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FA S H I O N | DESIGN | J EW E L L E RY | T R AV E L | BU S I N E S S | P RO PE RT Y Champagne polo • rolls-royCe dawn in sa • afriCan safaris bulgari’s serpent • lamborghini huraCan spyder • baselworld 2016 r49.00
issue 87 – 2/2016
AFRICA’S PREMIER LUXURY LIFESTYLE MAGAZINE
Vehicle specifications may vary for the South African market.
Thrill instructor. The new Mercedes-AMG GLE 63 CoupĂŠ S. Visit www.everyterrain.co.za
A Daimler Brand
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68. Upfront Ed’s Letter – Page 6
Inside
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Watch World – Breguet jewelled timepieces and the evolution of a Rolex icon at Baselworld 2016 – Page 8 Bejewelled Bulgari – “A Bulgari jewel is as recognizable as a Chanel suit.” said art historian Evelyne Schlumberger, Connaissance des Arts,1963 – Page 14 Home James – Smart technology goes into the realm of the home enabling remote access and control of your security, lighting, appliances and media – Page 18 Play it for Me - Bang & Olufsen has introduced yet another magnificent product in the baby brother B&O Play range – the B&O Play A6 – Page 20 Horsing around – Veuve Clicquot takes us on an experiential journey through the land of Polo Chic… – Page 28 Sweet Love – William Sweetlove, born in Ostend, Belgium, in 1949, unites Dadaism with surrealism and pop art in humoristic sculptures that at first sight may seem “kitschy” – Page 34 A League of their Own… – Vivien Natasen spends some time with Paolo Zegna, descendent and Chairman of the Emergenildo Zegna brand, on his recent trip to South Africa – Page 40
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Getting Away from it all Khaki Fever – Carly Bailey Natasen takes time out at The River Lodge – Thornybush Collection – Page 48 Into the Wilderness – Twice the size of the Kruger National Park and infinitely more wild, Niassa is real wilderness - replete with prolific wildlife and conservationists determined to keep this slice of old Africa intact – Page 54 Big Sky Country – Gillian McLaren takes to the wide vistas of the Camdeboo plains where the wildlife that once roamed in abundance is making a comeback – Page 60
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Food and Wine
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Getting Around
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Open Sea – FB801 M/Y VICA – 50 meters long – is the first Benetti vessel built using two different techniques: the hull is in fiberglass, while the superstructure is in aluminium – Page 88 Topless Beauty – There’s only one thing more jaw-dropping than a Lamborghini, and that’s a Lamborghini with no roof – Page 96 Breaking Dawn! – The global launch of the long awaited new drophead from the world’s most exclusive luxury brand happens in Cape Town. Vivien Natasen attends… – Page 102 G-reat Expectations! – Climbing the curbs of Sandton in the Mercedes Benz latest G-Class – Page 106
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Well, Is It Art? – The Champagne Maison of Ruinart has come to South Africa to celebrate our winemaking and contemporary art culture. Chris Buchanan spoke to Ruinart President, Frédéric Dufour – Page 68 Cool Cognac – Cognac is not traditionally seen as a happening drink atop the indulgences of nighclub patrons. Chris Buchanan chatted to Vincent Chappe of Bisquit Congnac about innovation in a traditional space – Page 74 The Whisky Glossary – All that stuff you probably should know but might have been too busy drinking the whisky to ask about. Patrick Leclezio’s compilation of basic whisky terms and references – Page 80 A diamond in the rough – Prospecting in rum. Patrick Leclezio tracks a spirituous revelation – Page 84
Final Say From the Publisher – Page 112
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eD's Publisher Vivien Natasen +27 11 484 2833
on the contrary
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t’s always of interest to hear changing attitudes, and none more so than those from the advertising world. Ad agencies are in the business of serving their clients, building their brands within progressive media and putting them in touch with relevant audiences. Ad agencies are the creative forces behind selling things and they’re paid hefty fees to serve the client’s brand, these days through traditional, online and social media. Well, one ad man, who has employed the conventions of the ad world for his clients for 22 years, has now gone rogue to tell the industry it’s all been smoke and mirrors. Bob Hoffman, founder and former CEO of ad firm Hoffman/Lewis out of San Francisco, gave a talk at the Shift 2016 ad conference in London earlier in the year entitled, Marketers are from Mars, Consumers are from New Jersey in which he identified three delusions of advertising and marketing and said, “all of these delusions have one thing in common: they take a little bit of truth and then they distort it and they exaggerate it and they torture it to the point at which it does our marketers more harm than good." The first delusion says Hoffman is that of the brand and while he agrees with the creation of strong brands being the marketer’s priority, he believes it's rubbish to think consumers are in love with brands, as is the delusion that people want brand experiences, brand relationships and conversations with your brand. Says Hoffman, "people have shaky jobs and unstable families, they have illnesses, they have debts, they have washing machines that don’t work, they have funny things growing on their backs, they have kids that are unhappy, they have a lot of things to care deeply about. It’s very unwise to believe that they care deeply about our batteries, our wet wipes and our chicken strips." The second delusion is that of the pedestal that digital is occupying. He says we presume digital has placed PRESTIGE: in the lap of luxury
everything that came before it as irrelevant. Hoffman says the expectation was that traditional marketing would be killed off by the digital revolution but by looking around, we see marketing and advertising everywhere, on every bus, every billboard, even leaflets, tickets and packaging. The expectations of clients in a digital environment are much higher because they expect every user to click on their inventory and we know that it’s not the case. "Marketers are pouring more and more money into online advertising. They don't know what they're buying, they don't know who they're buying it from. They don't know what they're getting, they don't know how much they're paying. If there's a better definition of being on Mars, I'd like to hear what it is," he said. The third delusion according to Hoffman is the age delusion. His point is that the advertising industry focusses all its attention on a younger generation when in fact it’s the over-50s who should be targeted. "You know all the awesome millennials we see in car ads? In the US, people aged 75 to dead buy six times as many new cars as people aged 16 to 24." He asked: "Do you really think it's a good idea to avoid these people?" According to Nielsen, over-50s are responsible for 50% of consumer spending, control 70% of US wealth but are targeted by only 10% of marketing activity. So while they are more discerning in the way they spend their money, they have far more disposable income than targeted audiences. As consumers we are fed the marketing and public relations line. We live in a hegemonic society and are told what to consume, what to read in the news and what to believe in. Like Hoffman, I think we need to step back and realise that, while change is upon us, it takes a long time to manifest into the norm and don’t be seduced by every payoff line that’s thrown at you.
CHRIS
Editor Chris Buchanan chris@prestigemag.co.za Layout and Art Direction Daniel Jonathan info@danieljonathan.co.za Advertising Sales Carly Bailey-Natasen carly@prestigemag.co.za Operations and Circulation Farhana Suder farhana.suder@neoafrica.com Digital Chris Buchanan chris@prestigemag.co.za Contributors Juan Miguel Beco, Keri Harvey, Patrick Leclezio, Gillian McLaren Printing Paarl Media Subscriptions: To subscribe please go to www. prestigemag.co.za click on the Subscribe tab and submit the form. An invoice with banking details will be sent to you. Your first issue of Prestige will be despatched as soon as payment is made. Costs: 6 Issues = R350 per annum excl VAT, other countries are subject to a postage surcharge and will be calculated accordingly. PUBLISHED BY Neo Publishing (Pty) Ltd Tel +27 11 484 2833. Fax +27 11 484 2899 All rights reserved. Opinions expressed in this publication are not necessarily those of the publisher or any of its clients. Information has been included in good faith and is believed to be correct at the time of going to print. 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. All copyright for material apearing in this magazine belongs to Neo Publishing and/or the individual contributors. © 2014
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watch world with BASELWORLD 2016 recently concluded we look at the highlights of BREGUET and
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ROLEx at the exhibition.
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BREGUET PERLES IMPÉRIALES HIGH JEWELLERY
BREGUET PERLES IMPÉRIALES, HIGH JEWELLERY SET
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In order to offer women the possibility of wearing their Perles Impériales with matching jewellery, Breguet’s master-jewellers have created a jewellery set echoing the Empress Josephine theme. This High Jewellery ensemble composed of a ring and a pair of earrings is designed around a remarkable sized pearl surrounded by brilliant-cut diamonds of varying diameters. The gemsetting technique magnifies the radiance of the diamonds and highlights a longstanding jewellery tradition in a distinctively contemporary manner. A double prong setting supports each stone, ending in a subtly suggested heart shape on top. The Perles Impériales ring is set with approximately 1.88 carats of diamonds, while the pair of earrings is adorned with around 3.28 carats of diamonds.
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Right from its origins, Breguet has consistently appealed to women through its creations mingling jewellery sophistication and mechanical prowess. In creating precious gemset timepieces, Breguet watchmakers and master-jewellers draw inspiration from the prestigious women whose names have historically graced its order books. This year, Breguet is paying homage to the Empress Josephine, first wife of Napoleon Bonaparte, by unveiling a model entirely dedicated to her: the Perles Impériales Haute Joaillerie watch. Josephine was a passionate art lover and a fervent admirer of Breguet’s work, who contributed to enriching the large collection of Breguet watches owned by the Bonaparte family. In 1800, she notably acquired a small tact watch, no. 611, recognisable by its blue enamel case and the diamonds adorning its caseband. The model presented this year in the High Jewellery collection is inspired by this unique model and recalls the jewellery sets and other adornments worn by the Empress. Brilliant-cut diamonds finely set around the rim of the bezel accentuate the oval shape of the case typifying the brand’s ladies’ collections. Breguet has taken aesthetic refinement to extremes by incorporating an additional row of diamonds beneath the prongs, held in place by the delicately crafted gold wires of the chaton settings. The overall effect is further enhanced by a strikingly large pearl replacing the famous ball-type lug at 6 o’clock, the distinctive signature of High Jewellery and Reine de Naples models. A flange set with brilliant-cut diamonds, along with four diamond markers – at 3, 6, 9 and 12 o’clock – contribute to the radiance of this creation, adorned with almost six carats of diamonds. The Perles Impériales model is available in two versions, the first with a white gold case and a natural white mother-of-pearl dial adorned with a supremely fine engine-turned motif reminiscent of dainty embroidery work. It is set at 6 o’clock with an Akoya pearl. The second variation comes in a rose gold case set with a Tahitian pearl, framing an engineturned Tahitian mother-of-pearl dial. Like all Breguet timepieces, these creations house a mechanical movement endowed with the brand’s latest innovations in the field of fine watchmaking. A sapphire crystal caseback provides a chance to admire the entire set of components, including a silicon balance-spring, as well as the meticulous engine-turning on the oscillating weight, reflecting the dial motif.
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BREGUET CLASSIQUE HORA MUNDI 5727 The Classique Hora Mundi by Breguet is the first mechanical timepiece with an instant-jump time-zone display system with synchronised date, day/ night and city indications. At the time of its launch in 2011, this model caused an immediate media sensation. The international watch magazine Revolution named it watch of the year in the “Technical Achievement” category. In Switzerland, the Classique Hora Mundi won the public prize voted by the readership of The Watches PRESTIGE: in the lap of luxury
Magazine. In China, it earned the admiration of the Robb Report, which awarded it the prestigious “Best of the Best” title. Breguet is now introducing a new interpretation of this timepiece: the Classique Hora Mundi 5727. In place of a depiction of the globe, the dial of this 2016 edition features a “clou de Paris” hobnailing motif entirely handcrafted on a silvered gold dial. The 24-hour indicator located between 3 and 4 o’clock has been adorned with two different types of engine-turning. Its upper part is enhanced with a flame pattern and bears the Breguet
inscription, while a cross weave motif graces the lower section stamped with the watch’s serial number. The hours and minutes are displayed by means of the Breguet open-tipped hands, which sweep around a chapter ring bearing Roman numerals transferred on a circular satin-brushed surface. The Classique Hora Mundi with its single set of hours and minutes hands and no subdial is unlike other GMT or dual-time watches. Its single pair of hands is linked to a mechanical memory located beneath the dial and capable of keeping track of the time in two time zones. It is thus possible to adjust the time both in one’s place of residence and in another place in the world, and to display one or the other on demand. Four patent applications were filed when it was designed. The first was for a timepiece comprising a mechanism with two time zones; the second covered the display of a time zone on demand via the main set of hands; the third was for a programmable and reprogrammable mechanical memory wheel for a timepiece; and the last for a mechanism for displaying a temporal dimension by means of a dragging hand. In terms of its exterior, this watch measuring 43 mm in diameter and 12.6 mm thick – compared with 13.55 mm for the 2011 version of the Classique Hora Mundi – is available in 18-carat rose or white gold versions. It is fitted with a sapphire crystal caseback and features a number of sophisticated touches such as a slim rounded bezel, a caseband with finely fluted sides, as well as added welded strap lugs.
