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CONTENTS February 2017 Regulars

10 Editor’s letter 12 Five minutes with... Shoe designer Mary Alice Malone 14 Couture culture The worlds of fashion, film and art collide in February’s cultural round-up 62 In the frame Take sartorial inspiration from a vibrant palette of blossoming florals and bold graphic prints 108 Remembering Mayfair The life and times of Thomas Gainsborough

Features 18 A Leica less ordinary Marianne Dick studies a snapshot of a century

18 54 Canvassing the Union Camilla Apcar previews the Royal Academy’s latest exhibition 74 Home and away Bringing a piece of your favourite hotel home has never been easier 78 The art of speed A BMW Art Car is a desirable acquirable, says Matthew Carter 90 Burst the bubbles James Lawrence raises a glass with Olivier Krug 100 Pure shores Phuket’s Trisara resort is a slice of heaven, as Bethan Rees finds out

22 Testament of youth The young gallerists taking Mayfair’s art scene in new directions 26 Mind your manners Jennifer Mason meets Debrett’s etiquette masters at The Lanesborough London 30 Life of the party Be the host with the most of any social event

35 Collection

59 Fashion

82 Health & beauty

95 Travel

49 Art

72 Interiors

87 Food & drink

109 Property

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editor’s letter

editor

From the F E B R U A R Y 2 0 1 7 s i s s ue 0 6 5

Editor Hannah Lemon Deputy Editor Camilla Apcar Contributing Editor Lauren Romano Jewellery Editor Olivia Sharpe Watch Editor Richard Brown Acting Assistant Editor Marianne Dick Editorial Intern James Coney Senior Designer Daniel Poole Junior Designer Paris Fielder Production Hugo Wheatley Jamie Steele Alice Ford General Manager Fiona Fenwick Executive Director Sophie Roberts Managing Director Eren Ellwood

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6th Floor, One Canada Square, Canary Wharf, London, E14 5AX 020 7987 4320 www.rwmg.co.uk Runwild Media Ltd. cannot accept responsibility for unsolicited submissions, manuscripts and photographs. While every care is taken, prices and details are subject to change and Runwild Media Ltd. takes no responsibility for omissions or errors. We reserve the right to publish and edit any letters. All rights reserved. DISTRIBUTION: The Mayfair Magazine is distributed in Mayfair, St James’s and Belgravia as well as selected parts of Knightsbridge and Chelsea

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“Have no fear of perfection – you’ll never reach it” Salvador Dalí February often leaves us in limbo – stuck in the throes of winter and awaiting a new lease of life from spring. To tide us over, an array of artists, both at home and abroad, have filled our pages with the quirky, wondrous and weird. Camilla Apcar investigates the Royal Academy of Art’s latest exhibition of revolutionary Russian works (p.54), Marianne Dick looks behind the Leica lens as it upsizes its Bruton Street store (p.18), while I speak to illustrator Ayumi Togashi about her inky interpretations of the world’s biggest luxury brands (p.56). Plus, the eccentric Spanish Surrealist Salvador Dalí’s famous melting clock, which graces our cover this month, is part of a display at Eden Rock St Barths (p.95). It just goes to show that no matter where you are, inspiration is sure to follow.

Hannah Lemon Editor Follow us on Twitter @MayfairMagazine and Instagram @themayfairmagazine

On the

cover

Also published by

R u n wi l d M e di a G r o u p

Dalí, Dance Of Time II ©IAR (see p.95)

luxurylondon.co.uk A website. A mindset. A lifestyle.

Milano: Galleria V. Emanuele

ITALIAN TRAVEL BAGS SINCE 1952

Available at Harrods, Selfridges, John Lewis and caseluggage.com

Regulars

5 minutes with...

I was born and raised in the heart of the Pennsylvania countryside. It was a very

Roy and I are yin and yang. He handles the business side of things, playing to his strengths, while I design. The two aspects only combine when we come to market and merge for the sole purpose of refining our product.

creative atmosphere because we were detached from the rest of the world.

I was selected for the junior Olympic equestrian team.

I love my work. All of it! The

I learnt that perfection is something no one will ever need, but joy comes from constantly striving for it.

When I was younger I wanted to be an artist, a historian, a politician, and, hey, an Olympian. I guess none sufficed. I met my business partner Roy Luwolt in 2012 at a dinner party in Shoreditch. Neither of us particularly wanted to be there, if I remember correctly. I accidentally insulted a few of the labels that Roy had been influential in starting up, so we argued that night.

business, suppliers and people – they’re all really complex with varying nuances and moving gears, directly and indirectly flowing in to make it all possible. Shoes follow the same analogy. I find it all fascinating.

Mary Alice

Malone The American shoe designer on two-years of Malone Souliers and her chance meeting with partner in crime Roy Luwolt

After butting heads, Roy and I discovered a shared love of creation and craft. The next morning, we had a business plan drawn up for Malone Souliers and launched it in February 2014. Initially, we took orders from our London flat.

My inspiration comes from reading. Not fashion books or magazines. I read about psychology and things unrelated to style. Then I return to my atelier and my sketches begin with the consumer: who is she, how is she and what can I do for her?

I’m particularly fascinated by installation art. It’s an experience that invokes a feeling. You’re forced to interact with it, walk into its space and feel its energy.

My favourite pieces are the Dawns. They have a spring-olator contraption inside designed to keep them on the foot. I wear them ever so often. I almost feel embarrassed for wearing my work so shamelessly. CLOCKWISE from top: MaRY ALICE MALONE AND Roy Luwolt; mayfair head office and showroom; the Dawn shoe with springo-later contraption, in collaboration with Natalia Vodianova; HORSE RIDING ©meunierd/shutterstock; Pennsylvania countryside

Our head office is in Mayfair. It has great links for international supply chains and trade.

There is a culture of exquisite craftsmanship in the area. It’s

“Our head office is in Mayfair. The area has great links for international supply chains and trade” 12

borne from the legacy men have long enjoyed on Savile Row and Jermyn Street. We aim to convert that to the benefit of women.

My favourite quote has to be: “A mighty pain to love it is, And 't is a pain that pain to miss.” s l u x u ry l o n d o n . c o. u k s

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FROM LEFT: KEVANS Annie, Gluck, 2016, Women and the History of Art series; KEVANS Annie, Romaine Brooks, 2016, Women and the History of Art series

literary itinerary

agenda The Fine Art Society is opening its doors to three new exhibitions across five floors with a focus on female artists from the 19th century to the present day. The first is a retrospective on British painter Gluck, a trailblazer of her day who adopted men’s clothing, cropped her hair, smoked a pipe, and identified with no artistic school or movement. The second showcases 12 diverse artists responding to Gluck’s legacy, while the third showcase shifts attention towards the present, displaying the works of lesser known – as well as widely celebrated – talent. Gluck, Women Artists: A Conversation, and Modern British Women, 6-28 February, The Fine Art Society, 148 New Bond Street, W1S, thefineartsociety.com

Couture culture WORDS:JAMES CONEY

theatre

Amaluna An acrobat in a giant goldfish bowl, impressively flexible contortionists, and an all-female rock band. Cirque du Soleil’s Amaluna has packed in everything to excite audiences – and added two new awe-inspiring acts to boot. Banquine, an Italian acrobatic tradition, has artists performing spectacular synchronised sequences and human pyramids, while the addition of unicycles will have you perched on the edge of your seat. Based on Shakespeare’s Tempest, this production is sure to impress even the most unexcitable of people. Until 26 February,The Royal Albert Hall, cirquedusoleil.com/amaluna

Painter David Hockney and art critic Martin Gayford enter into a great discussion on the development of art in their new book A History of Pictures: From the Cave to the Computer Screen. The two experts delve into the meaning behind pictures as well as how they are created, examining everything from an African shell used as a paint palette to Leonardo da Vinci’s masterpiece The Mona Lisa. Each chapter addresses a new question, and accompanied by a variety of images, forces the reader to examine how art reflects the world we live in. £29.95, A History of Pictures: From the Cave to the Computer Screen by David Hockney and Martin Gayford, published by Thames and Hudson, thamesandhudson.com

Paul Gauguin, Vision of the Sermon (Jacob Wrestling with the Angel), 1888, National Galleries of Scotland

Regulars

top picks Striking sculpture

IMAGES COURTESY OF UNIVERSAL

Pop up a plinth for one of these works of art

#1 Vase, £2,600, thenewcraftsmen.com

FILM

Loving

oving is a historical drama inspired by the real events behind the 1967 US Supreme Court case Loving v. Virginia, which invalidated state laws prohibiting interracial marriage. Richard Loving (Joel Edgerton), a white construction worker, and his wife Mildred (Ruth Negga) of mixed black and Native American heritage marry in Washington, D.C. but

#2 Bowl, £320, alessi.com

are taken to jail by the sheriff on their return home to Virginia. Determined to change the course of history, they overcome unbearable injustices to clear their names and set the future right for couples across the nation. In cinemas from 3 February

