 1946 Limited Edition While it is nearly impossible to quantify the definition of a style icon, one thing is certain, Sebago’s Docksides have totally and utterly defined the term nautical footwear to the nth degree. Celebrating 40 years of iconic footwear fashion, the company’s newly launched 1946 Limited Edition is a zenith of authentically aged ideas, expressing Sebago’s continued renewal in the circle of life.

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ounded in the historically significant region of the north-eastern United States called New England, where the first European settlers landed in the New World, Sebago’s roots have always been bound to that most important giver of life – water.

It was 1946 and battle-weary soldiers were returning from the scourge of World War II, seeking relief from extended periods in heavy, uncomfortable combat boots. A shoe store owner, Daniel Wellehan Senior, and his two business partners set out to reward those weary feet with a hand-sewn welt shoe that ensured a precise fit and accommodated the flex of the foot. They named the company Sebago, after the Indian

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Words: KEVIN BARKER Images: © SEBAGO

tribe that once inhabited the area.

Translated, Sebago means “long stretch of water.” Ironically, it was the water that inspired their entire next generation of shoes.

By 1952, demand for Sebago shoes was such that the company had to move to a new factory in Westbrook, Maine. After only two years in operation, the company’s one millionth pair of shoes rolled off the line.

Realising that his son would ultimately inherit the Sebago brand, Wellehan Sr encouraged him to learn each and every skill that went into producing a shoe; from the most basic tasks like cutting the leather through to business and marketing techniques.

Wellehan Junior spent years perfecting all aspects of the family craft and, when asked how he regards

the brand, says. “There was something so inspirational about taking a raw product and creating something else with it. There are places in Africa where people don’t even wear their shoes – they just hold them around their neck as a status symbol.”

In 1970, Wellehan Jr and Sebago began producing and distributing what would become the now legendary Docksides. The shoes were designed to grip the deck of a boat with revolutionary scuff-resistant rubber soles while still retaining their unquestionable style on the street.

The uptake was instant, with fashion houses clamouring to get onboard the fresh and nautical New England look.

Wellehan partnered with the likes of Facconable to create distinctly coloured Docksides to cater for the

TREAD

different cultured palates of the world. Clearly it worked, as Docksides are currently sold in 85 countries.

The demand for Docksides remains high, even more so in terms of individual customisation and onceoff ranges. Sebago recently teamed up with Colette in Paris and Vane in

chance to get their hands on a limited edition product not available to the mass market. We are hoping they fly off the shelves.”

Since the eighties already, Sebago has been above deck when it comes to generous sponsorships of various yachting teams and boats. In 1984

interesting collaboration because I think we’re kind of looked at as a young, aggressive – maybe irreverent – company, now working in partnership with a company that comes from the opposite end of the spectrum, in terms of stability and tradition. But whatever obvious differences there are between

New York to produce a collaborative range of Limited Edition footwear that will only be available through elite channels and premier Sebago retailers. There is a catch though – only eight pairs of each style will be made available to each store. Chris Heffernan, Vice President of Product Development and Marketing at Sebago, revealed the thoughts behind the Limited Edition range, “We have been inundated with requests from our customers to make once-off collections for their stores based on the success of the Colette and Vane collaborations. It would be impossible for us to service all of these requests, so we have developed a series of collections that will provide our stores with the individual products they require. Their customers will have a

they became the first US company to sponsor a boat in the OSTAR Race.

This was followed in 1992 by their sponsoring of the America’s Cup syndicate, Defender and by sponsoring Young America, the New York Yacht Club syndicate challenger in the 1996, 1997 Louis Vuitton Cup. At the end of 2009, Sebago formed a new partnership with Quantum Racing, one of the hottest grand prix race teams to have hit the international sailing scene in recent times. Sebago will deck out this American team with a full range of technical apparel and footwear for the 2010 assault on the Audi MedCup Circuit. The shoes worn onboard will be the specially designed Plunge, taken from Sebago’s Performance Line. Says Ed Reynolds, President of Quantum Sails, “It is an

the two companies, it’s clear that Sebago is as focused on technical excellence and strong branding as we are at Quantum. And like Sebago, Quantum Sails is now based in Michigan, both having originated in New England. Thus, we share a strong geographical connection. Our roots might be seeded in New England but our ambitions are global.”

Sebago has come full circle. It was sailing that inspired the original Docksides, which soon became the shoe requested and worn by sailors, and once more, it is Sebago’s name that will fly at the top of the mast.  For more information contact Stormsky Studios: • Tel: +27 41 368 5409 • Email: liezl@stormsky.co.za

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Established in 2005, Veronica Anderson Jewellery is celebrated as one of South Africa’s leading contemporary jewellery galleries.

Showcasing the work of the country’s foremost goldsmiths and jewellery designers, Veronica Anderson Jewellery has become something of a draw card for both local and international customers.

Words: LINDA STAFFORD Images: © VERONICA ANDERSON JEWELLERY

Putting Inspiration into

Ornamentation

Veronica Anderson Jewellery

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eronica Anderson, or Roni as she is known, comes from a Fine Arts background and once ran her own contemporary art gallery. She was coowner of Read’s for 26 years, specialising in antique jewellery. This gave her a thorough understanding of the jewellery industry, as well as the opportunity to hone her business acumen.

Once she started buying modern jewellery from suppliers, Roni discovered she had a keen sense of good design and decided to combine her skills and experience with this sharp eye to a create a platform for up-and-coming designers to showcase their work at the highest level. Her vision is to develop local talent to the point where they can compete

These pages feature the work of: Dorathea Annandale, Deirdre Coleman, Carla Frank, Adele Pretorius, Liz Loubser, Maike Valcarcel and Anne-Cecile Weyland

internationally and to establish a viable market for South African contemporary fine jewellery. What sets Veronica Anderson Jewellery apart is that each piece of jewellery is handmade and a once-off, and reflects the creativity and outstanding talent of South African designers.

Veronica’s two galleries allow designers to gain experience and exposure, and to add value by producing gorgeous catalogues that reflect the outstanding work produced for the gallery. Here, Roni plays the role of curator, ensuring the accessibility of an impressive range of covetable, collectible pieces. The works are showcased in themed collections, the inspiration for each drawn from South Africa. This gives creative direction to the jewellers, who work only in the four precious metals of platinum, gold, palladium and silver.

Once a new theme has been developed, Roni remains closely involved throughout the production process, taking time to discuss each piece with the artist/goldsmith until the finished product has been created.

Her designer’s eye is kept fresh by

regular visits to international jewellery shows, which ensures her team’s designs remain on the cutting edge. Because of this, Veronica Anderson Jewellery has come to be known as a trendsetter in the South African market.

Roni’s clientele is discerning and comprises individuals who appreciate a personal touch and absolute attention to detail. She therefore also offers a design and make-up service.

She explains that her female clientele are often independent women who spend their own money and are keen to wear items that accentuate their individuality rather than slavishly

What sets Veronica Anderson Jewellery apart is that each piece of jewellery is handmade and a once-off, and reflects the creativity and outstanding talent of South African designers.

follow the latest fashions.

An exciting aspect of the business has been the involvement of Anglo Platinum, whose support has given local artists and goldsmiths the opportunity to work in this most precious metal, and is yet another way in which Roni marries industry with creativity so to stimulate and grow the jewellery market.

“While South Africa cannot compete with countries such as China and Italy in terms of production, we can compete in terms of design. South African jewellery stands out internationally in terms of strong visual elements,” says Roni. “It is this that we celebrate above all at Veronica Anderson Jewellery – a small venture that has contributed greatly in helping to develop an exciting young generation of South African designers.”

Veronica Anderson Jewellery has two galleries in Johannesburg, one situated at The Firs in Rosebank, the other in Michelangelo Towers Mall in Sandton. Visit www.veronicaandersonjewellery.co.za, or contact +27 11 268 2021, +27 11 783 7036, or +27 82 881 0359, or email roni@vajewellery.co.za. 

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A Matter of

time

Peter Machlup

Rarity, condition, authenticity, desirability: these are just some of the factors that collectors of fine wristwatches should take into account when acquiring new timepieces. But according to specialist dealer Peter Machlup, there is another far more important criterion that one ought to apply.

Words: JACQUELINE COCHRANE Images: Š MARITZ VERWEY

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ometimes it is possible to tell a true master from a half-hearted impostor simply by listening to the way they talk about their trade. When a master speaks, his knowledge and passion somehow give gravity, meaning and

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life to words that would otherwise ring hollow. This is true of Peter Machlup. When this Johannesburgbased specialist trader mentions brands like Rolex, Patek Philippe and Jaeger le Coultre, it becomes possible for even the non-enthusiast to conceive of these timepieces not as

mere watches, but as objets d’art.