BREGUET TRADITION DAME 7038
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Breguet’s Tradition collection welcomes a new self-winding Tradition Dame 7038 model. Women with a penchant for prestigious watchmaking and keen on acquiring an iconic timepiece will be impressed by this elegant and technical Tradition watch featuring an ultramodern, graphic structure exhibiting almost all the movement components on either side of the mainplate. It features a central barrel, a subdial at 12 o’clock bearing hands directly driven by the barrel, as well as a balance-wheel and intermediate wheels forming an arc stretching from 4 to 8 o’clock. The bridge bearing the escapement is reinforced by a hand-chamfered pare-chute – a Breguet invention that serves to protect the balance-staff from shocks. In terms of its display, the Tradition Dame 7038 shows the hours and minutes on a Tahitian mother-of-pearl dial. These indications are complemented by the retrograde seconds engraved on the movement face at 10 o’clock. Brilliant-cut diamonds set on the bezel and a watch movement jewel placed on the crown further contribute to the character of this Tradition Dame 7038.
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lifestyle
ROLEX COSMOGRAPH DAYTONA WITH A CERACHROM BEZEL The new version of the Oyster Perpetual Cosmograph Daytona in 904L steel is equipped with a monobloc Cerachrom bezel, developed and patented by Rolex, in black ceramic. A blend of hightechnology and sleek aesthetics, this evolution pays tribute to the heritage of the legendary chronograph. The black bezel is reminiscent of the 1965 model that was fitted with a black Plexiglas bezel insert, while the high-tech ceramic ensures extreme durability and provides an exceptionally legible tachymetric scale.
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“a bulgari jewel is as recognizable as a chanel suit.� said art historian evelyne schlumberger, connaissance des arts, 1963.
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ulgari jewels are immediately recognisable for their powerful opulence, rich colours and sense of volume. Bulgari design began to evolve on the kaleidoscope of colour by experimenting with bold gemstone combinations. Further design innovation for the Italian jeweller included exploring non-traditional volumes and shapes in jewelry making that resulted in designs that stunned as much as they attracted new clients.
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Harmony of Colors Given that since its beginning Bulgari favoured the use of coloured stones over diamonds, it is not surprising that one the Italian jeweller’s greatest achievements lies in successfully overturning the longstanding traditional hierarchy of gemstones in high jewellry. For decades the triad – ruby, emerald and sapphire – had been used exclusively in combination with diamonds. This conventional approach resulted inevitably in a rather predictable and limited ranges of colour combination where the vibrant red, green, blue were offset only by white diamonds. In order to overcome this monotony, Bulgari especially from the mid1960s on, began to revolutionise jewellery design. Initially it started combining rubies, sapphires, emeralds not only with diamonds, but also among themselves in bold combinations of colours such as red, green, white (ruby, emeralds, diamonds) or red, blue, white (ruby, sapphire, diamonds). Gradually, however, Bulgari began combining rubies, emeralds and sapphires with less precious but equally beautiful gemstones, such as amethysts, citrines, tourmalines, coral, pearls and garnets. This led to wider range of colours,
it is the harmony of colors rather than the intrinsic value of the gems that is at the core of all Bulgari creations.
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including new and underutilised shades of violets, pinks, deep reds, greens and yellows. The result has been an almost endless choice of chromatic combinations ranging from bold juxtapositions of primary colors to more subtle combinations of graduated hues. Bulgari often tends to combine in the high jewellery collections the finest and rarest gemstones with stones of relatively low intrinsic value, which are selected only for their appealing colors. It is not unusual to find in these creations relatively inexpensive amethysts combined with the finest emeralds, or pale sapphires and the PRESTIGE: in the lap of luxury
rarest Burmese rubies. The inherent beauty of the jewel is conceived as a work of art.
Cabochon cut: In a Bulgari Jewel, the cut of a given stone is of prime importance. Particularly renowned for setting large gem-quality colored stonesrubies, sapphire and emeralds, Bulgari tends to fashion them “en cabochon”, simply mounted in claws or collets and enhanced by only a few diamonds to add sparkle to the richness and intensity of their colour. Traditionally the cabochon cut, which
With the use of yellow gold and forms derived from Greco-Roman classicism, the Italian Renaissance and 19th Century Roman goldsmiths, Bulgari began to unleash distinctive creativity that characterises the House today. The spirit of Italian-style jewels emerged from a distinctive look designated as “casual formality.” The inherent contradiction describes the spirit of Italian-style jewels, as colorful, bold, and rounded, with an unusual mix of gemstones, and the warm tones of yellow gold are preferred to the cool white metals such as platinum. This new style, which eventually became known as the “Italian School of Jewelry Design,” became the hallmark of Bulgari throughout the 1970s, the 1980s and beyond.
The Serpent The first snake jewels in the Bulgari archives emerged in the 1940s. The overt reference to the Bulgari tradition that lies at the heart of the Serpenti collection testifies to the brand’s respect for its own heritage and the inspiration it has always drawn from mythology and history. Numerous ancient civilisations believed that the snake’s continuous shedding of its skin was a symbol of fertility, regeneration, resurrection and immortality. The serpent is a creature whose unique characteristics have long fascinated the human imagination, and figures prominently in the myths and folkloric traditions of virtually every culture in the world.
Italian recognisable style Europe drives cars designed by Italians, buys Italian furniture, walks in Italian shoes, buys Italian Jewellery… Up until the 1960s, fashion and jewellery design were dictated by Paris. Bulgari, who had followed French design and the Parisian way of conceiving jewelry, started to forge a new and distinct style by introducing products reflecting Italian taste.
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consists of polishing rather than faceting the gem enabled lapidaries to exploit the colour of the stone while limiting the display of flaws and inclusions. Bulgari was among the first jewellers in the second half of 20th century to maximise the potential of the cabochon cut, applying it as never before to gems with outstanding clarity. The use of fine and rare gems cut en cabochon has since been Bulgari’s trademark.
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the advent of smart technology has created a realm of remote access to our everyday lives from banking, to fitness monitoring and watching aeroplanes take off and land in real time. it has also enabled us to remotely monitor any aspect of the home. CHRIS BUCHAnAn spoke to nICK CARIPIS, founder and managing director of bnc technology. PRESTIGE: in the lap of luxury
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O WHAT EXTENT CAN SYSTEMS IN THE HOME BE CONTROLLED BY AUTOMATION? BNC Technology is a mother board above the home automation market. We take our integration seriously, and our clients personally. No imagination is too broad to prevent us from delivering on objective and excellence. Our lifestyle designers and engineers transform imagination into seamless realities, with a click of a switch. HOW HAS AUTOMATION CHANGED IN THE LAST 5-10 YEARS? Unless you’ve been living under a rock for the past few years, you’ve seen the overwhelming response to a growing demand for smart wearable devices. The full blending of smarts between the Control4 home and the Apple Watch is now fully available. Status and control of your home just got more personal.
Some of the key features include: t "DUJPOT 4JOHMF CVUUPO DPOUSPM PG ZPVS most popular and used shortcuts and scenes to set a mood or make a quick change. t .FEJB 4FF XIBU BVEJP PS WJEFP JT playing in each room in your house and change volume, add additional rooms, or turn things off. t 5IFSNPTUBUT 4FF BMM UIFSNPTUBUT JO your home, adjust the temperature and apply pre-sets. t -JHIUJOH $POUSPM JOEJWJEVBM MJHIUT JO BOZ room of your house or activate lighting scenes that control many lights at the same time. t 4FDVSJUZ $IFDL TUBUVT PG MPDLT VOMPDL or lock doors, and open or close garage doors. t -PDBM PS 3FNPUF $POUSPM ZPVS IPNF from the comfort of your couch, or use your watch when you're away at work or traveling. WHAT ARE THE LEADING PROTOCOLS (SYSTEMS) FOR HOME AUTOMATION? There are a wide variety of technology
platforms, or protocols, on which a smart home can be built. Each one is, essentially, its own language. Each language speaks to the various connected devices and instructs them to perform a function. The automation protocol transport has involved direct wire connectivity, powerline (PLC), powerline (PLC) and wireless hybrid and wireless. ZigBee PRO and ZigBee Remote Control (RF4CE), among other available ZigBee profiles, are based on the IEEE802.15.4 protocol, which is an industry-standard wireless networking technology operating at 2.4 GHz targeting applications that require relatively infrequent data exchanges at low data-rates over a restricted area and within a 100m range such as in a home or building.
expanded system. Each new Control4 Operating System release is more featurerich than the one before, with support for controlling more devices in more ways, all while maintaining the legendary Control4 dependability and ease of use. APART FROM SECURITY, WHAT ARE THE MOST POPULAR AREAS IN THE HOME THAT CUSTOMERS TEND TO AUTOMATE? The lighting is by far the most popular. With a great lighting designer, they'll give you some very cool feature lighting allowing you to play with those features
through the automation systems. Control4 Wireless Lighting meets the needs of most residential and commercial projects worldwide and addresses the evolutionary adoption of LED technologies. The sophisticated design appeals to home/ business owners as well as architects, interior designers, and lighting designers. Offering unmatched configurability and personalisation, Control4 Wireless Lighting delivers multi-colour status LEDs and backlit engraved buttons capable of being set to any preferred colour as well as changing instantly to indicate the status of the house/building.
IS EACH INSTALLATION CUSTOMISED OR ARE THERE STANDARD SYSTEMS TO CHOOSE FROM? We specialise in the more customised solutions. With BNC Technology, you are able to manifest your every virtual whim into a functional, designed reality. No hassle, no manual, no missing pieces – just pure, simplified, modern living, your way. Imagine a reality of ask and receive. Imagine a lifestyle of ambience on demand; where you get to pick and press your moments, anytime, anywhere; where sanctuary and playground are a mere button click apart, and exclusivity delivers to your front door. This is a space that exists for the discerning and the respected. For the best of men, and the best of women; where luxury and convenience, is more than an achievement, it’s an expectation.
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HOW QUICKLY DOES THE TECHNOLOGY GO OUT OF DATE AND CAN UPGRADES TO TECHNOLOGY BE EASILY DONE? When our design team sits down to plan your start home, we ensure the architecture of the system can last 10-15 years. The quality, capacity, and sheer number of electronic devices in your home grows as well, so your home automation system needs to grow along with it. The size of your family and your social circle may likewise have undergone some changes, so your Control4 system needs to adapt. Besides, your Control4 system is fun to use and fun to admit it and show off. And once you get a taste, you’ll want to automate even more of your surroundings. Because if there’s anything more fun than showing off your system, it’s showing off an upgraded and
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pla y it for me
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bang & olufsen has introduced yet another magnificent product in the baby brother b&o play range – the b&o play a6. CARLY BAILEY nATASEn found a device that epitomises everything the brand stands for.
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ince B&O is famous for their innovation I am always excited to see what they come up with next. And for a lady, that doesn’t always mean how many decibels or too much technical detail. It boils down to the best sound, user friendliness, and of course design and practicality. The A6 is specifically designed to suite a modern lifestyle. It is very practical in the sense that it is flexible and small enough to move wherever you need it in the house - even though it boasts of five powerful speaker units inside this small device. The unique shape and angle also keep the powerful sound that allows the music to travel throughout a room and gives you a detailed sound experience no matter where you stand. B&O makes life much easier by bringing all the sound and technology under one umbrella. It allows you to connect to your other B&O devices, which enables you to play different music in different rooms in the house.