#3 Marble bust, £15,000, mayfairgallery.com

Give your home a gallery-worthy makeover with these sterling silver partridges from A. Pash & Sons

#4 Crystal figurine, £360, lalique.com

£3,250, Marked for Berthold Mueller, Germany, and with Scottish import marks for 1936, each 16.5cm and 798g total weight, pashantiques.com

#5 Glass sculpture, £145, williamandson.com

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Local news The price is right

Mahiki matchmaking With Valentine’s Day and friends’ engagements, February can be a lonely time of year. Those between the ages of 23 and 35 need not fear, as Mahiki offers the chance to meet others in the same predicament. Take part in a series of four-minute dates followed all attendees to mingling together. These events, run by Date in a Dash, claim to have a 75 per cent success rate when it comes to finding a match, but for the unlucky remaining 25 per cent, they can attend the next one for free. 3 and 17 February (continues twice per month throughout the year), Mahiki, Dover Street, W1S, dateinadash.com

After 15 years of ups and downs, the Euro – a currency used by more than 330 million people across 19 countries – is being celebrated at the Spanish tapas bar El Pirata. Head chef Rosendo Simbana has created a €15 menu to commemorate the milestone with three signature dishes: Spanish omelette with potatoes and onions; black rice and squid; and prawns in olive oil, garlic bread and dried hot chilli peppers. To wash it all down, diners can choose from 130 Spanish wines. Salud! Until 28 February, El Pirata, 5-6 Down Street, W1J, elpirata.co.uk

Czech it out

Save the date

This month Czechoslovakian clothing brand Nehera is to open a new pop-up shop on the first floor of Fenwick. The department store’s windows will unveil the new S/S17 campaign, which was inspired by the work of contemporary Slovakian photographer Mária Švarbová. Her eerie images of pastel-coloured swimming pools are the basis for the label’s subtle palette of baggy beige frocks and flashes of bright colour. Nehera at Fenwick, 63 New Bond Street, W1A, nehera.com

The Residents’ Society of Mayfair and St James’s has confirmed that the 2017 Summer Garden Party at Mount Street Gardens will be held on Wednesday 14 June. Get ready for another fun-filled day of tasty snacks and sumptuous drinks. Fingers crossed for sunshine... rsmsj.com S/S17 CAMPAIGN BY Mária Švarbová

In Association with The Residents’ Society of Mayfair & St James’s Committee Members

Chair

Secretary

(Policy & Traffic)

(Crossrail & Finance)

Lois Peltz

Richard Cutt

Planning Applications Ronald Cottee (Planning)

Regulars

Bowled over After moving to England when he was 15 and serving in the Royal Air Force, Guyana-born Frank Bowling went on to become one of the most distinguished post-war artists. Now in his early 80s, Bowling is still producing his vibrant paintings, some of which can now be seen at The Arts Club on Dover Street. The new exhibition will display works from throughout Bowling’s 50-year career, including his acclaimed Poured Paintings and Map Paintings series. Frank Bowling, by appointment only, until 23 April, 10am-12pm, Wednesday and Saturday, The Arts Club, 40 Dover Street, W1S, theartsclub.co.uk

The monochrome mind Parting from Günther Förg’s normally bold and brash abstract shapes, Massimo De Carlo art gallery will be lining its walls with a series of his grey paintings, thanks to a collaboration with the estate that looks after his work. The solo exhibition will explore the ways in which the late German painter, sculptor and photographer used gesture, brushstrokes and space to explore rational and irrational themes of the human state. 10 February – 8 April, For Now: Grey Paintings from 1973-2009, 55 South Audley Street, W1K, massimodecarlo.com Günther Förg, Untitled, 1973, Dispersion paint on nettle, 161x139.5cm, Reproduced in: Catalogue “Günther Förg”, Kunstverein Hannover, 1996, Nr. 7.4., Courtesy of Massimo De Carlo gallery Milan/London/Hong Kong

Membership

Howard Evans

(Events & Membership)

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Traffic

Lois Peltz

From top: frank bowling, Gooding’s choice, 2014, acrylic on canvas, 199.3x189cm; frank bowling, Kathleen, 1976, Acrylic on canvas, 189x145cm, Images courtesy of the Artist and Hales London New York, Copyright of the Artist, Photography: Charlie Littlewood

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Derek Stratton

feature

Leica has just celebrated its centenary year and upsized its Bruton Street store. In a slowing market, Marianne Dick finds out what difference that red dot makes

Clockwise from left: Alfred Eisenstaedt, VJ Day, Times Square, New York, 14 August 1945 ©Alfred Eisenstaedt; Christer Strömholm, Nana, Place Blanche, Paris, 1961 ©Christer Strömholm/ Strömholm Estate; F.C. Gundlach, Fashion Report for Nino, Hamburg St. Pauli, 1958 ©F.C. Gundlach, all images courtesy of Eyes Wide Open! 100 Years of Leica Photography, published by Kehrer Verlag, edited by Hans-Michael Koetzle, designed by Detlef Pusch; the Leica M9

here’s no other brand quite like Leica. Countless blogs, societies and Flickr communities are dedicated to this relatively modest camera and sport optics manufacturer. Leica Camera AG opened its first London-based outpost in 2009 at 34 Bruton Street followed by the more spacious Leica café over the road at 27 in 2012. The store has been due an upgrade for a few years, so looking at its increasing product range, the brand decided to swap the two Mayfair establishments, both of which reopened at beginning of this year. “The Mayfair store is one of the most successful stores globally for Leica,” says Leica managing director Jason Heward. “[It’s] a real destination store. It’s far enough away from the beaten track for people to spend time here and not feel rushed, but still central enough for everyone to find.” According to the Camera and Imaging Product Association, 2016 was the worst for camera sales in more than 15 years. Why is it then, that Leica appears to be expanding its range of models (and stores), despite its notoriously high price tags?

s l u x u ry l o n d o n . c o. u k s

The company’s first camera protoype – coined Ur-Leica – was constructed in 1914 by Oskar Barnack, an employee in Wetzlar, Germany. The Ur-Leica was the first ever still picture camera for 35 mm perforated film that featured coupled film winding and shutter cocking. The pocket-sized specimen was a revolutionary invention compared to the cumbersome plate cameras of the era (Barnack was reportedly afflicted with asthma, which inspired him to design the Ur-Leica), yet the first edition – the Leica I – wasn’t presented to the public until March 1925 at the Leipzig Spring Fair. In 1932, the Leica II was launched, which included the integrated rangefinder that became a well-known feature of the brand. The rangefinder camera is held in high regard by photojournalists and street photographers as it has an almost silent shutter and allows the photographer to scan the scene with both eyes due to the offset viewfinder. The complex controls of the rangefinder camera may seem time-consuming at first, but it inspires users to be more precious with their shots. The exceptional lifestyle photographer and famous Leica user Henri Cartier-Bresson once said: “We must avoid, however, snapping away, shooting quickly and without thought, overloading ourselves with unnecessary images that clutter our memory and diminish the clarity of the whole.” The rangefinder revolutionised photojournalism, allowing people to discreetly capture high-quality images at the heart of the action. From 1925 to the 1960s, this subdivision of the media enjoyed a heyday, with magazines such as Life providing an insight into the world that many had never seen before. “If you look at the iconic photographs from the last century, most of them are taken on a Leica because it was the go-to choice for photojournalists and capturing those ‘decisive moments’,” Heward says, quoting Cartier-Bresson. The photographs Heward refers to document tragedy, euphoria and

everything in between, and we can conjure many of them easily in our minds. They include Nick Ut’s haunting, grainy picture of children running from a Napalm attack in Vietnam in 1972, Alberto Korda’s seminal image of Che Guevara and Alfred Eisenstaedt’s V-J Day snap of a sailor kissing a nurse. “Because we are a small company and we are different (we make handmade products and can do things that other companies can’t), I think that’s given us a special place in photographers’ hearts,” Heward says, using the Leica M Monochrom that only shoots in black and white as an example. The Leica M celebrated its 60th anniversary in 2014, the same year that the brand hit the

centenary milestone: an occasion commemorated with a special exhibition and accompanying tome, Eyes Wide Open! 100 Years of Leica Photography. A momentous product for the company, the M branches off into various different models still popular today, including digital versions that offer their own unique Leica formulae. The Leica M10 has just been launched: the slimmest ever digital M rangefinder. It offers the best of both worlds, fusing manual functions with technology, such as integrated WLAN connectivity. “Leica takes the view that a higher number of megapixels does not equal a better picture and actually what we find is that there’s an optimal equation between megapixels, optical quality and other processors in the camera,” says Heward. Leica’s unique image quality, intricate technology and aversion to mass marketing makes it enduringly appealing to photographers – a factor that assures a constant stream of consumers. “The whole practice of Leica photography is less about the camera doing it for you, so you think a lot more about the composition,” says Heward. “We find that people using our cameras have a different style of photography that is commercially very attractive.” Leica may always appear coolly ahead of the game when it comes to technology, however it can’t be denied that part of its charm lies in its aesthetics and the associations they conjure. Ellen von Unwerth’s iconic shoot with David Bowie and Kate Moss for Q magazine included a Leica camera as a prop, and filmmaker Stanley