During his lifetime, Peter has owned wristwatches that would make many a collector smart with envy.

Many of these pieces have since tripled and quadrupled in value, and Peter remembers having to part with them, for the sake of business, with a wistful

DESIRE

sigh. His passion came to the fore at an early age, but it was only 10 years ago that Peter started counting how many watches he acquired and sold again.

He is now at number 10,200.

So what is the most important piece of advice that this aficionado gives his buyers and collectors? “The real investment value is the enjoyment you get from wearing the watch.

Don’t buy something because one day it’ll be worth lots of money; buy it because you really, really love it,” says Peter. “That way,” he adds, “a collector will also derive the maximum level of satisfaction from his or her collection.

knowledge. He talks about the importance of the brand, “There are about 10,000 brands in the world, but only a handful of those will hold their value. Those are Rolex, Patek Philippe, IWC, Jaeger Le Coultre, Panerai, Audemars Tiguet, Hublot and A Lange & Söhne – these are the brands that’ll retain their worth whether they are brand new, second-hand or vintage.”

But aren’t there any bright young upstarts who are giving the bigger, older brands a run for their money?

“Certainly,” says Peter. “There are some newer brands that are making fantastic watches that ought to be

sold as genuine prove to be fakes.”

Whether you’re acquiring a vintage timepiece or a modern watch, there are some things of which you should always be aware, such as the condition of the item. “If it’s new and modern it must be as new as possible with all its relevant documentation.

In fact, the original paperwork and box could double the value of a vintage watch.” According to Peter, vintage timepieces should never be restored to look brand new. “They’re not supposed to be bright and shiny!

Some wear is normal.”

During his many years of trade

Far happier is a guy with 10 watches that he loves, than one with 30 pieces that he never wears.”

Peter also emphasises the importance of keeping a collection fresh. “Keep it current. Trade in the ones you’re not enjoying and upgrade them to newer things that you love. If you accumulate too much and don’t trade back the deadwood, you’ll get bogged down.” Peter emphasises that the second-hand market is strong and consistent; a watch bought from his Melrose store could easily be traded back into the market in any big city.

Peter has been trading in fine watches since the early eighties and has amassed a wealth of invaluable

the collectibles of the future. We’re talking here about small manufacturers whose quality is uncompromised. FP Journe, Greubel Forsey and Richard Mille – these are some of the names to watch out for in the near future. They have broken the tradition that a watch has to be 100 years old to be fantastic.”

While the Internet makes it easier for collectors to educate themselves (according to Peter, watching auctions is one way of keeping track of trends), the pro warns against the pitfalls of the virtual trading scene. “There is a myriad of crooked dealings. Often goods sold as new are restored or second hand; often goods that are

Peter has learnt that there is no such thing as a typical collector. While the vast majority of his clients are men, “boys are always fascinated by the mechanics,” he says, they range from the ages of 16 to 70. “I know guys who own three watches and wear them proudly, I know guys who’ve traded 70 or 80 watches over the years.” Despite this diversity, Peter’s most important piece of advice remains the same for all his customers, “Buy what you love – the real value of a watch is what you get in your heart.”

Peter Machlup is based in Melrose Arch. Contact him on +27 11 684 1222, email watches@mweb.co.za or visit www.petermachlup.com. 

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COLLECT

Antiques

to Keep

While most investors were happy to put their money into stocks, shares and bonds, the recent economic turmoil has turned the tide and savvy investors are now looking to alternate investments like art and antiques.

With stocks and shares always on the slippery slope of volatility, many people are taking advantage of investing in tangible items that can be felt, touched and appreciated, but which also offer a solid investment – and which are exempt from capital gains tax, too.

Words: GIULI OSSO Images: © NATIONAL ANTIQUES & DECORATIVE ARTS FAIRE

Arne Jacobsen (Denmark 1902 – 1971) – leather “egg” chair, designed 1957; Fritz Hansen, Denmark – moulded fibreglass seat on cast aluminium base, paper label

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Exquisite Investment Pieces

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ntiques and collectibles make headlines every day. Marilyn Monroe’s “Happy Birthday Mr President” dress fetched close on $1.3 million on auction. John Lennon’s Steinway, complete with cigarette burns, fetched $2 million. The most expensive car – a 1957 Ferrari 250 Testa Rossa, fetched $12.2 million. If you had invested years ago in an 18th century Florentine Badminton cabinet it would now fetch upwards of $4.8 million. And then there’s Picasso’s

"Boy with Pipe," which broke all records when it fetched $104.1 million. Even our own old masters artists like Irma Stern, Alexis Preller and JH Pierneef are fetching millions on auctions both here and abroad.

In the medium to long term, most good quality antiques will appreciate in value. Experts, at a conservative estimate, put the minimum appreciation at around 10 percent each year. Exceptional art and antiques can achieve even more phenomenal returns. Says antique dealer Clyde Terry, “One only has to

look at South Africa’s big banking groups. All of them, without exception, have large collections of art and antiques and are often the ones to drive up prices. Once they show an interest in a particular South African artist or buy up early Cape furniture or Cape silver, you can be sure it causes a flurry in the marketplace, dramatically increasing the value of those items. If you look at international auctions of South African art and antiques you will quickly see that even our own treasures are fetching extraordinary

Irish Dish Ring also known as a Potato Ring – made in Dublin 1893, extremely rare

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Painting – Cecil Skotnes (SA 1926 – 2009), “Head” circa 1960s, carved and painted wood panel, 45 x 61cm, provenance: Cecil’s brother-in-law, Roy Carter

prices on the international stage.”

So, what makes for a good investment? While a painting by one of the old masters or a rare Louis XIV chair is a top-of-the-range investment that will always give a high return, there are other, more recent collecting disciplines that investors can enjoy and which will give just as good a return. And the Antiques & Decorative

Arts Faire is the perfect place to find this rare or unusual piece.

While furniture does take pride of place at the Antiques Faire, with top dealers exhibiting a wide range of Georgian, Regency, Victorian, Edwardian, Art Nouveau and Art Deco furniture, it is not unusual to spot a rare seventies chair that is as sought after as a Victorian Canterbury. Of

late, a new trend in furniture collecting has emerged, becoming all the rage, and which can be seen in dealers who specialise in Afrikaner furniture or French Provençal furniture.

International trends in silver, as with other collectibles and antiques, are continually changing. Today, collectors and dealers look for hand chasing and embossing, fine engraving and full figure and enamelled objects.

There is a distinct move away from bulky elaborate pieces towards smaller pieces with greater values. At the Faire, specialist dealers in silver will be selling Cape, Russian, Irish and English silver – from canteens of cutlery to the more collectible, novelty silver.

Investment-quality glass can span a wide range of periods and styles – from the elegance of Galle, Daum, Lalique, Loetz and Tiffany to the more modern Italian Murano and the everpopular Scandinavian glass from master craftsmen. The perfect complement to contemporary living, glass collecting is attracting younger and more discerning new collectors who enjoy the finer things in life and who are looking for pieces with lasting appeal and worth.

Of all the collecting disciplines, art has seen the biggest returns – whether you seek out international art or opt for local artists who are becoming internationally recognised, investing in art is well worthwhile.

And one need not invest solely in the top artists – invest in the up-andcoming ones and you may well be one of those who has an investment of note in years to come.

The National Antiques & Decorative Arts Faire takes place at the Sandton Convention Centre from 23 to 25 July and will celebrate the return to beautiful things and how to appreciate them. Tickets cost R200 per person and bookings can be made through +27 11 482 4259.

Visit www.naada.co.za for more information.  A selection of Afrikaner Furniture – includes a rare chair with embroidered upholstery, a carved table, child’s chair, a wheelbarrow and assortment of clay pots

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Clyde

on 4th

Antiques

C

lyde on 4th overflows with attractive antiques – from very old furniture and silver to more modern art deco and 1950s pieces. Aside from choice pieces of furniture, the store specialises in various collecting disciplines and has impressive collections of rare Royal Doulton figurines, Moorcroft vases, Lladro and Hummel, as well as a number of important artworks by famous South African artists.

Words & Images: © CLYDE TERRY

Owner Clyde Terry takes pride in helping collectors find what they are looking for and has added immense value to many fine collections worldwide. Well known not only as an antiques dealer, Clyde is also a mover and shaker in the antiques arena, running the highly successful monthly Antiques Fair at Nelson Mandela Square and the National Antiques Faire.

When asked whether now is the time to buy antiques, Clyde answers with confidence that through every

recession, antiques have become the investment of choice. “There is no question that people are looking for alternate investments to the stock market where you only realise your return when you sell. With top-end antiques you have tangible assets that you can enjoy and that will, over time, always give solid returns.”