The A6 easily connects to almost all streaming devices and allows you to connect through AirPlay, DLNA or Bluetooth 4.0 and streaming services like Spotify, Deezer and Internet radio TuneIn. The innovative interface makes it very user friendly, by simply touching or swiping, you can control this device easily. Or you can merely use your mobile device. But the former makes for a better party trick, since you simply just wave your hand around without even touching the module. Fitting into your living space as an aesthetically pleasing piece of art work has always been one of B&O’s characteristics. The A6 comes in four exciting colours that will blend in stylishly in any interior: Light Grey, Dusty Blue, Dark Rose and Dark Grey. B&O did a unique cover collaboration with Kvadrat, one of Europe’s leading manufacturers of design textiles, and the unit was designed by awardwinning Danish designer Jakob Wagner.
www.beoplay.com/a6
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McLaren 540C Coupe
McLaren 650S Coupe
Price
R3 750 000
Balloon Payment
50%
Price
R5 500 000
Balloon Payment
50%
Deposit
50%
Monthly Instalment
R19 999
Deposit
50%
Monthly Instalment
R29 500
Total Cost to Customer
R4 470 021
*Fixed Interest Rate 12.75%
Total Cost to Customer
R6 562 021
*Fixed Interest Rate 12.75% Term
37 months
Term
37 months
BOOK A TEST DRIVE TODAY McLaren Johannesburg
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T: +27 21 425 2007 www.capetown.mclaren.com
Edge offers available through Alphera Financial Services a division of BMW Financial Services (South Africa) (Pty) Ltd, an Authorised Financial Services and Registered Credit Provider NCRCP2341. Total cost includes initiation and monthly service fees (R57 p/m) and excludes license and registration. Residual applies subject to deal structure. Offer valid until 30 June 2016 and subject to stock availability. Instalment may vary if price differs from the example displayed in this advert. Model shown with optional extras not included in pricing. Terms & conditions apply. Offer available with fixed or linked interest rates. *Advertised instalment is based on the prime lending rate of 10.25%, should the rate change during the period of the offer it will have an impact on the monthly instalment. For more information visit www.alphera.co.za
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business
confident
success what powers that person who walks into a room and just exudes buckets full of confidence? chris buchanan spoke to DR JOHn DEMARTInI about true confidence within and
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where it comes from.
D
r Demartini immediately excuses himself for repetition but equates confidence with the hierarchy of values a person possesses. “Each person has a set of priorities and a set of values, and when they set goals or intentions that are aligned and congruent with the top values, because they’re inspired from within, because they’ll embrace pain and pleasure in pursuit of it, they’ll increase the probability of achievement.” This he says fosters confidence because they do what they say they’ll do and get things done. It seems achievement is a prime source of confidence. PRESTIGE: in the lap of luxury
A client of Dr Demartini asked him to provide insight into his lack of confidence in the workplace and the first question asked was, “what are your areas of priority?” His reply was his family took priority and he was happy to tread water in his work to give his family that attention. The answer lay in the balance and placing his work higher up on his set of values which would increase his achievement and inspire confidence. The key to confidence says Dr Demartini is consistency. He says it takes small steps toward your goals and incrementally building momentum which gains confidence. His illustration was a workshop in which you first learned to draw a geometric shape like a circle. Once you had mastered the circle move on to a square, triangle and
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rectangle. Then combine the shapes into complex geometrical combinations, one step at a time. At the end of the workshop there was increased confidence in being able to master the drawing of the geometrical designs by learning incrementally. Let’s go back to the fellow who walks into a room and exudes all the confidence and charm in the world and immediately garners the envy of his peers. Let’s face it, Al Capone personified confidence as did Lolly Jackson and Radovan Krejcir but their confidence shed a veil over their crookedness and shady dealings. Dr Demartini calls it ‘cocky vs confident’. “Cocky is an exaggeration of yourself, a puffing up of yourself where you’re autocratic and authoritative over people and playing the dominant role. Somebody who’s confident doesn’t need to do that, they’re poised and centred and purposeful.” The five Ps: purposeful, patient, prioritised, productive and present. Then there’s the question of anxiety within a confident person, caused by the lack of a particular skill. An example is of a CEO who may lack confidence in public speaking so his communication to shareholders at results presentations might leave a lot to be desired. Dr Demartini cites Richard Branson who runs an empire but whose communication skills are far removed from his management skills. “Richard is not confident on stage talking. He’s confident in answering questions, he’s confident in getting the job done through people, he’s confident in marketing but he’s awkward up on stage and that doesn’t stop him from reaching his goals.” He believes that getting the job done and being confident does not equate to being boisterous, brash and loud. And then, inevitably, the conversation turns to Donald Trump whose confidence can be interpreted in many ways. Dr Demartini says he’s seen Trump being cocky and being confident through a few direct dealings with the man. “I’ve seen him when he’s calm and poised and very present. I’ve seen him when he’s really humble
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cocky is an exaggeration of yourself, a puffing up of yourself where you’re autocratic and authoritative over people and playing the dominant role. and quiet, and with his kids where he’s a family man. You need to have enough healthy narcissism to believe you’re worth something to be a leader. You’ve got to believe you have something to say, more so than anybody else. But if you get cocky then the tall poppy syndrome sets in and the cockiness gets attacked, confidence is respected. Donald goes oscillating between confidence and cockiness.” Ultimately when there’s an area in your life which you feel lacks confidence you have choices, says Dr Dematini and those choices are raising the value or practising it and developing it, or you can just delegate it and put people in place in the areas
in which you’re not strong. Branson’s book made the point by saying I don’t try to be great at all things, I’m just great at what I’m great at, and the rest I get people around me who are great at what they do – confidence in getting those people around you. Brand affiliation works in the same way to communicate success by creating a perception that if you drive a premium brand car, wear the watches and clothing and have an education from an Ivy League college you’re successful. The brands inspire confidence in the person and contribute to success. And then there’s the scenario where confidence is lost either through
factors beyond control or by a string of bad decisions. Dr Demartrini says loss of confidence always has a source and something has happened in your perception or you actions. He says you need to identify that source and deal with the reason confidence was lost and rebuild it in the same incremental way. It’s true to say that successful people have more confidence than Mr Average but that confidence is built through knuckling down and working on your priorities, it doesn’t just happen by nature. Just pay attention to the cocky guy who walks into a room and shows no sign of the three Ps, because the confidence you perceive is built on a foundation of unhealthy narcissism and the nature of a playground bully. Dr. John Demartini is a human behaviour specialist, educator, author and the founder of the Demartini Institute.
www.drdemartini.com
w w w.aegirper formanceyachts.co.za | info@aegirper formanceyachts.co.za frederic@neoaegir.co.za +27 (0)21 554 1743 | john: 072 683 2660 | frederic: 072 244 1982 Head oďŹƒce: Cape Town – South Africa | Service points: France & Italy
Authorised Dealer
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horsing around… veuve clicquot takes VIVIEn
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nATASEn on an experiential journey through the land of polo chic…
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A
s a business leader, when it comes to marketing, I am always cautious of the promises of marketers when they pitch events to me to sponsor. The old paradigms of Return on Investment (ROI) being measured by how many people see my brand (exposure) is meaningless to me unless it shows that there is a meaningful impact of the initiative on revenue. That being said, my business does not sell widgets, so any activation is aimed at critical decision makers and for them to be aware of our brand and what services we perform.
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With Prestige Magazine, the decision on sponsorship is for awareness by an appropriate reader base thereby attracting advertisers seeking to interact with a reader of a certain profile and demographic i.e. target audience. So when I look at such events, I am always keen to understand the nature of the activation, who the sponsors are and try to establish if the sponsors truly realise their ROI. Veuve Clicquot is a prime example of a premium luxury brand who seem to be doing their homework.
As the main sponsor of the Veuve Clicquot Polo series held in Cape Town, the brand association with polo as a sport, attracting an upmarket audience, whilst still focused on development of previously disadvantaged people in the sport, was carried through seamlessly and appeared to tick the right boxes. Judging by the high-end sports cars, branded clothing, and jewellery and watches of the spectators, pretty much the who’s who of South Africa makes an effort to attend. Bringing a premium champagne as a partner,
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lifts this a notch or two. As a frequent bubbly drinker consuming a few dozen bottles a year (not on my own) at events, I have a preference for the Veuve Clicquot brand, as it really does suit my palate. So seeing a venue splashed in their visual identity to me adds significantly to the occasion, and we got to see some polo too. Ferrari, one of my other favourite brands had also come on board as a partner, entertaining clients as well as performing some test drives definitely added some spice to the day. Veuve Clicquot also used this opportunity to formally launch its Rich range at a restaurant in Camps Bay just preceding the weekend. The Rich is designed for mixology and can be
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integrated into cocktails, including ice without damaging flavour or the bubbles. I was intrigued by the research and development that had to be done to ensure that the bubbles to not fade off or the integration of other ingredients with bubbly do not affect the composition. As a cocktail fan, this makes total sense to me. Even by incorporating basic ingredients such as cucumber, peppers or pineapple with nothing else, the infusion of each flavour changes the taste profile significantly of the champagne. Worth a try.
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Judging by the high-end sports cars, branded clothing, and jewellery and watches of the spectators, pretty much the who’s who of South Africa makes an effort to attend.
The activation strategy for Rich is that this particular range will only be available in selected restaurants and clubs for a period and only available at retail outlets at a much later stage. Can’t wait to add it to my home collection and to experiment with some of my own cocktails!
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art
sweet
william vaessen, former acclaimed belgian singer and discoverer of famous belgian groups like maiden group k3 and others, is the driving force behind a high end art venture in cape town.
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he first realisation of his “Cape Town Art Agency” is to bring the iconic Belgian artist, William Sweetlove to the Cape Town Waterfront, one of the coolest installations ever in South Africa. As a long-time friend of William Sweetlove, John Makelberge prides himself to be one of the few people in South Africa to have some of William Sweetlove’s work in his private collection. William Sweetlove, born in Ostend, Belgium, in 1949, unites Dadaism with surrealism and pop art in humoristic sculptures that at first sight may seem “kitschy”. However closer familiarity with his work reveals their role as a creative antidote to the overproduction and overconsumption of our society. William Sweetlove has had exhibitions at art fairs, galleries and museums all over the world. His works are found in several private art collections, with some of his work in Cape Town collections.
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William has always been interested in fossils, which he defines as the residues of history. The problem these days is that fossils don’t have to be conserved anymore: everyone conserves what they consider important and this includes thinking what William calls “Fossil Thinking”. William makes sculptures in plastic, resin, and polyurethane: all of these synthetic products made of petroleum, itself a natural, organic fossil. All these products are here for eternity as fossils, nothing can destroy them. In the past, the human race simply burned them causing pollution and much more. William’s vision is that we must recycle them and invest in technology to do so. We will need them in the future. When we no longer have petroleum, we won’t have any more synthetics.
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time to evolve and so they die out. If temperatures in the African continent were to rise by five degrees Celsius, elephants would die out, so he is cloning them to smaller versions. Soon there will be too much sea water and not enough drinking water, so he puts boots on his dogs, gives water bottles
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And if climate change continues, the problems will just get worse. As an artist, William Sweetlove tries to find solutions. Darwin taught us that creatures must adapt to their changing environment in order to survive and today, the pace of change is so rapid that organisms do not have
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to the penguins and puts back-packs on cloned frogs to give them some support. The best way to keep the audience awake is not to preach but to turn the seats around. “Standing out� is the message. This is why William Sweetlove uses mainly primary colours: red, yellow and blue. Sometimes he uses colours between but the primary colours stand out the most (a brown beast in a green environment would have limited visual impact).
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Climate change is the basis of William Sweetlove’s research. He has always been inspired by the concept of art not busy with aesthetic, but where social, political and ecological issues are involved. Not being a “green” individual and politics leaving him cold, he wants to leave a message behind in the world without polluting her.
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a league of their own…
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VIVIEn nATASEn spends
30 minutes with PAOLO ZEGnA
I
got to spend some time with Paolo Zegna, descendent and Chairman of the Emergenildo Zegna brand, on his recent trip to South Africa, coinciding with the formal launch of their store in Johannesburg. Given my penchant for restructuring businesses (my career when I am not a journalist), I chose to angle my interview around understanding the strategy of the brand along with gaining insight into the DNA of the family owned business as a global operation.