“We find that people using our cameras have a different style of photography that is commercially very attractive”

feature

Opposite page, clockwise from left: the new Leica store at 27 Bruton Street; Tom Cruise and Carrie Fisher take a selfie at the BAFTAs 2016, by greg williams, ©Greg Williams; Rooney Mara and Cate Blanchett at the BAFTAs 2016, by greg williams, ©Greg Williams This page, clockwise from centre: the cover of Eyes Wide Open! 100 Years of Leica Photography; the Ur-Leica; John Coltrane, Monterey Jazz Festival 1960, photograph by Jim Marshall, ©Jim Marshall Photography LLC

Kubrick set the trend for mirror selfies with his device in the 1940s. Her Majesty the Queen is regularly spotted snapping away on hers. The little red dot that is Leica’s hallmark has thus become a symbol within popular culture, yet the company and its avid followers appear to have a love-hate relationship with it. On some models – such as the M-P digital rangefinder – the dot was not included in the design, making it “noticeably unnoticeable”, according to the brand. Leica has collaborated with names such as Paul Smith, Moncler and Hermès, and more recently with Greg Williams and Sarah Lee. The two shot candid behind-the-scenes photographs at the BAFTAs and the Olivier Awards. Leica is also commissioning photography by Magnum photographers; and the Mayfair store will exhibit a series of photographs by rock’n’roll photographer Jim Marshall in March. Heward notes that secondhand film camera sales are rising, an advantageous effect of the analogue revolution we appear to be in the midst of. According to the British Phonographic Industry’s 2016 data, 3.2 million vinyl records

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were sold last year: the highest amount since 1991. While Generation X may be baffled by this retro trend, Heward points out that many millennials and Generation Z-types have never lived in a world without digital cameras – analogue has become an unexplored and exciting avenue. “We’ve just brought out an instant camera like the polaroid,” says Heward. “When you actually give people physical pictures, they love it.” Even when Leica reflects on the past, like with the instant Sofort, it still has its finger on the pulse of the present and the future. So, what’s next? Heward doesn’t reveal much, understandably, but envisages that this pioneering brand will “continue to help people create the iconic images of this century as well as the last”. Henri Cartier-Bresson once said: “shooting with a Leica is like a long tender kiss, like firing an automatic pistol, like an hour on the analyst’s couch”. It’s a thrill, a comfort, a challenge and a companion, and by remaining true to its core values, successfully like no other. leica-camera.com

Storied galleries have lent Mayfair its brilliant reputation as an international art hub. But new blood is nudging collectors in new directions. Camilla Apcar speaks to the bright young gallerists and dealers leading the way

Megan Piper 32, contemporary gallerist

After graduating from the University of Edinburgh in 2008, Piper started working at Momart, the fine art handler. She also joined the Board of Governors of her former primary school, chaired by fine artist Vaughan Grylls, whose work inspired her specialism. In 2012 she founded The Piper Gallery in Fitzrovia, but closed after 18 months due to the loss of a backer. Last May she relaunched in St James’s.

In 2010 the Slade re-hung Vaughan’s 1970 degree show and his work was also included in a survey of Ikon’s 1970s programme. I was inspired to focus my attention on artists whose careers started at that time and, for me, it all started there.

I remember Patrick Caulfield’s exhibition at the Hayward Gallery so well. It was 1999 and I was 14 years old. I often think that exhibition put me on the road I’m on now, although of course I didn’t know it at the time. Artist Neil Stokoe was also a contemporary of

The most important thing in becoming a young gallerist is determination

FEATURE

Patrick Caulfield [the British graphic painter] at the Royal College. In February I’ll be opening an exhibition of his work: Staircases and Figures, which includes paintings from the early 1980s to the present day.

I recently made an important sale of early works by British painter and printmaker Tess Jaray, including paintings that were included in her 1988 Serpentine show. Having worked with Tess for five years, it’s fantastic to see her work getting the attention it so richly deserves. My clients are predominantly private collectors, many of whom have a strong interest in modern British and contemporary work. I’m also having more and more conversations with museums and public galleries about our roster of artists, and am working on a major public exhibition of artist and sculptor Edward Allington’s work in 2018.

Blue chip galleries and young gallerists bring different things to the table, and having clockwise from left: megan piper, photography: linda brownlee; Neil Stokoe, Man Ascending Staircase with Lying Woman, 2013-2014, Oil on canvas, 197.5x198cm; Edward Allington, Friendly Object, 2016, Ink and emulsion on ledger paper, 65x77cm, Photography: Sam Roberts; Piper’s francis west painting, courtesy of the estate of Francis West; paul de Monchaux install view, photography: Peter White

both in Mayfair is mutually beneficial. Audiences can be exchanged between the two, and visitors can see the work of established and emerging artists. Together they ensure the area’s vitality.

I think that for smaller galleries, collaborations are the future. A more flexible approach to dealing, including sharing spaces, makes for a more interesting and brighter outlook. It’s been great for me to be based at Harris Lindsay [the antiques dealer]. People have enjoyed the juxtaposition of old and new. I love the idea of people discovering smaller galleries operating from discrete spaces without window frontage. 67 Jermyn Street, SW1Y, meganpiper.co.uk

I have a small private art collection. The most recent piece I’ve purchased is a large charcoal drawing by Peter Darach, and I’m planning an exhibition of his work later this year. I have a number of artworks that are particularly important to me: a Self Portrait by Mark Wallinger; a red painting by Tess Jaray from her series After Malevich; and a wonderful painting of a boat being tossed in the sea that was given to me by Francis West, whose estate I now work with.

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because I felt I played a part in expanding their collection, instead of just adding to their wishlist.

About 30 per cent of our clientele are under 40.

A change I’ve noticed in the past few years is that younger collectors follow market trends much more closely than the veterans

Some young collectors are interested in speculative artists; others look towards young artists on the primary market, because they often come at more accessible prices. However, there are still those who are interested in more historical works from artists that are already established, as they feel that their investment is more secure that way.

I once had a client who texted me at 10pm looking for a work to give as a gift to a business associate the following morning at 8am. I WhatsApped him pictures of everything I had available on such short notice, which included the works hanging in the gallery as well as those in my apartment. At 7am he chose a Damien Hirst painting hanging in my home. I wrapped it in bubble wrap and hand-delivered it to the Dorchester breakfast room one hour later.

Omer Tiroche 25, modern and contemporary gallerist

Tiroche comes from “a bloodline of art dealers”. His father Micky has been a private dealer for more than 20 years – and after spending a summer at Sotheby’s Contemporary department, Omer opened his own gallery on Conduit Street in 2015. His French bulldog, Bamba, can be found roaming the premises, which is devoted to historically significant secondary-market exhibitions. He has a second gallery in Israel.

I’m proud to say that I don’t specialise in anything. I like to be as diverse as possible. Our most recent Picasso exhibition is being followed by a group show of three post-war Chinese artists.

My taste and the range of artists in our gallery is constantly developing. Exhibiting at

Mayfair has a historical significance that

art fairs exposes me to new artists and their work, and allows me to look into them further.

My first sale was a 1972 table piece by Anthony Caro, while I was exhibiting at an art fair in Basel, before I opened the gallery space.

My most exciting sale was a painting from our Victor Vasarely exhibition last year. It was to a California-based collector who was not previously aware of the artist. It was a gratifying sale

needs to be understood and respected by young gallerists, who bring fresh perspective to the area. clockwise from left: omer tiroche, photography: Ricardo Luger; Pablo Picasso, Nature Morte Cubiste, 1910, Ink and wash on paper, 60x50cm; Damien Hirst, Heart Spin Painting, 2009, Acrylic on paper, 50x55cm

There are bits and bobs that I keep for myself, but I try not to become sentimental. I tend to keep those by younger artists whose careers I’ve been following closely. I’ve acquired their works knowing that their markets aren’t fully established yet. 21 Conduit Street, W1S, omertiroche.com

FEATURE

Olyvia Kwok 33, art investment advisor

Kwok made her way into the art business through family collections and connections. At 23, the maths and 15th-century Chinese art graduate helped found an art investment fund for a private bank in Geneva; in 2005 she opened an eponymous gallery in St James’s, then closed it in 2010 to develop her art investment business, Willstone Management. She specialises in blue chip 19th and 20th-century art.

My taste changes every two to three years.

Art is definitely the new tangible asset class that holds value, and is a great hedge against currency risk

There were times when emerging markets were super-hot; then it was American Pop Art, German Abstractionism, American Minimalism. It’s been great because somehow I seem to have an afflatus when it comes to spotting new trends.

The first artist whose work I sold was Ling Jian, a Chinese avantgarde who lived in Berlin. When I first saw his art I knew that it was exactly what the West would think of as “hip” Chinese contemporary art.