Visit Clyde on 4th; 75, 4th Avenue, Melville, Johannesburg. Contact +27 11 482 3266 or +27 82 883 4933, email clyde4th@mweb.co.za or visit www.clydeon4th.co.za. 

Clockwise from top right: Rare William Moorcroft Moonlit Blue Vase with Sterling Silver mounts, fully signed in Green, circa 1924; Bronze and Ivory miniature hand-painted Lorenzl Art Deco Figure of a Dancer, C1930, signed in full on base; Ephraim Mojalefa Ngatane, 1938-1971, SA Women and Child, measuring 59cm x 44cm; Victorian Ebonized Side Cabinet with Brass Gilded Mounts, decorated with Porcelain Panels – main oval panel in ribbon-tied gilt brass frame

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New Gallery for Associated Art Holdings

In the world of antiques and collectibles there are different kinds of dealers. There are those who are general antique retailers, others who specialise, and then others still, who go out of their way to find special gems for their local and international clients. One such dealer is Baboo Moolla, owner of Associated Art Holdings, who recently opened a new gallery in Parktown North – Associated Art Gallery.

Words & Images: © BABOO MOOLLA

Above, right: Regency Card Table – English Circa 1820, Mahogany Crossbanded in Rosewood with four splay feet, brass shod, interior lined in brown hide, gilt tooled; Painting – John Ireland, Oil on Canvas, "Richmond Park"; Silver Fruit Basket – Sheffield 1816

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or the past 20 years, Baboo Moolla has built up a formidable reputation, both locally and internationally, as not only one of the country’s top businessmen and developers, but one of its most esteemed dealers.

Well known to auction houses in London, Paris and New York, Baboo has an eye for rare antiques and priceless artwork. Credited with bringing several key international art pieces into the country over the years, including Chagalls, Baboo continues to travel the world in search of high-quality art, antiques and collectibles.

As a dealer who exhibits at both the monthly Antiques Fair at Nelson

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Mandela Square and at the annual National Antiques Faire, Baboo felt it was time to open a showroom that would do credit to his extensive antique and art collection. “As I mostly exhibit art and collectible smalls at the Fairs, many people don’t realise that I have amassed an extensive collection of furniture, silver, glass, clocks and Persian carpets,” say Baboo. “I felt the time was right to open a gallery in one of Johannesburg’s top areas to showcase my pieces. I didn’t want a traditional cluttered antique shop look but rather a spacious and relaxed gallery where my artworks could be displayed against the backdrop of antique settings, giving an elegant and eclectic feel.”

Associated Art Gallery’s fine

selection of SA old masters and international contemporary art includes works by Tinus de Jongh, Pierneef, Nita Spilhaus, Robert Gwelo Goodman, William Kentridge, Sydney Carter, G Batha, Fasciotti, Norman Rockwell, Chazal, Henry Moore and Jack Vettriano among many others.

Visit Associated Art Gallery at 25 7th Avenue, Parktown North, Johannesburg. Baboo will also be taking a large stand at the National Antiques Faire for his antiques and his artwork (23-25 July 2010).  For more information, contact: • Tel: +27 11 880 8092 • Cell: +27 82 552 7762 (Baboo) or +27 72 401 3776 (Ayesha) • Email: babooantiques@gmail.com or ayeshagallery@gmail.com

Seychelles

Regatta 2010

A Tour of Abundance Imagine a personal sail through the most exclusive islands of paradise, eight days of near-perfect breezes and custom events that would impress even the most seasoned tourist. This year’s Seychelles Regatta, departing from, and returning to, Eden Island, covered a route that any weekend sailor could only wish to complete in one lifetime.

Words: MICHAEL FLOSS Images: Š PASCAL JAFFREDOU

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t is set to become an annual institution. A handful of very select sailors, with corporate sponsors and guests from France, Italy, South Africa, Denmark, Germany, UK and America experienced idyllic sailing conditions when taking to the waters for the second annual Seychelles Regatta. Eight of the world’s most elite professional racers, joined by expert Seychellois skippers, led these lucky crews for nine days of sailing through the beautiful inner islands of Seychelles.

The Regatta kicked off with a reception hosted by sponsors Eden Island, Champagne Nicolas Feuillatte and the Seychelles Tourism Board.

Alain St. Ange, the Board’s Marketing Director, announced to all that “Seychelles was designed for sailors.”

If so, then Eden Island, the private residential marina just off the coast of Mahé, is the perfect start for a regatta designed to sample the islands and all they offer.

This year’s attractions started with a race from Sainte-Anne Island to Baie Beau Vallon, on the northwestern coast of Mahé. Defender Michel Desjoyeaux, the only sailor to win the Vendée Globe twice and first in the Transat 2010, trailed Yann Eliès across the line, but placed first after adjustments. Transat AG2R winner Armel Le Cléac’h, placed third aboard the Chateau Perenne boat. Yvon Beneteau led his crew on a private tour of secluded Anse de Riz, where fresh and salt water meet under the shade of mangroves and mapou trees.

The rough-hewn path along the mountain ridge offers splendid views and it was good to get my land legs back, even if just for a few hours.

The second day of racing set the course for much of the remaining races. Eliès moved into the lead after the afternoon race from Silhouette to Anse Lasio on Praslin, and the inestimable British skipper Samantha Davies took second overall. The stiffest competition, though, was the deep-sea fishing contest. Davies’ crew aboard C’est La Vie narrowly bested

the Desjoyeaux-Nicolas Feuillatte boat with their haul. And what a fine dinner that made as we moored off for the evening.

Whether by skill or, less often, by luck, Eliès continued his dominance in the subsequent races. The real drama of the Regatta was the stiff duelling between Davies, Desjoyeaux and Le Cléac’h, separated by seconds in the standings. But the crews were just beginning to see the abundance of the Seychelles. The remaining legs of the Regatta took crews from the powdery sand of Anse Lazio to the grandeur of the two Sisters, Grande and Petite Islands; to the divine miseen-scène off Praslin of Felicité and Curieuse; to the special bird reserve, Cousine. For regular sailors who moor their yachts at Eden, each of these islands is a worthwhile trip on its own.

Crews spent their first extended time on land in La Digue, Seychelles’ most-photographed island. This mass of pink granite is mostly occupied by a 300-metre mountain. Renting one of the island’s swarm of bicycles to ascend the Eagle’s Nest is well rewarded by a remote stretch of shore and a most welcoming waterhole at the end. The powerful surf of Grande Anse on La Digue, which locals claim to be the most beautiful beach in the world, is matched only by the sheer beauty of nearby Pointe Cap Barbi.

Many crews took advantage of the spectacular luxury resorts sprinkled throughout the islands, such as the five-star Maia, the new Constance Ephelia on Mahé, Constance Lemuria, Acajou and Paradise Sun on Praslin, and L’Orangerie on La Digue. If marine activities do not bait you, the five-star luxury, golfing, cuisine and complete relaxation of these world-class resorts

would still do you just fine.

As we sailed back into Mahé, Eden Island’s magnificent marina was a comforting homecoming, and I promptly walked over to the sales office to enquire how I could set up a permanent second home as my base for future sailing. This place is just too good not to return as often as time allows. 

EDEN ISLAND Eden Island Seychelles is a residential marina development featuring a broad range of freehold title luxury apartments, spacious maisons and private villas, each with its own mooring. Part of an archipelago of more than 115 (Eden Island is the 116th) picture-perfect islands, entirely constructed on a reclaimed coral reef connected by a bridge from Mahé, Eden Island offers Seychelles residency for you and your family. Eden Island boasts a worldclass marina with clubhouse and other facilities, including an international shopping precinct. Make it your own. Contact Richard Epstein on +27 82 882 8996 or email him at richard@edenisland.sc or visit their website at www.edenisland.sc.

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F E AT U R E

Not-So-Quiet English Countryside

Petrol-Head Nirvana at Goodwood’s Festival of Speed

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Pebble Beach’s annual classic car fest, Paris’s Retromobile, the world’s assorted motor shows – none can create the sense of occasion, glamour, involvement or history that is imbued in every whiff of the atmosphere at the Goodwood Festival of Speed, held in England every July. It has become the annual event for lovers of all things automotive.

Words: KEN KESSLER Images: © GOODWOOD PHOTO LIBRARY; CARTIER; Mike Caldwell; Marcus Dodridge; John Colley

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anaticism for the automobile is global, but the English can boast about theirs with particular pride.