Not many brands are so conscious of ensuring the sustainability of their product through sifting through all aspects of their value chain in the way Emergenildo Zegna are. The familyrun dynasty takes personal ownership, and yes, that’s rare nowadays, of examining all their input materials, as well as ensuring the sustainability and quality of the materials. Given the nature of their business, in a world of industrialisation, computerisation and seeking out cheapest source of materials, the Emergenildo Zegna brand has been swimming upstream,
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to maintain a balance between labour, modernisation and innovation. I hope I don’t sound too much like this is an advertorial, however, as a business owner and a bit of an innovator myself, I was genuinely impressed, by both the factory visit (covered in a previous issue) and by the sincerity and compassion experienced first-hand with one of the business owners. Emergenildo Zegna has also invested heavily on the upliftment of their farmers who are extremely conscious of material quality. Poor materials increase the rate of failures in the production process which significantly contribute to inefficiency and cost. As such it is in their interests to ensure the highest quality of material in the process. Not many brands produce their own fabrics in house, so the fact that Emergenildo Zegna have opted to do this, places them in control of the whole value chain, creating a seamless end-to-end incorporating fabric design, clothing design and production. They also produce fabrics for a few other brands, such as Tom Ford, though in limited amounts as the focus is their own labels and production.
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The investment into South Africa has not gone unnoticed. Mohair as an input material in production, is of strategic importance to Zegna, as such the prestigious Mohair Trophy was implemented several decades ago to recognise the highest quality of materials produced by farmers. This is not just a ceremonial process, we were taken through the rigorous and comprehensive set of tests applied to each farmers’ product to determine quite scientifically, who produced the best stock in a season.
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The Mohair Trophy Gala Dinner coincided with the formal launch of the local store at Sandton City’s famed Diamond Walk, where all major brands appear to be jostling each other for presence and location. The wellstocked store reflects the significant investment that Emergenildo Zegna and their local partners have made in the country, with plans to open a few more stores in strategic locations.
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I hope I don’t sound too much like this is an advertorial, however, as a business owner and a bit of an innovator myself, I was genuinely impressed
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Wealthy South Africans have become accustomed to travelling abroad to lay their hands on the newest ranges of stock of global luxury brands. This though is rapidly changing as many premium luxury brands have recognised the strategic importance of South Africa as the gateway to Africa. The Emergenildo Zegna brand is no different in this regard. The range of clothing and accessories available at the store is as recent, vibrant and fresh as their stock in any of their global stores – now in the region of 200 world-wide. Emergenildo Zegna has quickly become one of my new favourite brands, not just because of their clothing, but because of what sincerity, compassion and innovation that goes into it!
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ZEGNA.COM
SANDTON CITY Diamond Walk Boutique U22 ●
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Khaki fever
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CARLY BAILEY nATASEn takes time out at the river lodge – thornybush collection
P
rivate reserves like Thornybush are particularly renowned for the abundance of wildlife and close-up sightseeing of all game. In a limited time of three days we were able to view all of the Big 5 game, which is unusual for most National Parks, and, had the opportunity to spot the ever elusive leopard, twice. They say, “You are either a game drive person or you are not”. This statement needs to be contextualised though in that, if you grew up in South Africa, the chances are that your parents “dragged” you off to the Kruger National Park on school holidays. The traditional modus operandi is that you would wake up at 5 o’clock in the morning with a flask of coffee and start searching for the lions, before it gets too hot for them and they stay hidden in the shade, making them more difficult to spot. This whole affair can be quite torturous for a young child, since you could possibly drive the whole day with a high probability that you would only see a few zebra. You can go a whole trip without even seeing any of the Big 5 i.e. elephant, buffalo, lion, leopard and rhino for those not aware of the colloquial reference. w w w. p r e st i g e m ag .c o. z a
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Animals in this area are not used to being hunted, as they are acclimatised to human visitors and are very comfortable to come straight up to the vehicle. Game drives are conducted in a specially adapted 4x4 open game drive vehicles to present guests with the best possible vantage point on the drives. The experienced game driver and expert local tracker shared their extensive knowledge throughout the journey, which made me appreciate the smaller creatures, not only the Big 5, yes, even the zebras, to add colour to the safari experience. They even pointed out a small black mamba in a hollow tree trunk, something I would’ve never noticed with my inexperienced eye. The watering holes also attract plenty of animals that frequently use this as bathing spots and it’s quite a treat to see hippos lazing away or buffalos rolling around in the mud.
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The camps are also not enclosed, so it’s very normal to see the elephants coming to the lodge’s swimming pool to rehydrate. Thornybush Riverside Lodge is a combination of an authentic Kruger Park experience with all the luxury of a 5-star lodge. Skipping a day of game drives is no problem at all, since a day to simply relax at the lodge or villa is very peaceful and feels like you are right in the middle of the bush. You can enjoy a seamless journey, which can be customised to your time and preferred schedule.
And what would a bush experience be without an outdoor shower to wash off the african soil.
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With only four villas, including the superb two bedroom Royal Suite, the lavish accommodation is limited to eight guests. These villas are very exclusive with their own plunge pool and viewing deck, discreetly positioned to ensure a personalised and private experience. And what would a bush experience be without an outdoor shower to wash off the African soil.
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In a limited time of three days we were able to view all of the Big 5 game, which is unusual for most national parks, and, had the opportunity to spot the ever elusive leopard, twice.
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It would be ideal to book out The River Lodge for a family’s sole use for a weekend, thereby ensuring total privacy. The main house, with luxurious lounge and dining areas, is lovely to share special home-made meals prepared by a private chef. Sitting outside on the deck with its rim flow pool overlooking the waterhole is ideal for sundowners and some family bonding time. The Riverside Lodge is part of the Thornybush collection, which boasts ten premium properties in total. Thornybush has earned an enviable reputation as one of the most prestigious bush experiences in Southern Africa.
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travel
into the
wilderness
there are only a handful of places left in africa that are truly raw and rugged. the magnificent niassa reserve in the far northern corner of mozambique is one of these. twice the size of the kruger national park and infinitely more wild, niassa is real wilderness - replete with prolific wildlife and conservationists determined to keep this slice of old africa intact. by: Keri Harvey images: Keri Harvey and Supplied
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e fly in awed silence. Transfixed by the vastness that surrounds us, we stare without blinking and try to imprint on our minds the surreal landscape down below. For nearly two hours, we have been flying inland from Pemba on the coast of northern Mozambique, just two passengers aboard a light aircraft heading for the Lugenda section of the vast Niassa Reserve. The sweeping wilderness area we’re traversing is only punctuated by rock chimneys and scattered granite inselbergs. From the air there’s no sign of human impact, in fact there’s no evidence at all that anyone has ever been here before. We feel intrepid. Yet people do live in this remote area - about 35 000 of them in the Niassa Reserve, with about 500 being employed by the reserve. Many others eek out an existence as subsistence fishermen, moving with the seasons as the water courses ebb and flow, and sheltering in flimsy grass huts on the river banks. The rest of the population is mostly subsistence farmers trading maize, cassava, monkey nuts and beans with each other. Here it’s not unknown for people to live on less than a dollar a year, because they simply don’t need money. Life is lived by trading.
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As the pilot starts his descent, we see the Lugenda River fingering its way through the majestic landscape. First he circles overhead Lugenda Wilderness Camp, completely camouflaged by huge sycamore fig trees, and then he buzzes the gravel air strip to clear it of wildlife. Today a herd of impala are trotting down the runway, as if practising for take off. The camp is just a short drive away and en route Lugenda Concession manager Derek Littleton shares insights into the area. Derek has had a lifelong love affair with Africa, but Lugenda is his first love – by far. He’s lived in the reserve for 15 years and his passion for conserving the area is infectious. “Niassa is different,” he says. “In other reserves across Africa people were removed. Here they are part of the reserve. This is how Africa used to be.” Niassa feels like old Africa, and it is. Lugenda Wilderness Camp epitomises this too. It’s tented and discreet, run PRESTIGE: in the lap of luxury
from solar with backup generator power, and the water is piped from the Lugenda River and heated in wood-fired donkeys. The herb and vegetable gardens are impressive, though sometimes raided by elephants, and the staff are all there because there’s nowhere else they’d rather be. All are Africaphiles, committed to conserving this wildlife stronghold in Mozambique. They work tirelessly at it, and fire fights with poachers are not uncommon. Wildlife conservation is the primary reason for Lugenda’s existence; then it’s also for discerning wilderness lovers who want to experience Africa authentically and unchoreographed. Lugenda is definitely not a place you will stumble upon on your travels through Mozambique, it’s far, far from the madding crowd. Here there is not even fm radio signal and satellite phones are used for emergencies. There are mosquitoes and tsetse flies and no fences to keep wildlife at bay. Lugenda is mostly inaccessible even by air during the rainy season from December to May; it’s as far as you can get off the grid and off the radar without leaving the planet. This is somewhere for those who truly, deeply love wild places. And if you do, Lugenda will likely be love at first sight. It’s ironic then that the massive Niassa Reserve has remained largely undocumented since its establishment in 1954. At over four million hectares, or 42 000 km² in size, Niassa cradles the
This is somewhere for those who truly, deeply love wild places.
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greatest abundance and variety of wildlife in Mozambique. Here, there are more sable than impala, vast herds of elephant roam the miombo woodland, plentiful lion and leopard lurk everywhere, and there are throngs of antelope along with unique endemic species like Niassa wildebeest, Johnstone’s impala and Crewshaw’s zebra. Wild dogs also live permanently in the reserve, so for wildlife lovers, it’s nirvana. For management purposes Niassa has been cut into sections, and we are in the 4 600km² Lugenda concession with 300km of the Lugenda River running through it. At night plumes of smoke rising from the river course allude to nomadic fishing camps, and faint fireside chats can sometimes be heard wafting on the wind. These nomadic fishermen had no idea there was recently a world economic recession, because money doesn’t affect their lives. Climate change, though, affects them deeply. One of Lugenda’s unique offerings to guests, is that the vast concession is all yours for private game drives – there are no other game viewing vehicles on the property. As Derek aptly says: “Lugenda is completely unscripted. Guests decide what they’d like to do and when. Canoeing the languid Lugenda River, sleeping out under the stars atop a massive inselberg – fully
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the herb and vegetable gardens are impressive, though sometimes raided by elephants, and the staff are all there because there’s nowhere else they’d rather be.
www.lugenda.com
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equipped and catered, guided nature walks and game drives, night drives, sundowner excursions – it’s all possible and a chance to experience true African wilderness. On our game drive we see shy elephant, huge herds of sable, waterbuck, kudu, bushbuck, samango monkeys, prides of lion, and a leopard lying lazily on a branch close to our vehicle. Predators are plentiful here, and so are the creatures of the night. We lost count of the genets and civets seen, and saw porcupines and scrub hares too. Lugenda is alive, like Africa used to be. Hence, it’s also under constant threat by poachers who are particularly keen on Lugenda’s elephants. “In the past decade, the ivory price has shot up from $5 to $300 per kilogram for ivory,” explains Derek, “so poaching elephant is very lucrative.” However, the Lugenda concession has 60 game scouts stationed across 10 posts in the area. These committed men would make better money as poachers, but they’ve chosen to earn ethical wages
instead. In so doing, they’re greatly respected in their communities and spread the wildlife conservation message at the same time. “The view from the top is good,” says guide Donald Mac Crimmon, as the Land Rover slowly claws its way up an inselberg to watch the sunset. En route we see white-tailed mongooses chasing each other in the tall yellow grass, and an elephant watches us from under a baobab tree. “There’s a bat,” points Donald into the setting sun. It’s hard to see, but as we reach the top of the inselberg a Bathawk comes into view. It’s not a bird but a plane, well sort of. Derek is in the pilot’s seat of this tiny canvas two-seat surveillance aircraft, gifted by the Wilderness Foundation; he’s flying the last lap of his anti-poaching patrol for the day along the Lugenda River. As night falls the game scouts will take over on foot through the bush, holding back poachers from Lugenda’s elephants. Then tomorrow Derek will be in the air again, because wildlife conservation is always top of the list of things to do in Lugenda. Right now, we’re on top of the world in Niassa – literally – and looking down on the glistening Lugenda River as it gently winds between majestic inselbergs. The view from the top of the inselberg is not “good’ but unspeakably beautiful and there’s a special stillness and the sun sets over the bush. On the surface it’s hard to grasp the precarious existence of Lugenda’s prolific wildlife; and how a handful of good men continue to secure its safety like their lives depend on it.