My clients are mostly high-net-worth individuals or single family offices. We’re

difficult moments, but this market has proven itself over and over again. My next mission is to show institutional clients how fine art assets can be more transparent and liquid. We’ve invested in a new app for art pricing as well as launching the fund.

launching an art guarantee financing fund this year, backed by a US credit fund.

The greatest lengths I have gone to was for a Chinese client who is building his own museum in south-west China. He happened to be very passionate about André Derain, an artist in whose work I profess no expertise. But we had been in contact with the Derain Committee as well as top scholars and museum curators. We were able to find a fully documented diary by the artist and helped the client to purchase paintings directly from the estate. By the end I said that this was the most educational process I’d been through since boarding school. I certainly don’t remember reading so many books since my university days!

The art market has not only retained its size since the global financial crisis – it has actually almost tripled in size. There have been some

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My private collection changes all the time.

from top: olyvia kwok, photography: Joe McGorty; Zeng Chuanxing, Paper Bride, Grey Mood, 2007, oil on canvas, 150x90cm; Josef Albers, Homage to the Square, 1957, Oil on Masonite, 61x61cm

The first piece I bought was by Zeng Chuanxing, the Chinese artist who used to paint the Paper Bride series. And, like every gallerist or art person, I fall in love with the artworks I’m looking at and dealing in (at the right price, of course). My most recent purchase was a painting by Josef Albers. info@willstonemanagement.com

Debrettâ&#x20AC;&#x2122;s is one of the most famous names in British social history. To mark its new collaboration with The Lanesborough London and its wedding planning services for 2017, Rupert Wesson, academy director at Debrettâ&#x20AC;&#x2122;s, discusses decorum, nobility and the future of etiquette with Jennifer Mason

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THE WITHDRAWING ROOM AT THE LANESBOROUGH london

he English philosopher and writer Mary Wollstonecraft once said: “Men and women must be educated, in a great degree, by the opinions and manners of the society they live in.” For almost 250 years, since the first edition of Peerage & Baronetage was published in 1769, English society has looked to Debrett’s as the go-to comprehensive guide for the finer points of British etiquette and, for youthful debutantes, a refined directory of the most eligible bachelors in the country. But Debrett’s has long since moved on from the days when a person’s social standing was decided by their birth. Now with its feet firmly planted in the 21st century, the brand has evolved and while

the famous Peerage & Baronetage is still published every four years, more influential these days are the People of Today and Debrett’s 500, both of which celebrate inspiring people from all walks of life living and working in the UK. In recognition of the changing times – but also as a nod to Debrett’s history as an essential tool for socially aware Brits – the organisation has teamed up with The Lanesborough London hotel to offer advice on the niceties of British culture and their enduring importance in the modern day. The Guide to Social Etiquette & The Season offers a full-day tutorial exploring contemporary British attitudes to dining, etiquette, hosting and seasonal dress codes, with an overnight stay and

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lunch included at the hotel’s newly opened Michelin-starred Céleste restaurant. Debrett’s academy director Rupert Wesson, an ex-British Army officer and learning and development coach, believes the course has great relevance to modern Britain. “We like to think of the early editions of Peerage as the original social network,” he explains, as we discuss the origins of Debrett’s. “Contemporary references such as Vanity Fair reveal that an entry in Debrett’s was a sign of social standing, so ambitious parents like Jane Austen’s Mrs Bennet might have scrutinised its pages for prospective sons-in-law. In the past century, though, Debrett’s has expanded its catalogue from specialist biography to more general guides on etiquette.” The Debrett’s Training Academy was established in 2014 as a natural extension of the brand’s expertise in social and interpersonal skills, and has since delivered coaching in networking, personal impact, interview

techniques and public speaking to companies and individuals around the world. “The skills Debrett’s teaches through its academy are more relevant than ever,” Wesson claims. “A 2015 report found that these ‘soft’ skills – which include communication, professionalism, leadership and good manners – are worth £88 billion to the UK economy each year.” Adopting a good dose of traditional politeness goes a long way when it comes to business today and, increasingly, Debrett’s is being approached by international companies seeking commercial opportunities in the UK. But for those of us without the weight of industry on our shoulders, what will the course at The Lanesborough London hold in store? “Most of what we teach is about how to portray confidence and put others at ease in every situation,” Wesson says. “This is as relevant for

social situations as it is for business. We look at formal and informal dinners, parties, sporting events and other social occasions. “In order to help people increase their confidence, we show them what they can expect, as well as how to dress and act. Ultimately, we want people to enjoy these events and to leave a positive and lasting impression on everyone they meet.” With social influencers like Kit Harington, Rosie Huntington-Whiteley and Cara Delevingne on its books, it’s clear that Debrett’s is keeping abreast of the times. But with modern manners evolving as rapidly as our social media obsessions, how relevant are these skills to the next generation? “Many of our courses for young people cover social media and the importance of managing profiles online and monitoring privacy settings,” Wesson explains. “As young people face competition for jobs and universities,

“Society in Britain has become less deferential – some people confuse this with bad manners, but we are, in my view, better for it”

fROM LEFT: THE WELLINGTON ROOM; THE GREAT HALL, BOTH AT THE LANESBOROUGH LONDON

the debrett’s wedding guide

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we teach interview skills and networking.” In 2014, Debrett’s published its contemporary handbook on good manners. The book tackled contemporary issues such as when and where it is rude to use mobile phones (during meal times, at the shops, in the cinema or indeed anywhere where another person is present, in case you were wondering), the subject of blind copying in emails and eating on public transport. “Nothing stands still, and that includes the way we treat each other,” Wesson says. “Society in Britain has become less deferential – some people confuse this with bad manners, but we are, in my view, better for it. The younger generation is more open-minded and more tolerant. “If the older generation doesn’t like the way the younger generation acts, they have only one place to look. Manners are contagious and this applies equally to good and bad ones.” To further highlight the relevance of Debrett’s in the 21st century, the publisher has announced that this Valentine’s Day, it will be launching its own wedding planner app for modern couples. Sharing 250 years’ worth of expertise, features include a schedule for building a customised checklist of things to do before the big day; a

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wedding day countdown; frequent notifications sending reminders of looming deadlines; budget tracking; and an ‘inspiration’ section whereby you can consult the Debrett’s official guide on topics such as invitations, the guest list, seating plans and dress code. If you are in need of further advice on how to plan your wedding day, last year Debrett’s launched its Wedding Essentials consultancy services, whereby etiquette experts are on hand to offer the bride and groom answers to any remaining questions they might have. As of this year, Debrett’s has partnered with The Wedding Shop to assist couples in choosing wedding presents they will treasure forever. Finally, a new edition of the Debrett’s Wedding Guide will be unveiled in March to mark the ten-year anniversary of the first edition. The text largely stays true to the original, but has been modernised and updated to acknowledge changes in wedding culture over the past decade. Judging by the wide array of social backgrounds and nationalities now benefiting from its instruction, the days of Debrett’s as a handbook relevant only for the upper echelons are long gone. It might still cover the order in which you’re supposed to use the relevant cutlery at dinner – but Debrett’s is also teaching future generations of world leaders about respect, confidence and social skills, and that is most definitely worth celebrating. A Guide to Social Etiquette & The Season, from £1,875pp, including lunch at Céleste, an overnight stay at The Lanesborough London and a private, six-hour course. A Guide to Tea, from £195 per person for 90 minutes, available for a minimum booking of four people. lanesborough.com/etiquette

Life party

of the

Worried about guests hanging around for too long or flowers getting in the way of a good conversation? Event planner Bruce Russell suggests five hassle-free ways to plan a party, while expert florist Paul Thomas adds some helpful advice on the blooms to pick

Cocktail reception at home Guests: This depends on the size of the entertaining space, but, remember, you’re hosting, so make it manageable. In most instances, I’d say a maximum of 50 people. Food: Canapés and bowl food should be served. Make sure it’s plentiful and visually striking as it will be the mainstay of the catering. Have lots of options for different dietary requirements.

Drinks: Serve champagne (you can’t go wrong with the classics – my personal favourites are Veuve Clicquot, Laurent-Perrier, Ruinart and Nyetimber), red and white wine, and don’t forget original non-alcoholic options; people are getting tired of elderflower and sparkling water. Don’t overreach yourself. If you do want to offer cocktails, then pick one signature drink and make sure you know how to make it.

Time: 7-11pm, but with a view to things running a little later. Entertainment: You will want background music, but nothing that will disrupt conversation. Maybe a duo or a small swing band, space permitting. Also, think about the acoustics: can the room support the sound?

Dress code: Cocktail comfortable. Suggest cocktail dresses but as it’s at home, people can afford to be a little more informal. Hiring and firing: It is better to have no staff than bad staff. Briefing them before the party is crucial to make sure that they look – and sound – the part. Don’t be afraid to be specific either (e.g. no facial hair or wear a particular uniform), so you don’t get a shock on the night. T o p t i p f r o m Pa u l T h o m a s Nothing beats candlelight for creating a warm, inviting atmosphere, but avoid flame at eye level as this creates a blind spot. Little nightlights scattered around flowers create a pretty twinkling effect. Plus, the low-level light is rather flattering as well.