Brooklands, the world’s first race circuit dedicated to motor racing, was established in Southern England. To this day, more Formula One teams build their cars in England than anywhere else. The last two World Champions in Formula One are, yes, English. Rolls-Royce, arguably the world’s finest automobile, may be owned by the Germans but the brand is English. Not Scottish, not Welsh, not Irish – English. So it’s only fitting

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that the most exciting, packed-tothe-gunwales feast of automotive indulgence takes place in England.

Back in the summer of 1936, the Earl of March and 9th Duke of Richmond held a private hillclimb for the Lancia Car Club at Goodwood House. This member of the aristocracy is known to car fanatics by his “street name.” He was none other than the talented designer, engineer, racing driver and Brooklands winner, Freddie March. As skill, location and occasion would have it, he won the event, an achievement not lost on his grandson, the present Earl of March – also a gear head par excellence. With petrol

running through his veins, the Earl of March decided to create a new and exciting racing event at his family home, one of the more imaginative uses to which a stately home has been put. Instead of the usual “gardens open to the public” or a musty tour through a museum, Goodwood’s upkeep is assisted by the resultant event: the Festival of Speed.

Even the first event augured well for what is now one of the two superlative celebrations of the motorcar hosted there every year. In the autumn, Goodwood holds the more competition-oriented Goodwood

S. E R s

As.Term H S ure

Dsit sec E IT po

de M I 0 0 L ,0 6

R1

LONDON

LONDON apartment syndicates. Canary Wharf financial district buy-to-rent Rand hedging investment units.

The Socoro Syndicates’ Group has over a period of almost three decades accumulated know-how second to none in fractional ownership of leisure property. For South Africans to maximise opportunities in offshore buy-to-rent apartments in London gives them an effective hedge against a depreciating rand, backed by a low-risk asset with a reliable potential income stream built into the asset. Given that the relatively higher inflation rates in SA are expected to continue, these assets would further appreciate in offshore portfolios.Taking advantage of the strong rand, weaker sterling, relatively low UK interest rates and current significantly lower property prices – one is seeing the best investment opportunities seen over the past 15 years in combination of return on investment and capital growth. Comprehensive research resulted in the purchase of apartments in the Docklands with Socoro being able to pass the excellent sourcing results directly on to our investors. Investors do not pay any bond payments or levies. It is estimated that 25% of the UK’s GDP is generated by financial services from the square mile of the City of London plus Canary Wharf and with the 2012 London Olympics being held close by, a better area to invest in the UK will be hard to find.

Apartment shares are at a most affordable R 220,000 each with initially R 16,000 to be paid in SA to secure. A further deposit of £ 8,550 is paid offshore followed by 5 monthly £ 2,000 payments.

S O C OR O S Y N D I C AT E S Leon Erwee • Email: socoro@socoro.co.za • Cell: 083-703-6366 • Int: +44 787-222-5095

Revival. The first Festival of Speed was held in the summer of 1993 and attracted 25,000 spectators – an exceptional turnout for a brand new event. Its growth was rapid, its reputation spreading to every enthusiast on Earth in love with wheels as “the must-attend annual celebration of motoring culture” and with such authority that attendance had to be limited – the Festival of Speed is capped at 150,000 with admission strictly by advance ticket only.

What began as a hillclimb is now a showcase for everything automotive, whether street or track, old or new, rare or common. The major charm of the Festival is its utter lack of snobbery, an occasion utterly free of the usual us-versus-them immaturity that finds F1 fanatics disrespecting NASCAR. At Goodwood, you might see a dragster just metres from a Ferrari; a Bugatti next to an Austin 7.

But the organisers avoid chaos, for every Festival of Speed consists of a selection of themes.

Among the regular events taking place during the long weekend are the loose-surface Forest Rally Stage, the high-speed Sunday Times Supercar Run, the Cartier “Style et Luxe” (or concours d’elegance), world debuts of new car models, countless tents sponsored by major manufacturers, plenty of booths for purchasing automobilia and much more. What adds the most appeal, however, beyond the thrill of seeing and hearing Overview of the Cartier Style et Luxe

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In recent times, along with the quintet of Bugatti Royales, Cartier’s concourse has included such entrants as Ralph Lauren’s sublime 1930 Mercedes-Benz 710 SSK Trossi Roadster, a fabulous selection of post-WWII Americana cars from the James Bond films, a Blower Bentley, an array of Bugatti Type 57s, George Harrison’s highly-decorated Mini, the immortal NapierRailton, and an AlfaRomeo 8C Competizione Spider priceless classic cars being driven during the various challenges, is the openness of the Festival: you can get up close and personal with the cars and the famous racing drivers, riders and celebrities.

Nothing better illustrates this than the appearance in 2007 of five of the six Bugatti Royales, among the

most valuable cars on the planet. Or the largesse of DJ Chris Evans: only days before, he purchased at auction, for a record £5.6 million (US $9.93 million), the ex-James Coburn Ferrari 250 California. He parked it on the Cartier Style et Luxe lawn alongside the equally desirable ex-Steve McQueen 250 Lusso – two of the world’s most coveted Ferraris. None of them were roped off from the public, onlookers were merely asked to refrain from drooling on them.

For sheer elegance and a break from the sturm und drang of the drag strip and hillclimb, nothing beats the Cartier concours.

The luxury manufacturer hosts a gala luncheon peppered with A-listers from the worlds of art, design, music and, of course, motorsport, which is capped by the awards given for the best cars of the weekend.

In recent times, along with the quintet of Bugatti Royales, Cartier’s concours has included such entrants as Ralph Lauren’s sublime 1930 Mercedes-Benz 710 SSK Trossi Roadster, a fabulous selection of post-WWII Americana including a Tucker, a C-Type Jaguar, cars from the James Bond films, a Blower Bentley, an array of Bugatti Type 57s, ultrarare and exotic prototypes, George Harrison’s highly-decorated Mini, the immortal Napier-Railton, an AlfaRomeo 8C Competizione Spider and hundreds of other treasures. Judges include luminaries such as architect Sir Norman Foster, designers Jonathan Ive, Mark Newson and Frank Stephenson, musicians Roger Taylor of Queen and ex-Small Face Kenney Jones, and Bond actress Maryam d’Abo. Simply put, one is unlikely to find as varied a selection of automotive treasures in a single place, where they’re being driven, being enjoyed for their intrinsic rather than monetary value. Let’s put it another way: where else would you find Jay Leno driving a vintage Jaguar and Peter Fonda celebrating the 40th Anniversary of Easy Rider on a replica chopper?

For more information, visit www.goodwood.com. 

Pleasure

and Profit

The South African Property Market If you bought an average residence in Britain at the same time you bought one in South Africa in 1999, one would imagine the London property fared much better. At that time, the Rand currency fell sharply against the Pound.

Yet measured in Pounds, Dollars or Euros, the South African property grew in value much more than the British one.

Words: IAN FIFE Images: © ISTOCKPHOTO.COM; ANDERSON WILDLIFE PROPERTIES

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have noticed lately that my wealthy friends have turned their attention to investing in property as the global economy splutters back to life. Property values in many western countries have collapsed, partly because of a growing investment bubble but mainly because banks stopped lending and many property

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owners were unable to roll over their debt. Anyone with enough cash can pick up big bargains.

Most South Africans are buying locally and the reason is simple: South African property has been one of the few investment classes in the world that has held its value and continued to increase its net income through the global financial meltdown. The

industry has been supported by banks that were always conservative and which have continued to lend throughout the crisis. As the world’s economies slowly recover from the worst financial collapse in several generations, this is a good time to buy. And if you’re an investor in South Africa for the World Cup who looks further than his own village for

INVEST

a good deal, you’ve come to the right place.

South Africa is a former British colony and has similar key institutions such as property lawyers, mortgage banks, a deeds office in which all property transaction are registered, an alert press and property managers with world-level capability. Returns are high compared to the rest of the world.

Chris Naidoo, portfolio manager at South African fund manager Metropolitan Asset Managers, expects the total return on South African property this year to be 15 percent. It was 11.9 percent in the first quarter of this year, outperforming the JSE’s 9 percent. Most of that 15 percent (8 percent) will come from growing income and the remainder (7 percent) from capital growth.

Property has only been slightly affected by the economic crisis.

According to Lightstone Risk Managers, house prices fell 4 percent last year. But prices this year have risen so far by 15 percent. Office vacancies have risen to as much as 10 percent in some urban areas. Most analysts expect investment payouts to continue rising, if a little more slowly than normal.

One advantage of investing in South African property is that banks will lend you more on its security than you’ll get in almost any other country at the moment. If you buy a property directly, rather than invest in a listed fund or a unit trust, you can borrow up to 50 percent of the purchase price. If you have a local partner you will be able to borrow up to 75 percent. You need less equity and have less exchange rate risk. You also have a real asset keeping its value against South Africa’s relatively high inflation while your real debt is eroded away. This gives your return an extra boost.