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GILLIAn MCLAREn takes to the wide vistas of the camdeboo plains where the wildlife that once roamed in abundance is making a comeback.
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he cloudscapes in Samara Private Game Reserve in the Great Karoo seem to dominate the landscape. From white dandelionwisps in bright sunshine, to portentous, charcoal cauldrons after a storm, the skies beg to be photographed. Formerly considered a dry, bleak region to be avoided, many savvy people have realised that the Great Karoo area is magnificently beautiful and that time spent here is refueling for the body and soul. Historically, the 28 000 hectares of land comprising Samara Private Game Reserve was teeming with game including millions of springbok, which were eventually all hunted out. The visionary owners of this reserve, Sarah and Mark Tompkins, longed to see the area rehabilitated after decades of agricultural exploitation by settlers, to become an ecologically balanced, game rich area as it was in the past. After twenty years, firstly leaving the land fallow for it to rejuvenate and then re-introducing many of the species that roamed this semi-desert region, you can now enjoy rich morning and evening game drives. White and black rhino, herds of eland of over a hundred individuals, rare black wildebeest and mountain zebra, plus many others of the original species, thrive in this remote area. The plains of the Camdeboo once again have oryx and blesbok pronking in the veld, or seeking shade under the region’s unique shepherd’s tree.
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Cheetahs are back in the region, after one hundred and twenty years of their absence and plans are in progress to introduce herds of elephant from Addo Elephant Park. This is a huge success story and it delights the heart to see the fruits of such dedication and wise use of funds. This five-star experience, staying in Karoo Lodge that is situated below the escarpment of the Sneeuberg mountain range, is marvelously refreshing and restorative. The sense of space that you encounter here is liberating. A colonial homestead, with the traditional wide verandas on all sides, Karoo Lodge has been carefully restored to preserve the original character, but to include all the comforts of a modern lodge. Three Lodge Suites and two Camdeboo Suites are part of the main farmhouse, with capacious rooms, high ceilings covered with local reeds and an en-suite bathroom with ball and claw bath and a glass-walled shower. DÊcor is a delightful reflection of the colonial era, with period furniture pieces, including a finely crafted wooden armoire, chest of drawers and a selection of quality prints of animals or plants. In the Lodge Suites, glass doors lead onto the screed veranda where you can breathe the pure air and inhale the fragrance of the Karoo’s indigenous plants, while watching the spectacle of a sunrise, sunset or the mesmerising flow of cloud shapes.
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Lawn surrounding Karoo Lodge homestead draws ponderous leopard tortoises, which snack on the greenery. At night buffalos enjoy the same delicacy. In the garden, three Karoo Suites with en-suite bath and shower, have private covered patios, with comfortable outdoor chairs. An outdoor shower is an extra luxury, where you can revel in the myriad stars, extra bright in this far-flung spot with no distracting city lights. At night, you are likely to hear the evocative sound of jackal howling or an owl hooting as you drift off to sleep. Manor House - a few kilometers away from Karoo Lodge - has four elegant rooms, so is perfect for the exclusive use of families or larger groups. Staff at Karoo Lodge and Manor House are an integral part of the experience, as they are local people with smiling eyes and a special brand of humour! They laugh easily and extend warm hospitality to each guest. Chat to them in English or in Afrikaans and you can learn much about the area, its culture and traditions.
the plains of the camdeboo once again have oryx and blesbok pronking in the veld, or seeking shade under the region’s unique shepherd’s tree.
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Authentic recipes are used to spoil you with Eastern Cape meals. Don’t miss the famous Karoo lamb, uniquely flavoured by the herbs eaten by the sheep. Marinated venison kebabs are creatively presented using the intimidating white thorns of vachellia karoo as skewers. Cutlery with bone handles completes the sense of living in a bygone era. DÊcor in the dining areas, the lounges and on the verandah includes battered milk churns, huge vintage jam making pans and paddles, as well as aloes in pots and vases. A highlight of the dining is a meal around a table set in the middle of the bush, beneath tall trees, by the light of a campfire and the moon. If you are very lucky you could see an aardvark on the night drive after your intimate veld dinner. Being driven up the steep mountain road from the Nama Karoo plains area to the top is great fun and brings you to high plateaux grassland biome, where exuberant black wildebeest caper. They suddenly gallop, in single file with their long bushy tails outstretched - as if they were being pursued - then abruptly
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The view from the selected picnic spot, atop lichencovered rocks, is panoramic if somewhat vertiginous.
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www.samara.co.za
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stop, look at each other and run the other way! The view from the selected picnic spot, atop lichen-covered rocks, is panoramic if somewhat vertiginous. It is a memorable spot to have a cup of tea and to gaze at the vast lands below, or to photograph the Eastern Cape crag lizard with its spinose tail and blue forelegs, as it basks nearby. If you are fortunate enough to be at Samara Private Game Reserve when it rains, you could watch a stream in spate, as it moves down a dry gulley to form part of the Melkrivier drainage system. The downpours release heady bouquets from Karoo scrub. Birds and animals seem to celebrate. Karoo padlopers and other species of tortoise, of all sizes, come out of hiding to sip from the temporary puddles. Although the water is quickly absorbed and soil appears dry, it initiates rapid growth of the Karoo scrub and the sprouting of bulbs. Karoo Lodge is an idyllic spot for a retreat from the demands of daily life and rigours of a city environment. Remote, exceptionally peaceful and quiet, in reach of fascinating flora and fauna and run by charming people, it is a place to be visited and re-visited. Whether with dust whirlwinds, searing heat haze and cloudless summer days, or with navy, water-laden clouds, the skies over Samara Private Game Lodge are always expansive.
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champagne
well, is it
art? the champagne maison of ruinart has come to south africa to celebrate our winemaking and contemporary art culture. ChRIS BuChanan spoke to ruinart president, FRédéRIC duFouR.
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magine developing a product you know would be an absolute success outside of your immediate geographical area, but the law made it impossible to get it there? Well, that is what faced champagne in the beginning of the 18th century when, by law, bottles could not be transported in bulk outside of the region. That law changed in 1728 by the decree of Louis XV, and Nicolas Ruinart, a draper by trade, saw the potential of “wine with bubbles” or “vin de mousse” and founded the first champagne house to take advantage of the law change and get his product to Europe.
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Ruinart is a lesser known of the premium champagne brands in a world of aggressive marketing, particularly in growing markets like South Africa. But for President of Ruinart, Frédéric Dufour, the focus is on selecting the markets that are compatible with the values and ethos of the brand, with excellence at the core. In the late 19th century Andre Ruinart commissioned Alphonse Mucha, the Czech Art Nouveau specialist, to create a poster for the Maison and the relationship between Ruinart and contemporary art was reinforced. And so unravels the first foray into the South African market for Ruinart as a patron of the Arts and an official collaboration with the Cape Town Art fair (CTAF). Dofour says Africa is a market on the Ruinart map and South African is the perfect entry point because of its excellence in wine and its excellence in art. “We all know that Africa is the continent of the future and you have to be part of it, there is no question about that. We are not an ostentatious, in-your-face kind of brand we are more refined, more sophisticated”, so South Africa was the perfect starting point for the brand. The art connection, established with the commission of Mucha all those years ago, is also an element of innovation within the traditions and inflexibility of the winemaking process.
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Dufour says Africa is a market on the Ruinart map and South African is the perfect entry point because of its excellence in wine and its excellence in art.
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Dufour sees the investment in modern, changing contemporary art as a juxtaposition to the staid and regulated processes of champagne making. But it’s not only Mucha who sowed the seed of an artistic expression in the Maison, “it comes back to the birth of the company and 1729 is the period in France of Louis XV which was the peak of art and refinement, so it has always been strong in the DNA”. The Ruinart family were also collectors of art and Dufour says the first company to commission an advertising campaign within the Mucha imagery which was very innovative for the time. To this day the champagne house maintains close ties with contemporary art, commissioning well-known artists and supporting 37 leading art fairs throughout the world. Ruinart has worked with a number of leading artists and designers including Maarten Baas, India Mahdavi, Gideon Rubin and Hervé Van der Straeten. The wartime turmoil of the first 50 years of the 20th century in Europe put the artistic expression of the brand into hibernation, until 10 years ago. Every year an artist is commissioned to interpret the Ruinart history and its relationship with art, chosen from a pool of artists Ruinart has met through the work in art fairs around the globe and in response to a theme set by Dufour. The 2015 theme was “light” and French artist Hubert La Galle was commissioned to set his interpretation on the Maison. La Galle chose glass as his medium of expression of the seasons and created 12 sculptures representing the months of the year – integral to the making of wine and inspired by the
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vineyard. The use of Murano glass was particular because of its imperfections and bubbles which are present in champagne, and of course the fact that glass is the vessel for the wine and Ruinart bottles remain the same shape of the hand-blown bottles that were used in the 18th century. And then of course there is the wine. “The style of the house, because champagne houses always have a style which you define, is evolved a bit but never changed, but the decision to be led by Chardonnay comes from post second world war”. Dufour says the head of Ruinart at the time had a philosophy that champagne was for pleasure, should be extraordinary, delicate and accessible to drink because it’s an aperitif. The Blanc de Blanc is Ruinart’s signature wine and the wine we tasted at the CTAF. It’s a creamy delight with a mousse of bubbles, underplaying a soft fruit tone and accentuating a citrus note without any acidity. Ruinart’s “R” de Ruinart is a Brut of 40% Chardonnay and 60% Pinot Noir, while the Rosé is Chardonnay and 18% vinified Pinot Noir. Dom Ruinart is the vintage wine of the house in a Blanc de Blanc and a Rosé. When you’re looking for Ruinart at your favourite discerning liquor merchant, don’t look for bright colours, flowers on the label or gold leaf in the wine, you’ll recognise the champagne PRESTIGE: in the lap of luxury
by its understated packaging, distinctive bottle shape and transparent glass. “We aspire to be the ultimate refined luxury so it’s never in your face, it’s always subtle”, says Dufour. Subtle but differentiated. Dufour has a history in engineering and finance which might suggest someone who is concerned about production and numbers rather than a creative mind who appreciates the traditions of champagne making and the nuances of contemporary art. “In terms of art and creativity, I think you can be an engineer and be creative”, he says “it’s all about the sensitivity to these things”. He made the point that Hubert La Galle is an engineer and an artist, combining creativity and practicality and a knowledge of the properties of materials. The future for Ruinard lies in the exciting markets outside of France, almost renewing the pioneering spirit of founder Nicolas Ruinart who saw the potential outside of the region of Champagne. Dufour says 80% of turnover five years ago was generated in the French market and while he wants to develop Ruinart into a global brand, it needs to remain the ‘Jewel’ of champagne.
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cognac
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cognac is not traditionally seen as a happening drink atop the indulgences of nighclub patrons. ChRIS BuChanan chatted to VInCEnT ChaPPE of bisquit congnac about innovation in a traditional space.
a
spirational Chinese citizens have a love for the French and because they see French products and lifestyle as the ultimate in sophistication and taste, they are great consumers of all things French and Cognac is no exception. Vincent Chappe, Bisquit President, says the outlawing of the gifting culture in China impacted the brand overnight. Suddenly the client changed and Chappe says instead of government and seated officials being the prime buyers, the Chinese public is now where the market lies.
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The Bisquit range consists of the V.S (Very Special), V.S.O.P (Very Special Old Pale), Prestige and X.O (Extra Old) and this market migration within China says interesting things about the preference. Chappe says the introduction to Cognac will come at the V.S level and will graduate towards the Prestige and X.O via V.S.O.P as tastes become more sophisticated. China is the opposite because the elite’s gifting practices of premium Cognacs have been replaced by the consumers’
discovery of the product from an entry level upward. The settling in the middle of the different markets is V.S.O.P, a premium product at an acceptable price point. We tasted the first expression of Interlude, a premium blend that was designed to be the ultimate extravagant Cognac gift before China imploded. It’s a blend of five eau de vie, the youngest a Petit Champagne from 1994 and the eldest, a Grand Champagne 1947 eau de vie. The idea is to bottle two of
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The idea is to bottle two of the 20 barrels (900-1000 bottles) per year, totalling ten expressions and an evolution of the Cognac.