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Afternoon summer buffet Guests: Bear in mind that a British summer can be unpredictable, so having shelter in case of rain will be important if guests can’t be accommodated indoors. Around 50-75 guests, including kids, will ensure a good buzz without fear of overcrowding. Food: I love having separate food stations, some staffed by chefs cooking, as well as some with pre-prepared options. Why not have a grill, a seafood stand and plenty of salads and vegetarian options? You’ll want an abundance of food so that nobody goes hungry and people can graze all afternoon. It’ll also means that any late arrivals are easily accommodated. Drinks: It’s really fun to have a punch with an alcoholic and non-alcoholic option. Make a big batch ahead of time and let people serve themselves. Mini bottles of beer and champagne in ice buckets provide a good option for larger groups as people can grab their own drinks without the host having to make endless rounds with a tray.

Time: 2-6pm, but things could run on. Entertainment: You can have lots of fun here with something performance-based. For example, if you have a pool, you could have a synchronised swimming showcase. Dress code: Summer casual. Calling it a day: To subtly hint that the occasion is drawing to a close, ensure that food service finishes at least 30-40 minutes before closing, and tweak the tempo of the music. The key is to have gradual change without ever seeming inhospitable. Having pre-booked taxis offers a clear sign, while invitations often include a time for ‘carriages’.

T o p t i p f r o m Pa u l T h o m a s For more extravagant parties it can look wonderful to have flowers above eye level using tall clear glass vases holding flowers above. This method of decorating will really help furnish a large open space like a marquee. When using transparent vases, it’s essential to keep the water as clean as possible. I recommend purifying the water; Milton Sterilising Tablets work a treat.

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An evening meal Guests: The sky’s the limit here, but make sure the guest list befits the occasion. Whether it’s a dinner for ten or 200, the key will be in the experience that you offer. Food: Depending on the scale of the event and the venue, a carefully crafted menu with three or more courses is a good option, or à la carte if the restaurant can handle it. If there are pre-dinner drinks, then a few canapés can be served, but you don’t want to spoil people’s appetites so a little quantity control is required.

Drinks: There should be a good wine list to complement each course and a range of digestifs after dinner. Time: Drinks at 7pm, with dinner at 8-11pm. Entertainment: This is an occasion that requires subtle background music and the repertoire should be tailored according to the size of the dinner and venue. You could opt for a live pianist with some vocals, but the performance shouldn’t be unduly distracting.

Dress code: Formal, but do specify if you mean black tie or for ladies to wear long dresses. The key with a dress code is to be clear and specific – it’ll ensure that the event looks the way you’d like it to. Plus, nobody likes to turn up to a party feeling under or overdressed. Table plans: Don’t separate couples and think about the dynamic of the group as a whole, with due consideration given to creating the right chemistry and who will and won’t get along.

T o p t i p f r o m Pa u l T h o m a s Make sure you choose a tablecloth in a shade that is complementary to the flowers. And always follow the golden rule with table decorations: make sure your guests can still see each other. Test the flower height by sitting at a table and judging how high you can go before hindering your guest’s view. One of the joys of flowers is their perfume, but be a little wary of over doing it as some blooms, such as white lilies, can be quite off-putting with food.

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Party abroad

Afternoon tea

Guests: Overseas outings tend to be better

Guests: It is an intimate occasion, so best to have around five to ten guests for the right ambience.

suited to closer friends and family.

Food: This should be locally themed and really play to the strengths of the destination. Whether you opt for canapés, brunch or a sit-down lunch or dinner, make sure your catering decisions are based on what suits the destination, type of event and venue.

Food: You can get creative when it comes to presentation, but I’m a bit of a traditionalist when it comes to ingredients. I love the classics: finger sandwiches, pastries and, of course, scones with clotted cream and strawberry jam.

Drinks: Where possible, choose local ingredients

like to be a bit more quirky, how about a tea-based cocktail?

and make it fun and visually impactful.

Time: This entirely depends on the type of party, destination and climate – it might be an afternoon affair aboard a yacht or a dinner under the stars.

Entertainment: DJs with a carefully curated playlist are often a good bet for parties abroad. There might be some logistical considerations when it comes to flying acts in or sourcing the right calibre locally, but where possible a few options that showcase the local culture will be well received.

Drinks: Classic champagne is a must, or if you’d

Time: 3-5pm. Much later and it moves into cocktail hour! Entertainment: You could hire a pianist or maybe a harpist, but nothing too intrusive. For a contemporary twist, hire a DJ, but remember that entertainment for afternoon tea is only ever a subtle addition. Dress code: This is a good opportunity to dress up. I’d call for cocktail attire – dress and heels – to inject the right kind of elegance.

Dress code: Pick a dress code that people can

Catering: A good catering company will be able

easily pack in their suitcase.

to turn their hand to different occasions and work collaboratively with the host to deliver stand-out food and drink. I often use Last Supper, Urban Caprice and Bubble Food. It’s essential to agree the brief and budget right from the start and to do a menu tasting.

Invitations: Give as much notice and detail as you can: location, timings, distances, will people need to take time off to travel? A ‘save the date’ can go out from nine months before the event, with invitations sent two to three months prior. You can also send out a taster of what guests might expect at the party, such as a box containing a mix for the signature cocktail that will be served on the night. These personal touches can really lift an invitation and turn it into something special.

Party favours: Guests will rarely finish afternoon tea, so a beautifully packaged box of leftover goodies is always a welcome treat, perhaps accompanied by a blend of the tea that was served. T o p t i p f r o m Pa u l T h o m a s

T o p t i p f r o m Pa u l T h o m a s For a large-scale event ask your florist to develop a mood board for the look and ambience you want to create. I love to take clients to the flower market with me. A few hours of research there will help no end with budgeting and inspiration.

Selecting the right hue of flower can make all the difference. It’s good to choose an accent colour from the room so your arrangement is in harmony with the space. Other factors to consider are the season: hot clashing colours for autumn, and soft pastel shades for early summer.

bybrucerussell.com, paulthomasflowers.co.uk

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creedfragrances.co.uk

27205 Creed Vetiver Ad_Run Wild Media_210x297.indd 1

09/01/2017 10:54

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haumet is a jeweller steeped in romance. It was founded in Paris in 1780 by MarieÉtienne Nitot, one of the jewellers to Napoléan I, who would commission spectacular pieces for his wife, Joséphine. Fast forward to today and the house is still putting the happiness of couples first. Last year it opened its first boutique dedicated to marriage at 12 Place Vendôme, and has now launched a special Paris city guide app. You, Me, Paris invites couples to rediscover the romantic French capital with recommendations on its best boutique hotels, shops, restaurants, bars and cultural walking tours. Available to download from the App Store in English, French and Mandarin, itunes.apple.com

From

PARIS with L’Amour à Paris campaign, image courtesy of Chaumet

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LOVE 35

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Green with Envy

A labour of love Like the Van Cleef & Arpels Alhambra pendant or the Bulgari B. zero1 ring, Cartier’s Love bracelet is an iconic piece that every woman should own. Designed by Aldo Cipullo in 1969, this cuff was inspired by ancient cultures and the concept of a chastity belt, and is fitted onto the wearer using a small screwdriver to symbolise eternal love and devotion. The timeless piece has been reinterpreted this year into a more delicate version, with rings now also available, but otherwise remains true to the original design – its classic oval shape punctuated with screws. From £3,250, 175-177 New Bond Street, W1S, cartier.co.uk

Jewellery news

WORDS: OLIVIA SHARPE

To new extremes Launched early last year, the Extremely Piaget collection has been expanded to include eight new pieces that exemplify the maison’s masterful jewellery techniques. The latest Palm Tree jewels are based on a Piaget emblem and have been brought to life using an innovative goldsmithing technique unique to the house: the Palace Décor. This engraving process endows gold with a mesh-like texture akin to raw silk and gives the leaves their shimmering, naturalistic quality. POA, piaget.com s l u x u ry l o n d o n . c o. u k s

At the end of last year, Pantone announced ‘Greenery’ as the 2017 Colour of the Year – described as “a fresh and zesty yellow-green shade that evokes the first days of spring”. Taking this as their cue, jewellery designers’ 2017 collections are positively bursting with this refreshing shade. British jeweller Theo Fennell’s latest collection includes a number of green-hued gemstones, such as the new Bee Different pendant featuring a green tourmaline offset with 18-karat yellow and white gold, and the mesmerising tourmaline and diamond Halo Wave ring with 18-karat white gold. Visit the store to discover more. Green tourmaline Bee Different pendant on 18-inch chain and Halo Wave ring, both POA, Theo Fennell, 169 Fulham Road, SW3, theofennell.com

Merveilles to Behold The new Les Merveilles collection by family jeweller Boghossian introduces a groundbreaking new diamond-setting technique that captures the purest light reflection in diamonds. By setting stones using the smallest amount of metal possible, it permits an uninterrupted flow of light, enhancing the overall brilliance of the diamonds. It has taken Boghossian craftsmen four years of experimentation to achieve and has been highlighted to particular effect in a pair of diamond hoop earrings, which shine vividly, and a reversible necklace that can be worn two ways: one side set with rubies, the other with diamonds. From a selection, boghossianjewels.com

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above “T

hey don’t make them the way they used to” is a phrase we have all heard the older generation spout. While it may be hackneyed, there is often a lot of truth in it, particularly when applied to antique and vintage engagement rings. Of course, you can’t go wrong with a modern engagement ring, but there are many benefits to choosing antique and if you’re in the market for a one of a kind, I don’t believe anything else quite compares. There are various different periods from which to choose. Georgian rings, undoubtedly the rarest and hardest to find, are characterised by their closed-back settings and use of rose-cut diamonds.