The initial income return on South African property is generally higher than elsewhere. Take the stock exchange as an example. Currently, you can buy Redefine Properties on a forward yield of over 9 percent. Other well-managed blue chip funds that

should show good long-term growth are Growthpoint and Pangbourne. You can buy a flat in a prime Johannesburg area on a net forward yield of between 7 and 9 percent after costs and in Hillbrow and Berea for 12 percent – up to 20 percent if you’re very lucky.

Other cities offering good residential yields are Pretoria and Durban. Cape Town has become an international, dollarised city so residential yields are more in line with London, Paris and Rome. Direct investment in a factory or office building will yield around 10 to 11 percent. Your debt will come in South Africa at a cost of about 10 percent per year.

The big picture for the South African economy is a bit like India, Brazil and China. It’s a story of millions of low-productivity rural workers moving into the cities and

becoming high-productivity urban workers. Their outputs and incomes will grow enormously over the next few decades, so pulling the property market ahead.

With this South Africa has two more unique boosts for the sector.

Investors tended to avoid commitment to property in the political and economic uncertainty in the decades before democracy. South Africa’s building costs, rents and property values fell in real terms over that period and all three of these factors remain among the lowest in the world. There’s a lot of catching up to do. Secondly, there is an underlying shortage of property that reveals itself early in the property growth cycle and pushes prices ahead of trend. It’s a great time to buy in South Africa. 

Wildlife Warriors – Anderson Wildlife Properties Since its inception in 1993, Anderson Wildlife Properties has been responsible for the purchase and protection of over 500,000 hectares of conservation land, with the focus being in the well-known Big Five-protected areas.

As a conservation-oriented company with a strong belief and passion in the work that they do and the sustainability of protected areas, the team at Anderson Wildlife Properties is well placed to guide clients in finding their dream wildlife properties, be they undeveloped land; private, commercial or syndicated game lodges; or concessions in national and private protected areas.

Pristine wildlife property is a finite and treasured resource, one which property specialists Peter Anderson and Shaun van Zyl believe has not yet reached its true potential in terms of value. Their expertise covers protected areas throughout the southern African region, with current areas of focus including the Greater Kruger National Park, Timbavati, Sabie Sand, Klaserie, Umbabat, the Waterberg, Welgevonden Game Reserve and Madikwe in the North West Province.

The changes that have come about as a result of the recent global economic events have created an opportunity for investors in the non-renewable resource of land, especially here in South Africa, which has had an enormous effect on the value of select wildlife properties.

Contact Anderson Wildlife Properties on +27 11 656 2041 or visit www.andersonwildlifeproperties.co.za.

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T R AV E L

Scene

from

T R AV E L

Above African Coastal Safari While boarding an aircraft has become a necessary evil, few people stop to consider the airborne perspective – by no means from 30-something-thousand feet above terra firma – but rather what is on offer from taking a low-level journey by air, be it by helicopter or small aircraft.

From this not-too-lofty height, the world transforms into seamless vistas of blended colours, fresh angles and insightful overviews that fall just outside one’s normal frame of reference.

Words: KEVIN BARKER Images: © ISTOCKPHOTO.COM; Russel Cleaver

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hen pondering the topic of South Africa by air, my thoughts were immediately blanketed by kilometre upon kilometre of featureless terrain that scroll slowly by the airliner window while cruising somewhere between the hinterland and the coast. And then it struck me: the Southern African coastline, arguably one of the most magnificent in the world, makes for some of the most scenic flying ever. My memory cast back to an extraordinary journey, by helicopter, coastwise from Cape Town to Kenya’s northern border.

It was a father and sons passage, in two Eurocopters operated by Starlite Aviation, that flitted and skipped up Africa’s eastern shores, sampling all the treasures that a vertical-lift, no-runways-required kind of trip such as this could lay on.

Setting off from Cape Town and ending just south of the Somali border, the two copters traversed a powerful, raw landscape that offered not only some of Africa’s most vibrant population centres but also the absolutely untouched stretches where luxury, mystery and adventure lay around every corner.

It is generally accepted that off Cape Point the frigid Atlantic meets and swirls with its tropical sibling: the wild-child Indian Ocean. From here, we would imbibe 5,000 kilometres of ultimate sightseeing, the first day covering the emerald-watered False Bay coastline up towards Plettenberg Bay, flying past miles of empty beaches in the Overberg region and the magnificent Garden Route with its imposing Knysna Heads. The real joy of being in a helicopter is that it is very easy to stop and turn around if you spot something, or slow down for a perfect photograph; useful considering the large number of whale sightings along this particular part of the route.

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C H A N G E T HE WAY YO U SEE T H E WO R LD Unforgettable wildlife adventures at &Beyond’s 46 exceptional safari lodges. andBeyond.com

East of Plettenberg Bay, and seawards of the Tsitsikamma National Park, rocky outcrops dominate the shoreline, with massive white spray explosions marking a violent end to open-ocean swells. This theme continues closer to the infamous Wild Coast, where the landscape angles up sharply to nearly 90 degrees, forming imposing cliff walls with uncountable waterfalls that tumble directly into the sea. Xhosa huts dot the rolling green hills that drop abruptly into the surf below. Thanks to the versatile nature of the helicopter, it is easy to alight atop one of the hills standing like an island in the sky near Port St Johns.

Leaving Durban’s Golden Mile behind, we crossed the Mozambique border as the African sunrise inched its way over the eastern horizon. Passing Maputo, the unfolding stretches of whitewashed beaches alluded to the wilderness still to come. Down at 500 feet, the coastline revealed its most intimate details as the water began to shed its dark blue colour in favour of clear, turquoise clarity. Whales, sharks and dolphins could be seen swimming about, while colourful coral reefs mottled the gin-clear water. Staying overnight at one of the many luxury lodges along the way, the pervasive feeling was that there was absolutely no better means to travel than by way of a spacious, air-conditioned, highperformance helicopter.

The seemingly endless Mozambican paradise regretfully gave way to scattered tropical islands around the Pemba area, before the

sea once more drew its indigo coat which, to the group, signified Marlin water. Southern Tanzania features some of the continent’s most productive Marlin waters, with no shortage of luxury fishing lodges in which to stop and catch your breath.

Running the gap between the bustling centre of Dar es Salaam and Zanzibar, it was easy to visualise the days of old, when Arab trading dhows explored this shoreline. Stonetown, with its detailed architecture that embraces local, Arab and colonial building styles, welcomed us airborne observers.

Passing the white-capped peak of Kilimanjaro above the horizon to their left, the formation of helicopters crossed into Kenya – the jewel in the crown of African diversity. Its unchanged beaches, plentiful fertile savannah plains and harsh, unforgiving north, reflect the many faces of the African coast – from sprawling metropolises bursting at the seams to wind-carved beaches gloved by bright coral reefs. An airborne meander through Africa unveils a smorgasbord of scenic delights, and when doing it by helicopter such as the EC130, which was specifically designed to maximise viewing potential by way of its large panoramic windows, it is hard to think why anyone would voluntarily encase themselves in tubes of aluminium and travel at 38,000 feet and miss all of this. Oh yes – time. But then again, as it has been said, “the world has the watches and Africa… has the time.” 

PRUDENCE

The Nirox

Foundation Caring for Tomorrow’s Cultural Heritage, Today Not far from the sprawling metropolises of Pretoria and Johannesburg is the Cradle of Humankind; a palaeontological treasure trove where, for millennia, networks of limestone caves guarded profound glimpses into our collective past. Within the 47,000 hectares of this fossil-rich World Heritage Site lies another gem, the Nirox Foundation, which recognises that where we’re going is as important as where we come from.

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PRUDENCE

J

acques Lacan, one of the fathers of psychoanalysis, famously wrote about the so-called mirror stage; that often-bewildering instant when the self first recognises its own reflection. A similar thing sometimes happens to those who visit the Cradle of Humankind. Beyond the ego, beyond the sometimes capricious, sometimes mundane vicissitudes of day-to-day living, something stirs as, quietly but emphatically, one’s subconscious mind recognises a part of itself and acknowledges its own ancient history.

For some, this moment occurs when the realisation dawns that GPSes are of little use here... It’s not hard to imagine an ancient spirit laughing heartily in a shady nook, as if to say with gentle endearment: “silly human, of course those modern gadgets won’t work here!” But for many other visitors, this almostsublime moment occurs as they take in the area’s raw splendour and realise that, for millions of years, the eyes of our hominid ancestors were cast upon this same scenery.