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the 20 barrels (900-1000 bottles) per year, totalling ten expressions and an evolution of the Cognac. Packaging of the first expression, which will remain consistent through all ten, is very subdued and retrospective to the original labels and bottle shapes. Each bottle is numbered from its numbered barrel with its bottling date and signed by Denis Lahouratate the cellarmaster, and its presented in a pure oak box. The good news is that it will be available in South Africa at a price point of between 800 and 1000 euros. It’s an absolutely smooth Cognac with no acidity clawing to the side of your tongue and little evidence of the 40% alcohol content. The wood has imparted spice and vanilla and balances with the fruit of the grape that lights up the back of the tongue and precedes the fabulous aftertaste.
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cognac
This made Bisquit the first Lot to auction off an empty bottle, called L’Origine. Chappe’s visit was timed with the Cape Wine Auction where the Bisquit Lot consisted of two business-class tickets to Paris, including VIP transfer; a Cognac cabinet; a decanter of Bisquit Cognac specially blended and bottled for the occasion and four Cognac glasses; overnight stay at François Premier Hotel in Cognac; a night at the luxurious 6 Mandel Hotel in Paris. This made Bisquit the first Lot to auction off an empty bottle, called L’Origine. The bottle is rounded and is enveloped in a white corset that symbolises rebirth and will be filled on the visit to the cellar, accompanied by Chappe. The special blend is of eight eau de vie and all he could reveal was the youngest is older than 60 years. The lucky winner – Jane and Ken Truter of Higgovale in the Western Cape for a paltry R350 000.
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Cognac is fighting on several fronts for a place in the premium spirits market – susceptibility to market forces and other spirits, whisky, rum and vodka yapping at its heels. As it sheds its image of old codgers gathering in the study after a meal while their wives drink tea and discuss household detergents, it unearths solid traditions of heritage and longevity. Cognac is becoming cool.
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The
glossary
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all that stuff you probably should know but might have been too busy drinking the whisky to ask about. PaTRICk LECLEzIo’S compilation of basic whisky terms and references.
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Whisk(e)y
Whisky spelt with a “y” only is the original spelling of the word, and at one time was used to describe all whiskies. Whiskey spelt with an “ey” is relevant to Irish and most American whiskeys. This situation seemingly arose because the typical Scotch of the mid to late 19th century was of such poor quality that Irish (and subsequently American) producers sought to differentiate themselves. Types of Scotch whisky Blends, the most popular type of Scotch whisky, are a blend of malt and grain whiskies. Blended malts are a blend of various distinct single malts (two or more). Blended malt is the official descriptor as of 2009, but these are also commonly known as pure malts or vatted malts. Single malts are the product of a single distillery – and made from only one type of grain: malted barley. They must be produced using pot-stills. Grain whisky is made from any grain (typically wheat or corn) or combination of grains, other than purely malted barley. They are distilled to higher alcohol levels in column stills and therefore typically have a lighter flavour profile.
Straight grain-specific whiskeys (such as Wheat, Malt, and Rye Malt), except that it does not contain the minimum 51% of any applicable grain. According to statute American malt whiskey must be made from a mashbill (recipe of cereal ingredients) containing at least 51% malted barley. In practice most American single malts follow the Scottish model and use 100% malted barley. The range of American whiskeys includes other types of less popular grain-specific types (such as Wheat, PRESTIGE: in the lap of luxury
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For a whiskey to be called Bourbon it must be produced in the United States, it must be made from a mashbill containing at least 51% corn, and it must be aged in new, charred oak barrels, amongst other more technical statutory requirements. A Straight Bourbon whiskey must additionally be aged for a minimum of two years, and have no added colouring, flavouring or other spirit added. If it is between two and four years old its age must be
stated on the label. Tennessee whiskey is a type of straight bourbon that has been filtered through maple charcoal before ageing (known as the Lincoln County Process). It must be produced in the state of Tennessee. Rye whiskey must be made from a mashbill (recipe) containing at least 51% rye. Its other requirements are similar to bourbon’s. Straight whiskeys fulfil all of the standard requirements applied to Straight Bourbons, Ryes, and other
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Types of American whiskey
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Malt, Rye Malt, and separately, Corn), as well as Blended (only 20% Straight whiskey required), Light (ageing in used barrels permitted) and Spirit whiskeys, which are typically of lower standing.
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Types of Irish whiskey An Irish blended whiskey is made from single pot still, single malt and grain whiskey, or any two thereof. Typically a blend will contain grain whiskey (there are very few – called “pot still blends” – that don’t), which, unlike Scotch grains or Irish grains intended for standalone bottling, are distilled close to neutrality, and intended only as a lightening agent…so as not to interfere with the flavour of the “master” components. Irish single malts as with their Scotch counterparts are whiskeys are made from 100% malted barley, and are the product of a single distillery (although with its handful of distilleries, some producing various different styles of single malts, this latter point is not as significant a distinction in Ireland). They are produced using pot stills. Blended malts are a blend of various distinct single malts (two or more). They are also commonly known as pure malts and vatted malts. PRESTIGE: in the lap of luxury
Whilst blends may constitute the mass volume, single pot still whiskeys are the heart of the Irish whiskey tradition. These must be made in a pot still and, by convention, from a mixed mashbill of malted (20-40%) and unmalted (60-80%) barley.
Irish grain whiskeys like their counterparts in Scotland are made in continuous stills from any grain or combination of grains, and the bulk produced is used for blending, although single grain Irish whiskeys are sometimes bottled in their own right.
Maturation This is the process by which whisky is aged, through contact with wood, typically casks made from either American or European oak. During maturation the whisky draws flavours from the cask itself, in the case of a used cask from the liquid that preceded it and that is now impregnated in the cask (usually Bourbon or Sherry), and, more subtly, from the natural aromas and influence of the immediate environment as the cask breathes. All Straight and/or named grainspecific (except Corn) American whiskeys must be aged in new, charred barrels. Other types, generally perceived as less premium, may be aged or have components aged in uncharred and/or used casks. There are no such broad regulations for other countries, and whilst there may be certain conventions (e.g. the bulk of Scotch whisky tends to be aged in used casks) whisky makers are free to use new (virgin) or used (refill) casks.
A whisky, even a single malt, is usually a vatting (i.e. a blend) of products of different ages. This is done to maintain flavour consistency from bottling to bottling.
Whilst less common in American whiskeys and certain others whiskies, because of ageing regulations and conventions, there are early glimmers of trend in which new non-oak casks are also being used for finishing.
Chill filtration Chill filtration is a technique in which the whisky is cooled and passed through a fine mesh filter, trapping and removing certain congeners (fatty acids and oily compounds) that tend to precipitate at lower temperatures. This is done for aesthetic purposes, so that the whisky does not appear hazy, especially when ice is added. However these congeners contribute to flavour, so many whisky-makers choose not to chill-filter their whiskies, labelling them “non-chill filtered” or “unchillfiltered”.
Charcoal filtration Charcoal filtration takes place before ageing, and is intended to remove impurities, and influence colour and flavour. In instances it is also done after ageing. This is most frequently used in making American whiskeys, the best-known example being the Lincoln County Method used for Tennessee whiskey.
Vintage A whisky, even a single malt, is usually a vatting (i.e. a blend) of products of different ages. This is done to maintain flavour consistency from bottling to bottling. A whisky claiming vintage status must have been distilled and put in wood in the same year – the one specified in the label – and then later also bottled at the same time.
Single Cask The typical single malt is bottled from a blending of multiple casks, often containing product of different ages. More rarely there are expressions bottled from a single cask. Single casks are special whiskies, considered good enough to bottle as is. They are also vintages by definition.
Cask strength or barrel proof The alcohol content of whisky after maturation ranges from the high 40’s to the low 60’s in alcohol by volume terms (ABV) and is known as “cask strength”. The exact level is a factor of the content when coming off the still and the duration of ageing. Most whiskies are then reduced (with water) up to the statutory minimums applicable for various markets (43% ABV in SA) before bottling. However whiskies offered at cask strength, and levels above the statutory minimums, are gaining appeal because they tend to be non-chill filtered as a rule and because they allow the consumer a greater control over the degree of reduction.
Independent bottlers and blenders Independent bottlings are typically single malts offered by entities independent of the distiller, whereby whisky, usually new-make (i.e. unaged), would be purchased from a distillery, and subsequently aged, vatted, and bottled by these independents, thus resulting in a single malt product well varied from the distillery or proprietary version, or an independent blend or blended malt.
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A relatively new process taking place at the back-end of maturation, in which the whisky is removed from its conventional casks and re-racked in different wood, often something exotic, for a period of (usually) 6 months to a maximum of 3 years, the purpose being to add additional elements of flavour and character. It’s a process mostly used for single malts but occasionally for other types of whisky. PRESTIGE: in the lap of luxury
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spirits
a
diamond in the rough prospecting in rum. PaTRICk LECLEzIo tracks a spirituous revelation.
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n 2005 whilst living in Italy I discovered rum. I’d been stumbling over it for a while of course, drinking mixed rums - typically in the fabled Cuba Libre style - but I’d never picked it up, dusted it off, held it to the light and given it proper consideration. My prior experience of it had pigeonholed the spirit as something agreeable but limited, like a friend with whom you have just the one thing in common, which once exhausted leaves nothing much else that’s engaging. My awakening, in the little bars of Trastevere in Rome, where the forerunning Latin appreciation for the drink had already been given unrestrained expression, exposed me to a sleeping giant. In products like Appleton’s 21YO, Pampero Anniversario, Barbancourt, and Zacapa Centenario (these were the days before Diageo’s misguided attempt to fashion the thing into a cocktail base), I felt I’d seen a glimpse of the future. Ten odd years later this future has finally arrived in the country. Stay with me as I draw open the curtains.
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Rum is a spirit with a colourful history, but with associations I feel that have held back its graduation to the upper echelons attained by its peers. The reference to pirates, sailors, navvies and the like has evoked images of adventure, fun and daring-do, dominant themes in how rums have portrayed themselves and been perceived, but the potential for elegance and style has been largely overlooked, ignored, and overshadowed in the process. No longer. The era of “sipping rums”, rums that have been judiciously produced and significantly matured, that can be drunk neat or with a dash of water, and that would not be amiss if served in a gentleman’s club, has been dawning, albeit slowly. It’s been a bit of a drawn out, extended, impatient wait but today there is a satisfying-enough number of these rums available on the South African market. This is great news, dare I say cause for raucous celebration (ok, refined celebration) for those of us who love fine spirits, in that it
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both confers a previously unknown abundance and variety of flavour to our drinking repertoires, and in that it does so for remarkable value; that the price of rum compares favourably with that of whisky and cognac is a gross understatement. There are challenges certainly: rum, to be blunt, is all over the show. The industry is fragmented; there are no unifying standards (often even within individual territories); there is no concerted and coordinated effort at consumer education, worrying at a time when consumers are thirsty (yes, sorry) for information and more discriminating than ever before; access to and depth of information, for those aficionados who are looking to self-educate is sketchy; and, for many of the reasons listed, the perceived integrity of rum in relative terms is sorely lacking – why, as an example, does Zacapa get to label a rum with the age of its oldest component when Appleton denotes theirs with the age of the youngest? Surely this can’t be good for the wider category? The flip side is that rum producers have incredible freedom. Column stills, pot stills, both, liberal maturation – almost anything goes, all without constraints. With a sparsity of rules and regulations comes both the risk of consumer confusion and frustration, and scope for incredible creations. I had the opportunity recently to evaluate side by side all the major players contesting our attention locally. The standard bearers for rum have long been the historically intertwined Bacardi and Havana Club, although the latter has only more recently manifest itself as a global brand. The former’s 8YO and the latter’s 7YO are both plump, juicy drinks, ironically quite similar, with a pleasing fruitiness, perhaps pineapple, on the palate, and a
Rum is a spirit with a colourful history, but with associations I feel that have held back its graduation to the upper echelons attained by its peers. long finish. They may not be intricately complex, which I’m pretty sure is not the intention anyhow, but they’re solid, dependable and, most important, enjoyable. From stalwarts to upstarts. My guiding principle in analysing global spirits is that a premium brown spirit cannot be successful without heritage. One of the most striking and impressive exceptions is the barrier-breaking Patron Spirits Company. They’ve again broken the mould with Pyrat – its liquid has such a pronounced orange flavour that some rum commentators suspected added flavouring. In fact the rum is finished in casks that had previously held orange liqueur, the only such instance of which I’m aware. It may not be everyone’s ration of grog but its two strokes of silky citrus and bitter tang are simple and effective, at least for my taste. Pair it with a few squares of dark chocolate as a digestif. Also out of ordinary is Inverroche’s
7YO rum. Next time I’m drifting down the coast I’ll stop in specifically to explore how this is put together. All rums are made with cane (forgetting a few beet derived freaks) – either molasses or juice, so you’re pretty much be expecting a sugary profile. The Inverroche rum is less sweet and more herbaceous - it is as distinct a rum as is available in the country. Appleton, the venerable, long established Jamaican distillery, conversely, produces liquid that as typical as rum can be imagined to be. Both its X/V and its 12YO display pungent molasses on the nose and ripe cane on the palate, as if you’d sunk your teeth into a stalk on the cusp of fermentation. A rum’s rum, so to speak. My favourites though, each of which glittered with the best of rum’s new sparkle, were those from Mount Gay, with which I could imagine myself to have endless entertaining conversations
- the Black Barrel, syrupy and rich, maybe a factor of its heavily charred casks, with a peppery surprise on the finish, and the XO, subtle and sophisticated with notes of caramelised sugar and a juicy, mouth-coating fullness – and then, inevitably, the much beloved, and somewhat maligned Zacapa. The suggestion has been made that Zacapa has declined in quality of late, since the reins changed hands, but if this is true then I wasn’t able to detect it. It remains the complex, layered, gripping rum, brimming with sweet oak and sultanas, that I first tasted all those years ago. The virgin press juice, the solera process, the variety of four different casks including Pedro Ximenex sherry, and the high altitude maturation constitute a winning formula. It is outstanding, and it continues to be the herald of rum’s progressing journey to the pantheon. Salud!