Platinum had not yet been discovered, so rings were typically set in 18-karat gold with silver then added on top, as this was the only white metal they had at the time. “This is why you will often find Georgian rings look quite dark in colour because the silver has tarnished over time,” explains Susannah Lovis, an expert in antique jewellery. Some of the most popular designs included cluster rings, single and double-heart styles, and the five-stone ring (similar to a modern-day band). Many factors influenced the evolution of the engagement ring in the Victorian period, including the opening of the African diamond mines in the 1870s, the discovery of platinum (which replaced gold and silver settings), and the

this page, clockwise from top centre: Diamond ring with baguette shoulders, £10,500; round brilliant-cut diamond ring with pear-cut shoulders, £24,000; round brilliant cluster diamond ring set in platinum, £65,000; Art Deco-style emerald cut diamond and sapphire ring, £7,400; emerald-cut diamond ring, £26,600; emerald-cut emerald ring with diamond set, £19,900; Art Deco sapphire and diamond ring, £5,500; oval-cut emerald and diamond cluster ring set in platinum, £2,700, all Susannah Lovis. opposite page: French ruby and diamond marquise ring, c.1910, POA, Lucas Rarities Ltd.

Choosing an engagement ring is always difficult, but choosing an antique ring can be a minefield if you don’t know where to look. Olivia Sharpe speaks to expert jewellers about how to find the perfect piece

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introduction of lower-karat gold alloys. Notably, the solitaire engagement ring, one of the most popular styles today, made its debut during this time. Edwardian rings are distinguished by elaborate floral and garland designs, colourful gemstones (used to accent surrounding diamonds), and pearls. The pared-back, clean and geometric lines of the Art Deco styles, meanwhile, are arguably the most recognisable of all. This is, of course, just a rough guide and only an expert would be able to provide comprehensive insight. When it comes to finding the perfect antique engagement ring, your best port of call is Burlington Arcade. This vintage jewellery treasure trove is where Lovis has been based for the past 20 years. Her extensive collection includes pieces dating from the Georgian period right up to the 1970s. Lovis explains how the demand for antique and vintage rings has never waned as customers will forever be drawn to owning an original piece. “You can go and find modern engagement rings on Bond Street in any of the big-name jewellers, but there’s no point in us trying to compete with them,” she says. “Often, our customers see the charm in antique and vintage rings, but they don’t quite understand why they like them.” Lovis believes the main reason why her clients prefer antique to modern is down to the cut of the diamond, which has changed dramatically over the years due to technological innovations. “People don’t make them the way they used to, diamond-wise,” she explains. “Diamonds now are cut to perfect proportions by lasers to achieve the ultimate internal reflection of light, whereas diamonds in the Victorian and Edwardian eras were cut by hand, making each one completely unique.” The most notable difference you will spot between an old-cut and modern diamond is its sparkle. The earliest form of a modern

brilliant-cut, old-cut diamonds were purposefully shaped to give off the maximum amount of sparkle under candlelight, whereas today’s cutters prioritise the size of the stone. Diamonds remain the most popular, even when it comes to antique engagement rings. Grays Antiques Centre in Mayfair specialises in these, having around 40 to 50 different styles in varying prices and sizes that date from 1920 to 1935. Grays dealer Robin Haydock explains how many of his clients are looking for a traditional four-claw diamond setting, but like the idea of antique because they want something different from the modern machine-made rings that dominate the current market. “If you were to look around a dinner table at what people were wearing, you’d see quite a lot of uniformity,” he comments. “Most people are concerned about the diamond’s colour and quality, but a piece from the 1920s is going to stand out irrespective of colour or clarity.” Like Lovis, Haydock notes how all the handwork that went into making engagement rings during this period was extremely detailed and intricate. For example, jewellers would typically hand file the claws, giving them a beautiful lacy pattern that you just won’t see today. It is finer details such as these that help the likes of Haydock distinguish between a genuine Art Deco ring and an imitation, of which there are many. As a member of LAPADA (the Association of Art & Antiques Dealers), he is obligated to honour its code of practice in offering clients the best advice and guaranteeing with due diligence that he can trace the origins of a piece. In-depth research and discovering the best stones from around the world are what motivate Guy Burton, the bespoke jewellery director at Hancocks London, also in Burlington Arcade. He and his family bought the jewellery business, first

“Diamonds in the Victorian and Edwardian eras were cut by hand, making each one completely unique”

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Many of Burton’s commissions are bespoke and one of his most recent was a beautiful Art Deco engagement ring featuring a 1.93-carat central stone. “This is how all emerald cuts should look,” he argues. “The hallmark is these really big cut corners that give it its geometric faceted pattern. Craftsmen wouldn’t do that now because clients’ main concern today is size and retaining as much of the diamond’s weight as possible.” Another preoccupation is often with colour – the myth being that the whiter the stone, the better it is. But as Burton points out, colour is not a quality test for a stone, but merely a question of how much nitrogen it contains. Saying that, whiter stones are undoubtedly the more coveted, hence their higher value, but Burton has sourced some beautiful yellower stones, too. One in particular is a 9.66-carat old European brilliant-cut diamond ring; graded M and L on the colour spectrum. Its soft yellowy hue is cleverly offset with an 18-karat yellow gold carved hoop. While diamonds are the number-one choice for engagement rings, coloured gemstones are also highly sought after. According to Lovis, sapphires continue to be the most in vogue (no doubt partly due to the Duchess of Cambridge’s inherited ring), but emeralds have come back in a big way and she has several dating back to the Victorian period. Although there is a prevailing myth that these stones make for bad engagement rings due to being brittle, she stresses that this is a common misconception and they are in fact very tough.

This page, from left: LAPADA London 2016, Photography: Plinth Creative; Susannah Lovis store front, Burlington Arcade. Opposite page from top left: 4.34-carat vintage-cut emerald-cut diamond ring with tapered baguette-cut diamond shoulders, POA, Hancocks London; ruby, sapphire and diamond double heart ring, 1860, POA, from Mariad Antiques at Grays Antiques Centre; 1.28-carat fancy yellow diamond old mine cushion-cut ring, POA, Hancocks; 4.09-carat early Asscher-cut diamond in vintage ring with baguette-cut diamond accents, POA, Hancocks; 1970s Oscar Heyman & Brothers ruby diamond platinum cluster ring, £46,000, 1stdibs.com; ruby diamond three-stone ring, POA, from The Antique Jewellery Company at Grays Antique Centre; 4.58-carat vintage cushion-cut Ceylon sapphire ring, POA, Hancocks; 1920s Art Deco Sapphire diamond platinum ring, POA, 1stdibs.com

established in 1849, in 1992 and they have successfully brought antique jewellery into the 21st century with their contemporary approach. Unlike a traditional antique store (which can often appear cluttered and stuffy), Hancocks is clean and minimal. Burton specialises in sourcing old-cut stones and arranging them in modern settings. However, he refuses to adopt contemporary methods such as CAD design, believing the old hand-craftsmanship methods to be infinitely superior. This is therefore why all the pieces are made in the workshop the company has employed since 1850. “The easiest way to think of it is like a Savile Row suit,” he says. “You get the best tailors who make the finest suits because it’s the attention to detail. You’re never going to get an old-cut stone that’s 100 per cent symmetrical so a ring can take up to two months to be made properly.” Burton is passionate about Art Deco stones and prides himself on being able to source the best thanks to his impressive list of contacts, many of whom are based in America (where much of our period jewellery was exported to during the 20th century and where this kind of jewellery continues to hold the biggest market worldwide). “The antique world is a very small niche and community, and it’s a dealer of passions,” he states. While it’s not difficult to find old-cut stones, the vast majority of them are badly cut so the jeweller must wade through a lot of rough before finding the perfect diamond.

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While diamonds are the number-one choice for engagement rings, coloured gemstones are also highly sought after

Dynamic and forward-thinking antique dealer Sam Loxton, who has been running Londonbased antiques store Lucas Rarities Ltd. for several years, has many rings intended for those looking for something unconventional – including a large number of 20th-century signed pieces by the likes of René Boivin, Suzanne Belperron and Pierre Sterlé. Along with sourcing period and vintage pieces, Loxton refashions old jewels brought in by clients. Lovis also offers this service: one of her clients recently came in with a five-stone ring that she had inherited but was too big for her to wear, so Lovis instead transformed it into a threestone ring and made earrings from the remaining diamonds.