Situated within a private nature reserve here in the Cradle, the Nirox Foundation comprises 15 hectares of landscaped gardens, tree-lined avenues and winding waterways. The aim of the Foundation is to facilitate and initiate processes whereby Africa might come to occupy its rightful place on the global arts scene. The Foundation also envisions the development of the Cradle as a cultural hub for Africa; not only would this grow the area’s as yet untapped potential for low-impact tourism, but it would also go a long way to fulfil certain cultural imperatives that have, until now, not been realised. These include a Museum of African Art, leadership schools and curatorial upliftment programmes.

The Foundation carries out its aims on different scales and by differing means, of which the most eminent is perhaps its series of programmes: the international artists’ residency programme, the local artists’ accommodation programme

and the subsequent collaboration programme.

Internationally acclaimed artists of all disciplines are invited to take up residency at the Nirox Foundation, where they are housed in a spacious two-bedroom home and have studios, a music/writing room, office facilities and the nature reserve at their disposal.

The list of artists who have been involved in some of these programmes includes Pat Moatloa, Willem Boshoff, Johannes Phokela, Strijdom van der Merwe, William Kentridge and Marleen Dumas among many others.

During their period of residency – which may last from a week to several months – the artists meet, speak and collaborate with local emerging artists and curators. This allows for an organic transfer of ideas, approaches and industry knowledge, and highlights the Cradle of Humankind’s potential as a place of tremendous cultural relevance. “After all,” asks the Nirox Foundation, “what good is dwelling on our history when we don’t concern ourselves with the cultural present; which will become tomorrow’s cultural past?”

The Next Few Months of Nirox

Opening on 6 June and running until 15 August, the Nirox Foundation will host two concurrent sculpture exhibitions, “TWENTY: South African Sculpture of the Last Two Decades” and “Arnoldo Pomodoro and Eduardo Villa: a Sculptural Dialogue.”

“TWENTY: South African Sculpture of the Last Two Decades” uses sculpture to examine the sociopolitical, intellectual and cultural changes, challenges and achievements that have punctuated the last 20

years of South African history; from Nelson Mandela’s release to the kickoff of the World Cup. The exhibition, which will be curated by Andew Lamprecht from the Michaelis Art School in Cape Town, will consist of about 40 works by some 50 artists, including Jackson Hlungwani, Samson Mudzunga, Jane Alexander, Willem Boshoff and William Kentridge, as well as artists who do not currently have commercial representation. Works range from contemporary through figurative to purely conceptual.

“Arnoldo Pomodoro and Eduardo Villa: a Sculptural Dialogue” is a more intimate exhibition running simultaneously with the above.

Pomodoro is a leading figure of Italian sculpture, whose much-coveted bronzes form a prestigious part of private and public collections all over the globe. Visitors to Nirox will have the rare opportunity to view two of his bronzes: “Doppio Porta” and “In Memory of JF Kennedy.” Sponsored by the Italian Embassy. In collaboration with SMAC gallery, Pomodoro’s works will be placed in conversation with those of local arts legend Eduardo Villa. Critically hailed as South Africa’s leading sculptor, the Italian-born Villa became a naturalised South African after his imprisonment here during World War II. The Sculpture Park will be open from 10:00am until 5:00pm Wednesday to Sunday. On weekends, spontaneous musical and performance arts events can be anticipated.

Visit www.niroxarts.com for more information and a map, or call +27 76 694 3051 or +27 83 434 8541 to arrange a special visit accompanied by the curators. 

EMPOWER

F

Mobile Technology in Africa:

Spreading

the Love

With the number of worldwide mobile subscriptions exceeding five billion, more people have access to mobile phones than to clean toilets. In developing countries, access to a mobile phone not only acts as a pivotal lifeline but as an educational tool and agricultural domain ruler too. With the world’s focus on Africa and its position as a powerful realm of all that shines, technological developments are impregnating the continent with hope and possibility.

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armers in Niger use their cell phones to locate the best price in the marketplace for their goods. Using M-Pesa, Kenyans pay their bills and send money home to their families.

Soon, mobile phones will even aid in the election polls and voting of African countries – as India so successfully managed recently. Mobile phones have erupted as the greatest demand and love all over Africa, as opposed to fixed line services, with five times more mobiles than landlines across the continent.

Advances in the area of wireless technologies in Africa mean there is a real chance of transforming communication initiatives, something that is especially pivotal in the developing world, which has until now been plagued by a rickety telecommunications infrastructure.

Through various technological breakthroughs, including the combination of greater availability and cheaper costs, wireless access to remote and disadvantaged communities will soon be a reality, taking Africa into a new century of connectivity.

The most available and comprehensible form of wireless use in Africa is the mobile phone, which can be found in the hardworking hand of almost every African; whether as a communication tool or status symbol.

For most first-time subscribers in Africa, a mobile phone is the first and only telephone they have owned, and the growth of mobile phone holders has been extreme. In 2001, 14 million customers were present; by 2003, 52 million. Nowadays, the number is almost double this. Something worth noting is the considerable imbalance between the adoption techniques and utilisation of these technologies among various African countries, ranging from the highly advanced rank of South Africa to the rather

slow-growing status of Somalia and Burkina Faso.

The cracking open of markets in the telecommunications sector, which has revealed the desire for connectivity from an African viewpoint, has been greatly assisted by the Basic Telecommunication Services Agreement, which opens up a competitive marketplace for Africa.

Internet mammoth Google has reached the African continent from a mobile phone coverage perspective too. The titan has moved into Uganda through MTN and produced Google SMS, where plentiful applications are available to Africans on their mobile phones, including access to health advice, agricultural tips, sport and news – all via text messaging.

Similarly, Google Trader, where buyers and sellers are assisted in making contact with each other; find, sell or buy products or services, is another available application, as is Google Tips, a service based on query and answer web searches at low cost to the user.

Google’s goal is to reach a broader base of consumers who are hungry for information but have little or no access to it. The specialisation of these services has been through the Grameen Foundations Application Laboratory, in search of better breadth and depth of information relevant to the African market sect.

Cape Town is spearheading the mobile technology market of South Africa with initiatives flooding out of the city. It has been hailed as the continent’s own Silicon Cape. MXIT, the free chat service for mobile that has been partly purchased by Media24, will soon be filtering into Africa too, with e-learners and live chat learning as well.

One Cape Town-based innovation hub is InfoDev, partnering with the Government of Finland and Nokia on a project called “Creating Sustainable Businesses in the Knowledge

Economy.” They have a range of activities planned for 2010, one of which is the establishment of a regional mobile applications lab in Africa. The venue of the lab will be selected through a competitive bidding process that started in May this year. Some of the focus group discussions brought together mobile applications developers and academics in furious brainstorms on how best to create a lab in the Western Cape. Such a lab would aim to answer questions like: Which applications are relevant to a South African market place? Which partners/ brands are to be led on board? How does this benefit the South African citizen? Initial scoping studies and focus groups have identified a company called the Bandwidth Barn as one of the potential host organisations for the lab.

Another progressive company, MCI, is in the vanguard of development of applications for the mobile crossplatform arena and is providing digital solutions for retailers and media houses in South Africa. On the brink of a mobile revolution lies the desire to take South Africa into a new era where digital platforms, mobile technology and digital-savvy consumers will be part of everyday understandings. MCI prides itself on its constant ingenuity and desire to add value to the African marketplace.

It involved itself with the “World Bank Innovation Fair and Barcamp” by looking at ways to assist development practitioners in Africa to facilitate learning and generate and deliver relief aid with geo-referencing and tagging by mobile.

With mobile technology always in a positive state of flux, Africa and South Africa are feeling the push from all sides benefiting from the investments and innovation from the ground-level rural evangelist all the way up to the everyday technology crusader. 

A Bird’s Eye View of the

World’s

Wealthy

The downturn has turned out new attitudes on managing investments,

climate concerns, philanthro-capitalism and patience in the marketplace.

Ledbury Research conducted a financial survey in the 11th installation of the in-depth Wealth Insights series, where over 2,000 worldwide offered their perspectives on how they feel the economy has and will likely continue to influence their attitudes towards wealth and wealth management.

Words: Diane Naidoo-Ngcese; ABSA WEALTH Image: © ISTOCKPHOTO.COM

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A

bsa Wealth actingCEO Carl Roothman explains, “Despite the bruises suffered during the recent downturn, the wealthy are still committed to investing, however, they are showing a more keen interest in actively managing their investments.” Where, in the past the wealthy (46 percent of respondents) may have been willing to rely solely on others for financial advice, some 30 percent of respondents are reading financial magazines, newspapers and websites more than before the recent crisis. The notion of the wealthy as passive investors, keen to delegate tasks to others, is clearly a thing of the past.