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fb801 m/y vica – 50 metre long – is the first benetti vessel built using two different techniques: the hull is in fiberglass, while the superstructure is in aluminium.
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ith a concept of flexible moulding the superyacht meets the client's different customizing needs. A yacht for the Mediterranean, with ample open air spaces – a spacious open deck astern, and forward with the upper deck and an enormous sun deck. Exterior lines are characterised by full height windows that not only fill the interiors with natural light but also streamline her profile. A unique feature of the VICA are the three hatches in the hull. The first is laterally placed towards the stern for launching and recovering the tender, the second serves as a bathing platform and the third opens into the lower deck lobby giving air and light to an otherwise closed area.
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VICA has four decks linked by a central staircase that opens onto elegant lobbies that in turn provide access to the rest of the living areas. In addition to the four decks there is an under lower deck with the engine room, service areas, holds and laundry. Her internal layout is classic, with four guest cabins on the lower deck, the owner's suite forward on the main deck, and an additional cabin on the upper deck. The large main salon greets guests on the main deck, and is visually separated from a more intimate zone with a grand piano, karaoke, an American style corner bar and sofa, and from another more intimate area with lounge chairs, coffee tables and extra wide plasma TV screen. Moving forward through the foyer with
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Her internal layout is classic, with four guest cabins on the lower deck, the owner's suite forward on the main deck, and an additional cabin on the upper deck.
staircases leading to the other decks, leading in turn to the professional galley to port and the owner's apartment to starboard. The suite features a large study and a full beam cabin with an exclusive private terrace complete with a gangway leading down to the sea. The suite features his and her bathrooms, complete with shower and bathtub, and separated by a walkin closet. The four guest suites are on the lower deck, the after two with queen size beds and the forward two with twin beds, and are separated by the lobby. There is also an exterior terrace that expands when opening the hatch, giving light and air to the interiors. Completely separated from the guest area are the six cabins for the twelve members of the crew. The dining room features a large oval table for twelve guests in the upper deck salon. On the same deck we find another guest cabin and forward, the captain's cabin, next to the bridge. The showpieces of the upper deck are the open air spaces: while the stern deck is quite spacious, the foredeck is exceptionally spacious, with an enormous divan and two chaise lounge next to the Jacuzzi, allowing guests to pass the whole day at sea in total privacy, both on this deck and on the sunbathing deck.
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The sun deck, dedicated exclusively to life in the open air, features a second Jacuzzi surrounded by a large sunbathing area, a luncheon table and a bar with barstools where you can enjoy a drink at any time of the day or night. Forward of this area, the other leisure area can be transformed into a touch and go helicopter pad. VICA's
owner didn't opt for this feature, but the ship's structures are ready to host the weight of a small helicopter to ferry guests aboard. The interiors are all designed by Benetti, under the guiding hand of the architect Mariarosa Remedi and in collaboration with the owner's personal interior designer.
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Lighting is very suggestive, completely supplied by LED, and the interior illuminated alabaster columns have dynamic light temperature controls via iPad.
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displacement hull propelled by two CAT C32 Acert developing 970 kW each, guaranteeing adequate performance for her 498 gross tons. Thanks to this configuration VICA has a cruising range of 4,000 nautical miles at a cruising speed of 12 knots, but can easily reach her top speed of 15.5 knots or cruise at 14 knots with her engines working at 85% of their maximum load. The M/Y VICA guarantees a comfortable hull ride, practically without vibrations and noise which have been reduced thanks to a special elastic link between the engines and propeller shafts. The Naiad stabilization system is also perfect for the typical mooring habits of the owner, usually at anchor and rarely in port.
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Atmosphere and dĂŠcor follow the home feeling style and are the primary inspiration for all the ambients with the exception of the foyer, where we have the notable stairway in wrought iron and the sundeck skylight that inundates the lower deck with natural light. The interiors are warm and classic, with a predominant use of cherrywood, both smooth and satin finished (for the cabins), with detailing in rosewood. Lighting is very suggestive, completely supplied by LED, and the interior illuminated alabaster columns have dynamic light temperature controls via iPad. Technically, the Benetti FB801 M/Y VICA maintains her classic configuration, with a fiberglass
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there’s only one thing more jawdropping than a lamborghini, and that’s a lamborghini with no roof. by: juan miguel beco
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amborghinis are head-turners, of that there is little doubt. The bulls from Sant’Agata usually garner more appreciative stares than the super models from Maranello or the British beauties from Woking. Models from the Audi-owned automaker are usually brash and are available in over top colours that highlight their dramatic shapes even further. Visual drama is standard fare when you
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That highrevving motor not only sounds eargasmic but it makes the Huracán a delight to drive.
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drive a Lamborghini so these machines aren’t really for the shy retiring types. The current baby of the family is the Huracán, a car that is already arrestingly good-looking, but now Lamborghini has turned up the wow factor to 11 by removing the Huracán’s top. First revealed late in 2015, the (deep breath) Lamborghini Huracán LP 610-4 Spyder, to give it its full title, was launched properly earlier this year. Anyone who has seen the car in pictures would deem it lustworthy, but up close and personal the sense of desire is heightened even further. A drop-top version of the Huracán was always part of the new model roll-out from the conceptual stage of
development. After the rear-wheel drive LP580-2 was launched late last year, the open-top version was next on the cards. “The Huracán LP 610-4 Spyder is the next chapter in the success story of the naturally aspirated V10 Huracán, and continues a Lamborghini tradition of open air motoring,” says Stephan Winkelmann, President and CEO of Automobili Lamborghini. Starting with the same carbonaluminium platform as the coupe version (and the Audi R8 stable mate) is an ideal basis for a roadster as the stiff platform is perfect for resisting that dreaded bugbear of open-top cars, flexing. If you were fortunate enough to own or drive a Gallardo Spyder
(like our esteemed publisher) then you will be pleased to note that the new Spyder is 40 percent more rigid than its predecessor and has lost only 10 percent of overall stiffness compared to the Huracán coupe. The overall shape of the Huracán remains, but there are certainly design elements which help differentiate the Spyder. Firstly, there is the soft-top. Lamborghini has adopted a fabric roof over a folding hard top to keep mass and complexity to a minimum. Incidentally, buyers can have the roof in three different colours: black, brown and red. Two movable fins become visible during the roof stowage process, rising out of the folding roof cover. Enhancing the car’s low, powerful
appearance, these rear fins start at the seatbacks and continue the roof line to the rear, perfectly shaping the silhouette of the Spyder. The totally new electrohydraulic, lightweight roof opens in just 17 seconds up to driving speeds of 50 km/h. Whether the soft top is up or down the rear window, which functions as a windshield, can also electronically be opened to let in the unique sound of the high-revving, naturally aspirated engine. Wind noise and buffeting within the cabin with the roof down is kept to a minimum thanks to careful aerodynamic tuning. Two removable lateral wind guards, or ears as dubbed by some of the Lamborghini staff, curtail the lateral
aerodynamic pulsations, which usually cause an uncomfortable pressure build up in the cabin. The upper part of the windscreen surround has a wind brace to direct airflow over the cabin away from the heads of the occupants, and there are the aforementioned fins, which help smooth airflow aft of the cabin and into the engine compartment. For those concerned with safety, hidden pop-up bars do not spoil the open car’s low silhouette but are deployed in fractions of a second should they be needed in the worst case scenario. Residing under that engine cover is the same V10 found elsewhere in the Huracan range. Power levels in the Spyder are identical to the coupe
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version. 449 kW and 560 N.m of torque is delivered to all four wheels via the evocatively named Lamborghini Doppia Frizione, which translates to dual-clutch transmission. The Spyder zips from standstill to 100 km/h in a scant 3,4 seconds (only 0,2 slower than the fixed roof version) and will do 324 km/h flat out – roof up or down. Shuffling between the seven ratios lets one experience the vocal delights of that untainted V10 powerplant over and over again, and with the roof packed away, the delight for your ears is even more enjoyable. With Ferrari now employing turbochargers in its 488 GTB and McLaren products that have always been force-fed, the Huracán is unique in this trio by being normally aspirated. We experienced the Huracán Spyder in a part of the world that is renowned for open-top motoring and great weather, Miami Florida. Even in a city that positively reeks of wealth and every second car seems to have a folding roof this newcomer certainly has the desired effect of turning heads. Mobile phones were whipped out faster than you could say “Instagram” and there were endless hand gestures and shouts for us to let the engine be heard PRESTIGE: in the lap of luxury
“The Huracán LP 610-4 Spyder is the next chapter in the success story of the naturally aspirated V10 Huracán, and continues a Lamborghini tradition of open air motoring”.
at full chat. That high-revving motor not only sounds eargasmic but it makes the Huracán a delight to drive as responses to one’s right foot inputs are immediate and each prod of the loud pedal emits that signature V10 howl. With the roof down the Spyder certainly cuts an attractive shape and we can confirm that the fine tuning of the aerodynamics makes the cabin an easy place to be, though a sunscreen dispenser should be a standard item as owners will, or should, seldom drive their Spyders with the roof in place. Though, with the triple layer roof up the Spyder feels very much like its
coupe counterpart, so this really is the best of both worlds. The Huracán Spyder and its place in the family is clearly explained by Winkelmann: “The Huracán Spyder combines the innovation, performance and appeal of the Huracán coupé, with new technologies and an added emotional dimension. Its predecessor, the Gallardo Spyder, was the best-selling open top model in Lamborghini’s history: we expect the Huracán Spyder to exceed its predecessor in every way.” We have little reason to doubt you Signore Winkelmann.
SPECIFICATIONS Engine: 5,2-litre V10 Power: 449 kW @ 8 250 r/min Torque: 560 N.m @ 6 500 r/min Transmission: seven-speed dual-clutch 0 – 100 km/h: 3,4 seconds Top speed: 324 km/h Fuel consumption: 12,3 litres/100 km Length: 4 459 mm Height: 1 180 mm Weight: 1 542 kg
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dawn!