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To highlight how the antique jewellery world has moved with the times in recent years, you can now also source a vast array of antique and vintage jewellery online at 1stdibs.com, which carries engagement rings dating from the Georgian period onwards. Lovis believes that our love for reworking something old and transforming it into something new is what has kept the antique jewellery market thriving all these years. “Women get an idea of what they want as their engagement ring from a young age,” she says. “If their mother wore a solitaire ring, then that’s what they inevitably want. The idea of vintage and reusing comes from childhood and it stays with us as adults.”

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Thin blue line The quickest way to success is to identify what you’re good at, and then learn to do it better than anyone else. For 60 years, Piaget’s ‘thing’ has been thin watches. In 1957, the manufacture launched the Calibre 9P, the first ‘ultra-thin’ hand-wound mechanical movement at 2mm. In 1960, the Calibre 12P became the thinnest automatic movement at 2.3 mm. Now, 15 years after the Calibre 600P (then the world’s thinnest tourbillon) and three years after the Altiplano 900P (the thinnest hand-wound mechanical timepiece), the brand has unveiled the anniversaryinspired Altiplano 60 collection. First to join the series are two 18-karat white gold, time-only pieces: a 38mm hand-wound watch and a 43mm self-winding alternative. Expect more additions to land later in the year. Altiplano 60th Anniversary Collection, £16,100 (38mm), £21,500 (43mm), piaget.com

IN BRIEF APPLE CLOSES SELFRIDGES WATCH CONCESSION Despite launching its second series smartwatch last autumn, Apple is closing its ground-floor watch concession in Selfridges. While Apple leads the smartwatch sector by a considerable margin, the announcement follows lower-thanforecast sales figures.

Watch

news

W O R D S : r i c h a rd b row n

A smartwatch success story TAG Heuer is celebrating a year in which it sold 50,000 of its Connected watches by issuing a new version of the timepiece in 18-karat rose gold. Sales of the smartwatch helped TAG Heuer record ten per cent growth in 2016, a year in which worldwide exports of Swiss watches declined by 11 per cent in the first ten months. TAG Heuer’s chief executive, Jean-Claude Biver, told Reuters he expected sales to increase to 150,000 in 2017. The water-resistant 46mm TAG Heuer Connected rose gold watch features 4GB memory, a lithium battery for a full day of power, and Google Voice integration. Original titanium, £1,100, rose gold, £7,500, tagheuer.com 42

SHOCK DEPARTURE OF ZENITH CEO At the start of January, Zenith abruptly announced it had parted ways with former CEO Aldo Magada. Jean-Claude Biver, watch president at Zenith parent company LVMH, takes over short-term management.

BREMONT BACKS OUT OF BASEL Bremont has decided not to exhibit at the world’s largest watch fair, Baselworld, choosing instead to showcase its 2017 collection on home turf. The Bremont Townhouse takes up residence in London at 33 Fitzroy Square for a week from 27 February.

SWITZERLAND BUYS BACK £1 BILLION WORTH OF WATCHES IN 2016 During a year in which sales slumped across Asia and Europe (the UK excluded), Swiss watchmakers were forced to buy back an unprecedented number of units from stockists faced with unsold inventories. “Almost 1.3 billion francs worth of timepieces were sent back in the first 10 months,” says Bloomberg.

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Ladies first Male-centric brands are starting to experiment with women’s watches, producing a surprisingly wide range of results, says Laura McCreddie-Doak

hen your tagline used to be “engineered for men”, chances are women aren’t really a priority. So when IWC announced that the latest of its collections to get a revamp was going to be the Da Vinci, and that it was going to be aimed at women, the news raised a few eyebrows. IWC has been flirting with the female market for a few years now. Last year, its Pilot range included a couple of models for the fairer sex

and, although it didn’t say so explicitly, so as not to scare off the Asian male customer, the Portofino 37 was definitely a foray into more female-centric timepieces. “With the new Da Vinci collection, we are consciously trying to anchor the brand in the minds of women, who account for a significant proportion of watch lovers,” explains Franziska Gsell, chief marketing officer at IWC Schaffhausen. “Here in Schaffhausen, the

Women will control close to 75 per cent of discretionary spending worldwide and they own around a third of all global businesses

Portofino 37mm, £4,950, IWC, iwc.com

company has been manufacturing watches for women since the very beginning. In that sense, we are remaining true to our heritage.” Of the complete Da Vinci range, the Galactic 36 Automatic, Automatic 36 and the Automatic Moonphase 36 rose-gold, £29,620, are explicitly for women, while the Automatic Breitling, breitling.com is unisex at 40mm. “With the Da Vinci Automatic 36 and the Da Vinci Automatic Moon Phase 36, we are re-establishing an old tradition of creating selected models from the Da Vinci line especially for women and Solo 32, £2,795, adding diamonds or fashionable Bremont, bremont.com straps and bracelets as features,” explains Georges Kern, CEO of IWC Schaffhausen.

Big Bang One Click King, £11,000, Hublot, hublot.com

Hublot brand ambassador Bar Refaeli

collection

Bing Bang Broderie Sugar Skull, £22,900, Hublot, hublot.com

IWC isn’t the only brand that has started to take the women’s market, and its potential spending power, seriously. According to global professional services firm EY (formerly Ernst & Young), by next year, the global incomes of women is predicted to reach $18 trillion. Women will control close to 75 per cent of discretionary spending worldwide and they own around a third of all global businesses. By 2018, it has been predicted that spending by women will balloon to $28 trillion. So it’s no wonder that megabrands such as Nike are targeting this demographic with initiatives like its femaleoriented ‘Better For It’ campaign, eschewing the traditional advertising tropes that sport is purely the preserve of men. While watch brands aren’t exactly ripping up the rulebook and booking Amy Schumer to star

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in their latest adverts, more and more brands are expanding their gendered outlook. One such brand is Bremont. With its aviation associations, explorer ambassadors and having been founded by two brothers, Nick and Giles English, you’d think that everything about Bremont would be geared towards men. And it was, until last year, when the brand launched its first-ever collection for women. Based on its Solo design, it is the ideal watch for those women who like their watches functional and not overtly feminine. “It was very important to us that we kept the key Bremont DNA running through the range. We wanted something, perhaps a little more feminine size-wise, and arrived, after much debate, at the 32mm case,” explains Nick.

Galactic 36 Automatic, gem-set, £8,770, Breitling, breitling.com Portofino 37mm, £14,500, IWC, iwc.com

“The integrity of the Solo 32 range is on a par with any of the larger case models. They have beautifully finished chronometer-rated mechanical movements and their three-piece case design is derived very much from the classic Bremont ‘Trip Tick’ or three-piece case. The dials then were never going to be focused around being a piece of jewellery or following a particular trend or fashion, but something we felt would be very beautiful and obviously fairly timeless.” It wasn’t reading Marketing Week that inspired Bremont to create the collection, but feedback from existing customers. “We have had many conversations over the past few years from male

collection Big Bang One Click King Gold, £20,500, Hublot, hublot.com

Solo 32, £2,795, Bremont, bremont.com

Bremont owners saying that their wives would love to wear a Bremont but that the large case size would be an issue,” says English. “We have also had the same feedback from a number of ladies Solo 32, £2,695, themselves. The delay from doing this Bremont, bremont.com earlier for us was always the movement. We wouldn’t build one unless we could ensure it was mechanical, reliable and beautifully finished. The time has come, and we have achieved this with Portofino 37mm, the Solo 32. It really is a beautiful little watch.” £8,250, IWC, iwc.com As more women have become interested in mechanical watches, so the definition of what Bing Bang Broderie constitutes a “beautiful little watch” has shifted. Sugar Skull, £10,200, What used to be available was something in a Hublot, hublot.com pastel shade, covered in diamonds and usually “Ladies are now also more interested in a quartz, but demand for things a little less pretty mechanical movement so Hublot has integrated and a little more punchy has allowed traditional automatic movements into women’s watches, even masculine names to enter this market with on its 33mm diameter watches, which are mostly interesting results. dedicated to women because of their dimensions. Brands such as Hublot and Breitling have had Finally, women want to have less classical watches, to work out how to femininise some of their but instead are interested in watches with a unique iconic designs such as the Big Bang and the Galactic in a way that appeals to women, without design. That is what we did with the Big Bang Broderie, for instance. They are really different losing design codes that made them appeal in from what we were used to seeing on women’s the first place. wrists and this collection worked very well.” Biver has shown that his timepieces can be worn on the red carpet by signing model and actress Bar Refaeli as an ambassador. Breitling has gone down the more welltrodden route of shrinking a man’s watch, slimming it down and making it more wearable for a woman’s wrist. It’s not as imaginative as the lead taken by other brands, but it does bring a techy, pilot-style option into a woman’s watch wardrobe that wasn’t there before. Jean-Claude Biver, board member and “Ladies are genuinely becoming interested in majority shareholder at Hublot, has realised that mechanical watches,” says Bremont’s English. “I a watch is also a piece of fashion and jewellery think it’s safe to say that looks won over buildand has tricked out the brand’s Big Bangs in integrity in the past, but now there is an obvious acid shades or given them a casual make-under pride when a female wearer removes her watch and done them in denim. Last year, Biver made and shows the mechanics behind the timepiece.” the watches customisable by introducing the With exports of Swiss watches in freefall, brand One Click with interchangeable straps. strategists will be scratching their heads for a way of “Today, what women want is to have a stemming the tide. Investing greater attention to customisable product, that’s why we created the the women’s market could be one way of doing so. Big Bang One Click with a large selection of Just don’t assume we want diamonds as standard. straps,” explains Biver.