“While we rely on our team to offer sound advice to clients, we have noticed a definite shift as our clients are becoming increasingly knowledgeable about investment and question the rationale and risk behind their investments,” reiterates Roothman. “Self-reliance is on the up-and-up with all respondents spending anywhere from two to 20 hours a week actively investing their money and managing their investments.”

Some 47 percent of the respondents in the survey believe that equities will perform quite well over the next 12 months. On a five-year horizon, this enthusiasm for equities is reinforced. “We can see that developing economies are more ardent about equities on a one-year and five-year horizon, as are respondents in some countries with direct exposure to developing economies, such as Australia with its Asia links,” says Roothman. He continues to say that “while the wealthy have emerged from the crisis divided about future prospects, they are united in adopting a more conscientious approach, seeking more direct involvement in managing their financial affairs. And opinions may be split on prospects for investments in the coming years but the wealthy

remain optimistic about equities and property, predicting that these classes will do well in future.”

South Africa is a market where property accumulation is regarded as “useful” whether or not its value as an investment rises. “Ours is a risk-shy, cautious investor market, where ‘bricks and mortar’ offer a lot more appeal,” says Roothman. The survey showed that investor caution remains with more than half of respondents (51 percent) choosing to avoid high-risk investments in the short to medium term and 57 percent more concerned with wealth preservation than before. “South Africa’s wealthy, along with two thirds of those participating in the survey, are more concerned with ‘saving for the future’ as a spending or investment priority.” According to Roothman, the survey indicates that most wealthy individuals desire to accumulate despite admitting that their material needs are met. A smaller portion continues to invest with the intent of doubling their net worth.

“There have been four serious global financial crises in the past 30 years, compared to four in the previous 120 years. Over the years, market turbulence seems to have provided conditions conducive to creating wealth and shifting attitudes to wealth”, says Roothman, who believes that philanthro-capitalism as it is now called, will be an increasingly important part of wealth management in the future. “In Asia Pacific, Latin American and European regions, wealth is viewed as a means to ‘gain respect from friends and family’,

“How many millionaires do you know who have become wealthy by investing in savings accounts? I rest my case.” – Robert G Allen, co-author of One Minute Millionaire

while in South Africa, the ability to leave a financial legacy behind, paying for children and grandchildren’s education, is regarded as wealth’s greatest benefits. Our wealthy represents an older, more mature market, and is definitely more familycentric than those in other markets. I think that’s a great sign that we are in a country where simple family values still exist, where they are nurtured and play a pivotal role in the spending decisions among those who have.”

As the world’s younger wealthy market, specifically Asia, seeks to get involved in how their money is used, one area of growing interest is in the management of family trusts and social venture funds. Over and above social initiatives, the wealthy are also concerned with broader issues including climate change. An overwhelming 56 percent of survey respondents believe that climate change is an important issue and believe that it is not only government and big business that are able to make a difference. Roothman says, “In a post-financial-crisis world, wealthy investors want transparency and simplicity in wealth management which the industry must respond to, as we at Absa Wealth do, with adviceled, straightforward and transparent propositions. The survey revealed that there has been a shift in the wealth map. As emerging markets grow in influence, wealth will no longer be concentrated in developed economies. And South Africa is one of those economies on a steady growth path.”

Says Roothman in conclusion, “With our fingers firmly on the pulse of the world, the markets and the global economy, we are able to match these insights to our clients’ needs, expectations and concerns.

The annual Wealth Insights survey enhances our ability to manage the wealth of our clients a whole lot better, regardless of market performance and the state of the economy.” 

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LISTEN

Feel the Rhythm of

the

World Goblets gushing wine, stark starched tablecloths, polished solid silverware; old flavours, new flavours, oversized plates laded with fare from far and wide – filling more than just desires and the decadence of tastes. Tastes so diverse, so marvellous that they penetrate the skin… This is world music and it is a feast fit for kings.

Words: DANIEL SCHEFFLER Images: © IMN; WORLD MUSIC NETWORK

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usic from around the world exerts wide cross-cultural influence as styles naturally influence one another. In contemporary terms, world music has been marketed as a viable genre in itself. The academic study thereof, along with the musical genres and individual artists with which it has been associated, can be drawn to anthropology, musicology, folkloristics, performance studies and ethnomusicology.

The origins of the misty term “world music” possibly began in a capitalised sense in 1982, when World Music Day was served in France – it is

F E AT U R E

now an annual festival that takes place on 21 June each year. “World music” is used to describe all music that is not strictly from the west, though its life-force and power escaped this narrow and rather deepseated prejudice by growing into the indulgent offering it is today.

From a marketing stance, Paul Simon’s Graceland album in 1986 jolted attention in the press by him expressing his own sensibilities using sounds he’d fallen in love with while listening to South African artists like Ladysmith Black Mambazo and Savuka. Other projects, like the work of Peter Gabriel and Johnny Clegg, spurred even more vested interest into non-Western music and supplied the world with a smack of rapture. In the late eighties, music stores globally fussed over the scarcity of available world music and therefore did not measure it effectively. A strategy to support a crossover audience from jazz and classical music was necessary to collectively introduce the new listener to the market, thus teaching record stores how to "rack" or categorise the genre in the best fashion.

Even the name reflected some discouragement from record industry professionals, with suggestions to add words like “Tropical” or “Hot.” These suggestions were thrown out excessively fast, however, as they suppressed the global feel and integrity of world music.

Through music magazine NME, a compilation cassette from various world music labels was compiled, including on the cover a duo colour execution to show the differentiation of world music. With press attention hotting up and a world music chart developing, the commercial and financial success of the genre was clear and tactile. So much so that in October 1987 “World Music Month” was designated, with thriving music festivals, effective radio airplay and successful press gigs.

Celebrations such as the California World Music Festival, Mali’s Festival

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in the Desert and Malaysia’s Rainforest World Music Festival started attracting hordes of fans eager to sample and experience new and crisp music influences from places they could perhaps barely pronounce. Word of mouth mounted.

The likes of Bhunda Boys and Youssou N’Dour attended the festivities. Even South African township musicians and their signature beats started attracting positive press, both locally and internationally, alongside Koto music from Japan and Indian Raga music, all of which started working their way into homes across the globe.

Provoking new forms of creative expression and social mobilisation, South Africa’s Pan African Space Station (PASS) is a 30-day music event that takes place during the month of September or roundabout each year, and culminates in a four-day, live African music festival. Now entering its third year, PASS takes place online through a freeform music radio station and across venues in Cape Town, so continuing its cross-cultural and cyber-spatial voyaging to bring together diverse pan-African sounds from ancient grooves to future hiphop. Say event curators, “PASS embraces the lineages that shape music-making on, and from, this

Paul Simon’s Graceland album in 1986 jolted attention in the press by him expressing his own sensibilities using sounds he’d fallen in love with while listening to South African artists like Ladysmith Black Mambazo and Savuka.

continent. But we also try to challenge the stereotypes associated with music from Africa. This project isn’t about connecting with one’s roots; it’s more about exploring African cosmopolitanism in this 21st century through music.”

Musicians from culturally heterogeneous arenas and spaces have been recording music with the support of the people since the advent of sound recording and international air travel. This has birthed a stylistic mix and merry potion that involves visiting musicians and other countries in all the production. With the commercialisation of music through communication technology, sharing online and bounteous social media, the fear of musical homogeny and annihilation of traditional musicmaking practices is rife. Now even more importantly is the desire to reclaim and savour ethnic music and in doing so, protect its very nature.

Crossover music has developed from this flurry of fragrant sounds and delicious tones. In mainstream music today, artists such as Shakira, Buena Vista Social Club and Lucinda Williams have stretched out to a much broader fan base. World music has been influenced by hip-hop and pop, even heavy metal. Music radio stations and webcasting music channels play crossover Bhangra and Latin American jazz to enthusiasts across the globe.

World music delights in the vehement ability to revel in music; to switch on and allow for it to flow onto you, into you and through you. It allows for this to be shared and cocreated by others: strangers at a festival or intimates right alongside you. World music takes the origins of notes, the nuances that may be indigenous, and serves it up as a banquet of aural indulgence. 

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ISSUE NO. 36

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Prestige has firmly established itself as Southern Africa’s premier luxury lifestyle magazine for billionaires, millionaires and those aspiring to this lifestyle. The magazine offers a mix of luxury elements that appeal to both men and women: rarity, craftsmanship, generosity, freedom, curiosity, tradition, intelligence, wit, aesthetics, and adventure. It incorporates the latest in the areas of boating, motoring and aviation; travel, health and wellness; style, trends and haute horology; people, personalities and superstars, design, art and antiques; collectibles, investments and property; research, business and technology. Working with a finely nuanced definition of luxury, “meaningful and successful lives beyond money, old or new,” Prestige is a magazine for those who engage with the world across various dimensions and in significant ways.