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the global launch of the long awaited new drophead from the world’s most exclusive luxury brand happens in cape town. VIVIEn naTaSEn attends…
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he team at Rolls Royce have a constant dilemma on their hands. In these days of large corporates demanding shareholder return i.e. profit, these are generally based on volume thrown at a base of fixed and variable costs. How does one still maintain rarity and exclusivity yet still stay solvent and liquid? Simple, just make sure your clients push for that exclusivity and are willing to pay a premium for exactly that. In a world with an ever widening gap between the haves and the have-nots, Rolls Royce is still unashamedly servicing the needs of the select few providing sheer opulence and exclusivity as their clients demand it. Everyone (I’m generalising now) is born with a need to be seen as different or special in some unique way, possibly one of the reasons for the failure of communism. However, to own a Rolls Royce, is undoubtedly seen as the pinnacle of achievement. Even on the top end of the Mazlow hierarchy of needs, where self-actualisation (purpose) is the foundation, people operating at this level will smile upon the beauty that this brand brings through their cars. It is a brand that surpasses all levels of wealth and has earned the admiration and aspiration of people from all walks of life.
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Now to the new car at hand. Essentially a drop head version of the Wraith, the new car is as beautiful in the flesh as it is in pictures. Rolls Royce will claim that 80% of the panels are new and not from the Wraith, however, that would be true in any event to accommodate the enhancements required to maintain rigidity and safety for the drop head structure. In the introductory walk around the vehicle, Rolls Royce staff were quick to point out that they chose to reveal the vehicle to journalists with its roof closed. This was important in PRESTIGE: in the lap of luxury
that they want people to see the car is as beautiful and striking in “hot-rod” mode i.e. roof closed with large flanks, high sill line and small windows. Yet, it is as striking and beautiful with the roof down, where again the large proportions below the waistline without the roof, do not compromise safety and looks – essentially, they are selling two cars in one. This statement is true, as many a convertible today by several marques has fallen foul of the folly where the vehicle looks great when the roof is lowered but looks very ungainly and awkward with the roof closed. Indeed, the lines and design
It is a brand that surpasses all levels of wealth and has earned the admiration and aspiration of people from all walks of life.
philosophy have been drawn from the original Rolls Royce Dawn where only 28 where made and the team has been able to account for 17. The vehicle is still powered by the magnificent V12 developing 420 kW achieving a 0-100 kph sprint in a claimed 4.9 seconds. Rolls Royce will also claim that this places the vehicle in striking distance of super car territory, though I’m pretty certain not many of their clients are really interested in this statistic. I can picture an advert of a revving super car next to the a Rolls at a traffic light when the super car pulls off with screeching tyres and the Rolls gently strolling off to the wonder and delight of onlookers.
Rolls Royce owners do not need to prove much, so why stoop to a lowly challenge like that. The international launch vehicles featured some exotic colours, with a striking blue that is amazing, though I feel the classic base colours and trim options will hold better value and be more fulfilling to owners in the long term. Customisation options are extensive, in fact there is a point when over customisation becomes tasteless. Rolls Royce has a team that’s well equipped to guide on options but the customer is truly king first. Our ride out into the countryside commenced at the famous and excruciatingly beautiful Delaire Graf
estate with a run through the passes and through the coastal roads to lunch at a private villa before returning to Delaire Graf. As South Africans, we sometimes take for granted the beauty and splendour of what our country has to offer. It was great to be reminded of how pleasantly surprised first time foreign journalists are when they encounter our country, especially the magnificence of the Cape. The handling of the Dawn is typically Rolls Royce, with more and more of the innovations from its parent company, BMW, starting to emerge, most especially those relating to safety and comfort. Even with a bit more power than cruising, the vehicle is capable and solid. At no time was I feeling wanting for power in overtaking on the passes. At the end, we could have driven all day, but our brief time with this amazing vehicle was at an end all too soon. Rolls Royce has developed something truly special in this vehicle. Their innovative approach and fresh thinking has resulted in attracting a newer, younger market with the average age of owners decreasing from 54 to 43 in a space of a few years. The Dawn will surely bring that average down further as it represents a socially acceptable, not-so-snooty way for new entrants to own a Rolls Royce, and still have friends!
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g-reat expectations! climbing the curbs of sandton in the mercedes benz latest g-class.
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by: Vivien natasen
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rejudice is where one has made a decision on something before experiencing it, or making decisions on perceptions rather than reality. Yes, in all my learnings to date, it was inculcated into me to “seek first to understand, then be understood” (Steven Covey’s teachings). It’s difficult though not to let perceptions cloud one’s thoughts when it comes to Mercedes Benz G-Glass. The Almighty G may to some appear a bit long in the tooth given its 27-year history, where very little has changed looks-wise in this regard. Even the latest face-lifted version has very subtle visual changes.
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We were recently provided with a G63, loaded with many bells and whistles for a week long test drive. Mercedes new nomenclature conventions have luckily left the naming conventions of its “special” vehicles largely untouched. The G and SL stay intact as the “unique” heritage offerings of the marque. The G range in South Africa comprises a G350d diesel derivative, a G500, V8 petrol and the G63 AMG, monster bi-turbo V8. Obviously, “tender-preneurs” and magnanimous businessmen opt for the AMG, as a status of opulence, disregard of common sense and bling. In fact, demand for this vehicle far outstrips supply, resulting in a long
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waiting list or in premiums in the used vehicle market to lay your hands on one in a hurry. In the South African and ultimately African markets of poor roads, lots of game farm visits and generally a strong off-road, weekend getaway culture, this phenomenon is well explained. The entire vehicle, its concept and application is an oxymoron – irrespective of whether one considers its looks, its performance or its application. Given that many of these vehicles sold will never see a gravel road, it really epitomises indulgence. Our test car was a simple white, which to me showed the massive bulk and boxy lines of this 2.8 ton monster. PRESTIGE: in the lap of luxury
Shod with 21 inch AMG rims, with lots of rubber always in contact with the road. To the uninformed, the vehicle appears ungainly, boxy and outdated. To an aficionado, it is like having the 4x4 equivalent of a muscle car. Brutish looks, aerodynamics of driving a brick through the air yet it evokes a different set of emotions than common sense would yield. Performance-wise the G63 is no slouch with the well-proven 5,5 litre bi-turbo V8. One is biased on the right foot, even if subconsciously, just to constantly hear the aural stimulation of that exhaust note. It’s really good on the G-Class as the twin-pipes stick out near the driver’s door instead of at the rear of the vehicle. A heavy right foot does reflect quite markedly in the fuel consumption of the vehicle as we barely made 300 kilometres from a tank of fuel, with substantially urban
driving (traffic light to traffic light) on the overcrowded streets of the Sandton CBD. Interior fixtures are well thought out and basic. The buttons though are reminiscent of the old MLs from ten years ago and need refreshing to the modern layouts of the new S and C classes. However, that being said, even the new GLE (ML replacements) still adopt the old buttons, which I assume will be modernised in the next iteration. Luggage space is tremendous. The doors are utilitarian, heavy and I must say require a bit of force even to close them properly, very different to the soft close doors of its other brethren. What surprised me greatly is the visibility and ease of use on the road and in parking lots. Again, despite the bulk it is surprisingly easy to manoeuvre and park, even
without the parking aids. For those who experience the G63 in a proper off-road environment, the vehicle adept in pretty much any terrain, or #everyterrain, as Mercedes is trying to package their off-roaders. The vehicle is equipped with front-, rear- and centre- diff locks, with several items of electronic wizardry that would make any amateur driver look like a pro on terrain that few would dare to tread. This vehicle screams out to everyone around it “look at me, you want me.” – I am not kidding. There are a few of the G55s running around in more exotic colours, some of them even louder than plain white. After a week with this vehicle, there is no doubt as to why it is popular and so revered as a vehicle, despite there being so many other more practical options available, even from Mercedes Benz themselves. There was even a special run of right-hand-drive 6x6 versions of the G-Class brought in for special clients at a substantial premium where there are at least 8 of these vehicles running around the countryside at R13 million apiece. I made the point to a senior Mercedes Benz Marketing team member on return of the vehicle. This vehicle is so bad, that is it is so good – so much so I desperately want one! And when I do lay my hands on one, I will bling it up like a rapper, possibly with the Brabus cosmetic upgrade, just because I can and it would be the right thing to do!
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Mini
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the new mini convertible is now available in south africa and sets the test for open-air motoring in the premium small car segment.
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ince the Mini arrived on our shores in 2001, styling has changed and the number of variants has increased, taking the basic regeneration of Sir Alec Issigonis’s legend into some unchartered territory now with four doors, the Countryman, the Coupe and the Paceman. But it’s the basic styling of the Cooper that still resonates and now the third generation convertible has been unveiled. This new Mini Convertible is fitted for the first time with a fully automatic, fully electrically powered and therefore particularly quiet soft top operation system as well as a rollover protection that is now fully integrated. Stowage of the roof is still an external feature which harks back a little to the convertibles of old and Mini says that it has improved the stiffness of the body to provide steering and handling in-line with the hardtop. Two petrol engines with Mini TwinPower turbo technology are available and include the 3-cylinder petrol engine of the Mini Cooper Convertible which delivers an output of 100 kW, and the 4-cylinder petrol engine of the Mini Cooper S Convertible which delivers an output of 141kW. Both the standard 6-speed manual transmissions and the optionally available 6-speed Steptronic transmissions have been newly developed for the latest Mini generation. The fully automatic soft top can be activated spontaneously at the press of a button and can be opened and closed during travel at speeds of up to 30km/h, while the sliding roof function is available at any speed. There is the option of a Mini Yours soft top featuring a woven Union Jack graphic, available for a convertible for the first time. Other optional extras include the Always Open Timer with additional new display content and the option MINI Connected XL including rain warning function. This is a car that has fun written all over it and seems to have been designed to exploit the fantastic weather we enjoy in our country – it’s a Mini, like the very first to arrive all those years ago, that will turn heads and give you an edge in the traffic.
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schizophrenia, mass hysteria and
all things unequal
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e have entered a crazy time – one where the balance of sanity, peace and understanding has tipped into intolerance, selfish greed and narcissism. A time when the soothsayers and other predictors of doom are saying “we told you so, why didn’t you listen….” This is the time that most genocidal disasters begin as the beginning of the end. Case in point – I have had the privilege / misfortune of doing a project in a small country recently. It’s a tiny country with around 2 million people, however, in that small community we still have the same politics, egos and lack of compassion that pervades countries 100 times the size. I guess everything in life is relative and I am not naïve. However, in the final presentation of my report, where I was confident that we had come to an outcome in the best interest of the country, it was evident that the officials were not. Even his own comrades tried to reason with him to no avail. At the end, I had to request to adjourn the meeting so they could caucus amongst themselves instead of embarrassing themselves in front of advisors and their own lower level staff. One thing was certain though, is that when a rot sets in into an organisation, be it a country or a company, without leadership of that entity “walking the talk” of addressing the problems faced, being reasonably transparent about how things will be changed, and being authentic and consistent in the execution of actions, it is unlikely that a platform of trust would be established and thereby does not get buy-in from people. In a poor country like the one where the project was being implemented, I had to first establish what their priorities were. For example, was cost containment more important than local development? Such a trade-off was required in balancing the skills required on a
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specialist project against the need to help the locals of the country through skills transfer and employment opportunities. Instead, certain politicians were hellbent on awarding the project to a less competent party without confirming even for themselves that this party possessed the necessary skills to deliver on the project – a gigantic and epic mistake that is ever more prevalent in generally corrupt governments worldwide. It’s a pity when such hidden agendas destroy entire countries. We are experiencing the same thing in South Africa, just at a whole new level. We have a leadership totally detached from the reality of the situation, evidenced by the increasing number of service delivery protests, increased violence and poorer competency of many officials. The two decades spent on redressing racial issues, focusing on enrichment instead of prima facie empowerment has finally shown the failure by the leading party on poor policy making. South Africa had learnt to succeed as an economy during its isolation, the ruling party had recognised that the apartheid policies did not serve all its citizens, however, in attempting to redistribute wealth, created a different apartheid, one based on economics, skills and expertise. It is this latter situation that’s even more difficult to come back from. How do you explain to ignorant people that they are ignorant? Ignorance, by definition is “not knowing” and brings its own peace. Maybe that’s what governments want, especially ours – keep the populous in the dark, uneducated and biased against other races – that division and lack of comprehension will keep everyone manageable whilst the rest go about their business. History and movies have taught us otherwise. The masses shall always rise when enough is enough and too much to bear. We are not far from that point. Let’s hope that enlightenment brings a peace and not more violence. Let’s hope sanity will prevail for all humankind! Vivien Natasen
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