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F E AT U R E

Nuts& Bolts

of the Ivy League Application Process

For South African students applying to American universities, the process often seems overwhelming and the requirements obscure. But with a bit of information and initiative, they can successfully navigate the process with ease.

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merican seniors typically submit upwards of eight or so applications to different colleges, each with its own admission process, criteria and fee.

Some universities are highly selective - Harvard, for example, accepted just six percent of the more than 30,000 students who applied this year – while others admit nearly all of those who apply. The first step for applicants is therefore to identify colleges that are appropriate in terms of both academic offerings and selectivity.

Unlike local students, school leavers in the US do not take a single matriculation examination that determines their university options. In the absence of such a single examination result, admission officers review each candidate’s entire high school performance.

Academic performance is the most important consideration and colleges pay close attention to yearly marks but also to the rigour and extent of a candidate’s curriculum. Students who take challenging courses and exhibit versatility and breadth generally fare better in the process than students who chose easier paths through school or exhibit strength in narrow fields.

Admission officers also consider applicants’ performance on standardised tests like the SAT (Scholastic Aptitude Test), which is administered by an independent College Board. SAT scores are often criticised for having limited predictive value of college performance, as well as for their alleged cultural and class bias, but many colleges value them as one of the few common measures of academic preparation in a society of breathtaking social, geographical and economic diversity.

In addition to such objective criteria as marks and test scores, admission officers rely on more subjective measures. For foreign applicants, this is probably the most perplexing part of the process. Most colleges require students to submit letters of recommendation from teachers and counsellors. Application forms also include ample space for

descriptions of extracurricular achievements (sports, drama, school newspaper and such), leadership experience (like serving as a prefect) and community service work. Such sources offer admissions officers a holistic view of candidates, of their individual gifts, interests and characters.

Recognising that students are more than the sum of their activities and achievements, US colleges offer applicants an opportunity to tell their own stories. Virtually all colleges require at least a personal statement, while selective colleges typically require several essays of different lengths. Some schools specify essay topics, while others allow candidates to select their own. At selective schools, in particular, personal essays are crucial to the evaluation process, offering admission officers further insight into each candidate’s strengths, as well as evidence of the likely fit between applicant and school.

South African students applying to US colleges are judged according to the same criteria as their American counterparts, including marks, recommendations, personal essays and SAT scores. (The College Board administers the SAT test in South Africa several times per year. See www.collegeboard.com for dates and test sites.) Students for whom English is not a mother tongue or language of instruction should also submit the TOEFL (Test of English as a Foreign Language), administered by the Educational Testing Service (see www.ets.org). Applicants are well advised to prepare for both the SAT and TOEFL – an abundance of free preparation materials can be found online.

Last but not least, students interested in studying in the US should inform themselves of the availability of financial aid. Many schools offer a variety of scholarships, loans and work-study opportunities.

Some forms of aid, including US government-funded loans, are available only to American citizens, but others may be available to foreign applicants. Often the most expensive

schools prove to have the most generous financial aid.

As all this suggests, the process of applying to a US college can be time consuming. But measured against the riches of a broad liberal arts education, it is time well spent.  Contact Andrea van Niekerk, College Goals: • Tel: +1 401 247 2629 • Email: andrea_van_niekerk@collegegoals.com • Visit: www.collegegoals.com

Application Timeline January to December • Take the SATs and TOEFL. • Identify appropriate colleges.

July to December • Register online for the Common Application (www.commonapp.org), used by most schools, and start preparing both personal statement and supplementary essays.

• Identify teachers to write letters of recommendation.

• Print out any necessary forms and instructions and complete or have completed in a timely fashion.

• Decide whether to make an early application at one school.

Deadlines vary but start around 1 November. Early admission rates can be higher and some schools do require a binding commitment (early decision).

• Deadlines for financial aid applications often match application deadlines.

January • Regular application deadlines vary but usually follow after 1 January.

March • Most students will be notified of decisions by late March and have a month in which to accept any offers of admission and to make a deposit.

May to August • Students choose roommates and courses and parents receive their first bill.

August to September • The start of the academic year, preceded by an orientation week for incoming freshmen.

Revolutionising Africa Come and experience the true meaning of ‘ubuntu’ Experience the true meaning of ‘ubuntu’ at Khanysani African Day Spa, where women wearing traditional dress will sing and dance while you enjoy your time at this African-inspired spa.

The all-African, all-female team, chosen from the local community, is trained and qualified to high Khanysani standards. In keeping with the spirit of ‘ubuntu’, Khanysani has made a difference in uplifting the local community through the transfer of skills and profit sharing.

We invite you to participate in this most fundamental value of sharing.

Neo Africa’s Concierge Division prides itself on being an industry leader in turnkey solutions for managing VIPs and groups seeking new and unconventional experiences.

For reservations please contact: Komla Natasen or Lebo Pandeka Tel: + 27 11 484 2833 E-mail: concierge@neoafrica.com

makingwaves

Kendell Geers at Goodman Gallery Cape

Rare Patek Philippe Exhibition in South Africa The GMT Watch & Jewellery Gallery in Nelson Mandela Square will host an exclusive Patek Philippe exhibition during the first two weeks of July 2010, offering a journey through the past and the present of watchmaking. The timepieces that will be exhibited embody some of Patek Philippe’s most beautiful creations. Also shown for the first time in South Africa will be the Ref. 5170J Manually Wound Men’s Chronograph, which was launched at the Basel Watch Fair earlier this year. Also on display, and something that Patek’s female clientele can look forward to, will be the Ladies First Chronograph, released for the first time outside of Patek Philippe’s Paris Boutique. One of the most coveted watch brands in the world, Patek Philippe timepieces have been handmade by skilled watch enthusiasts since 1839. Luxury watch connoisseurs acquire these watches as an investment and heirloom and proudly pass the timepieces from one generation to the next. Contact the store on +27 11 784 2595, or visit www.gmtafrica.com.

Third World Disorder is the title of acclaimed South African artist Kendell Geers’s new exhibition. In this exhibition, Geers is concerned with “negative space” and what he refers to as “that which lies outside or around the subject… the pause for breath and the indescribable unutterable thought on the tip of the tongue.” Geers attempts to address the role of the artist and his labour in an increasingly fractured world, and to resolve the tension between intention and desire, between thought and form.

Third World Disorder consists of a combination of installations and sculptural elements, a collection of stark objects focusing on notions of violence and the debris of a dysfunctional society. The works come together to form a landscape scarred by the effects of violence and littered with its remnants. A provocative figure in the South African art world since the 1990s, Geers is known for work that stakes out a radical position from which to take aim at both the art establishment and society in general, to interrogate our existing moral codes and suggest new approaches. The exhibition runs from 9 June until 10 July 2010.

Visit www.goodman-gallery.com for more.

Custom Line Yachts’ New Planing Line Flagship Launched

Custom Line, a Ferretti Group brand, is a leader in the semi-customised maxi yacht sector for yachts in composite material measuring between 26 and 37 metres, with either a planing or semi-displacement hull. This was the launch of the very first unit of the 124’ hull, which measures over 37 metres and which was built at the Ancona facility. Custom Line yachts have always stood out for the fact that the owner, assisted by an architect, can personalise all those parts of the yacht that are not purely structural, including the woods, leathers, fabrics, and onboard decoration and furnishings, as well as special aesthetic-functional features, such as larger side doors and windows. Ferretti Custom Line 124’ was designed by architect Gianni Zuccon from Studio Zuccon International Project, who dealt with both the internal and external layouts, working in association with the AYT, Advanced Yacht Technology, Ferretti Group’s naval research and design centre. The yacht can reach a top speed of 27 knots (preliminary data) with the largest MTU engine – 3,510hp – and offers the comfort guaranteed by the Mitsubishi Anti Rolling Gyro system, which reduces rolling by over 50 percent.

It can accommodate up to 10 guests plus six crew members. Visit www.customline-yacht.com for more.

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PRESTIGe

HISTORY ALWAYS LEAVES A TRACE.

RADIOMIR REGATTA ONE/EIGHTH SECOND Automatic mechanical movement OP XXI calibre. Split-seconds chronograph with two counters, one with hand rotating once per second in 1/8th second increments, calculation of boat speed (knots) based on nautical miles.

Brushed titanium case 47 mm Ă˜.

Titanium historic buckle.

www.panerai.com Toll Free: 0800 600 035

Available exclusively at Panerai boutiques and select authorized watch specialists.