“There is an obvious pride when a female wearer removes her watch and shows the mechanics behind the timepiece”

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art

Simafra, Pavone (peacock), 2016-2017, mixed media on canvas, 110x140cm

addox Gallery celebrated its first anniversary by opening a second gallery in Shepherd Market at the end of last year – and its Maddox Street flagship is kicking off 2017 in idyllic style with Eden, an exhibition of new canvases by Italian artist Simafra. Working from a converted warehouse studio in Florence, the artist’s enchanting mixed media canvases layer detail upon detail. For Pavone, he first painted a background with black acrylic, drew onto it with white paint, then added colour, gold leaf and richly coloured powders. And the finishing touches? Applied with a spatula. 27 January – 11 February, 9 Maddox Street, W1S, maddoxgallery.co.uk

Paradise

found

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Prize lots SOLD: £725,000

SOLD: £35,000

E s t im a t e : £ 1 5 0 , 0 0 0 - £ 2 5 0 , 0 0 0

e s t im a t e : £ 8 , 0 0 0 - £ 1 2 , 0 0 0

The Independencia market, Lima, Johann Moritz Rugendas, 1843

Magpie, Stik, 2009 “I only approve of the sale of street pieces when proceeds go back to the community they were painted for. It gave me great pleasure to authenticate this piece so that the Magpie Social Centre – one of the free spaces that actively encouraged street art and helped me to become the artist I am today – could continue to support the next generation of artists.” – Stik, street artist

“Quadrupling its pre-sale estimate, this painting smashed the auction world record price for the itinerant German Romantic artist. The packed scene allowed him to provide an almost exhaustive panorama of the types and costumes of Lima and the culture and history of Pizarro’s ‘City of Kings’. The work was one of nine masterpieces by Rugendas that led our Topographical Pictures sale in December, and together achieved £4,221,000. The paintings describe the social history of Chile and Peru in the years immediately following independence, and are the high point of the artist’s work from his second great journey to the Americas in the 1830s and 1840s.” – Nicholas Lambourn, head of department for Christie’s Topographical Pictures

UPCOMING

The Southern Party, Herbert George Ponting, 1911 (printed c.1924) Ponting was a crew member and photographer of Robert Scott’s doomed Terra Nova expedition to the South Pole (1910-1913). This photograph depicts the team that went to leave deposits of provisions for the final polar party, who made it to the pole only to find that Norwegian explorer Roald Amundsen had beaten them to it. Tragically, the final group of five died on the return journey. Estimate £2,000-£3,000, Travel & Exploration, 1 February, bonhams.com

sold, from left: Johann Moritz Rugendas, The Independencia market, Lima, signed and dated ‘Mazo. Rugendas/Lima. 1843.’ (lower right), titled ‘Plaza de la Inquisicion, Lima’ on the frame, oil on canvas, 67.7x92.1cm. Topographical Pictures at Christie’s King Street, 15 December 2016, christies.com, image courtesy of Christie’s images ltd 2016 Stik, Magpie, executed in 2009, signed, dated and authenticated ‘STIK 2009 2016’ on the reverse, spray paint on wood, in artist’s frame, 139x29.8cm, accompanied by a certificate of authenticity issued by the artist’s studio. New Now at Phillips, 8 December 2016, phillips.com, image courtesy of Phillips

upcoming, from left: Herbert george ponting, the southern party, 1911, Gelatin silver print on original mount, blind stamped H.G. Ponting, names of subjects inscribed in ink in lower margin, Fine Art Society label on verso, in contemporary oak frame, glazed, approximately 335x455mm, engraved brass plaque on frame reads: “Presented to Scott House of Penketh School by G.C. Simpson... Meteorologist to the Expedition. July 1924”, image courtesy of Bonhams Jacques Loysel, La Grande Névrose, c.1896, signed: J.Loysel, white marble on an associated wood base, marble: 36x100x45cm, image courtesy of Sotheby’s

UPCOMING

La Grande Névrose, Jacques Loysel, c.1896 This white marble sculpture is one of the highlights from the Erotic: Passion and Desire sale at Sotheby’s this month, which explores the themes of love and sex within art from the 19th century to the present day. Perhaps best known for his works in bronze, Loysel was admired for his depictions of feminine beauty and grace, and he kept this particular piece in his Parisian atelier until his death in 1925. The sculpture shows a woman in a state of ‘hysteria’: a clinical manifestation of neurosis that was thought to be a widespread ‘condition’ of the era. Estimate £120,000-£180,000, Erotic: Passion & Desire, 16 February, sothebys.com s l u x u ry l o n d o n . c o. u k s

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29/07/2016 14:52 16/09/2016 16:18:31

ART

with Toshiyuki Inoko, founder of teamLab, the interdisciplinary collaborative group

Art news words: camilla apcar

clockwise from top: Shi Li Feng, The Peach Blossom Land No. 86, 2016, oil and acrylic on canvas, 100x150cm, photo courtesy of teamLab, ©2016 teamLab, courtesy of Pace Gallery; Keith Tyson, 3.2.16, 2016, mixed media on watercol-our paper, 598mmx752mm, ©keith tyson; Qiu Shengxian, Dream Fashion Baby 150908, 2015, oil and acrylic on canvas, 145x145cm; Yang Qian, Red Plum Blossoms, 2014, mixed media on canvas, 90cm

Sage and sound Strategic art investment may seem a minefield, but one consultancy hopes to ease the process for those looking to invest around £50,000 or more – within the realms of Asian art at least. Art Futures Group launched in the UK at the beginning of the year, after setting up in Asia in 2011. The advisory works with more than 1,000 artists, but focuses on 44 contemporary Chinese creators whose sales have a good track record. It guides clients through investment, involving private views of potential purchases and three post-sale options: to keep for personal use; free storage; or a leasing scheme that rents the work for a six per cent return per annum. artfuturesgroup.com

What does Transcending Boundaries, your new exhibition at Pace London, refer to? Within the digital domain, art can transcend physical and conceptual boundaries. Digital technology allows art to break free from the frame. Elements can interact with and influence other works exhibited in the same space. In this way, boundaries dissolve. What themes does your work explore? The digital realm is free from physical constraints. Digital technology is a tool for change and a platform for expressing complex ideas. Viewers and the environment take on a crucial role in defining and changing interactive artworks. The viewer is an active participant and ultimately becomes a part of the artwork. How can these huge installations be translated to private spaces, or even collected? They can be scaled to fit different locations and spaces, stored and re-created, or collected by museums or private collectors.

The writing on the wall A selection of rarely exhibited works by 2002 Turner Prize winner Keith Tyson are soon to be shown at Jerwood Gallery in Hastings, the location for our fashion shoot this month. Turn Back Now will feature diary-like doodles from the Studio Wall series that the Cumbrian artist began nearly 20 years ago. 28 January – 4 June, jerwoodgallery.org

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How do your immersive installations work? In some pieces, digital technology creates art by using dynamic, programmed behavioural code. In others, the medium is transformative: the viewer’s movements cause the installation to react and evolve.

What is the future of digital art? Digital art could make the presence of others while viewing art more positive, even if you are not related to them, do not understand them, or cannot control them. Until 11 March, 6 Burlington Gardens, W1S, pacegallery.com

Canvassing the Union The Royal Academy’s next exhibition, Revolution: Russian Art 1917-1932, casts a fascinating historical eye on a tumultuous era. Camilla Apcar speaks to its co-curator Ann Dumas

n 1917, the Romanov autocracy was overthrown. The tsars were out; Lenin and the Bolsheviks swept to power. Russia was in a harsh state of flux during the years that followed, and on the revolution’s centenary, the Royal Academy is staging an exhibition that captures the turmoil of this period – for both the country and its artists. At first, an air of experimentalism saw the colourful rise of Wassily Kandinsky and firm popularity of avant-garde artists such as Kazimir Malevich. Yet the Soviet state increasingly demanded representational art, and in 1932 Stalin declared all art should express Soviet ideology – a command not to be reckoned with. “In the 1920s a repressive climate was on the increase,” says co-curator Ann Dumas, but after Stalin’s decree, “it was complete repression… in the late 1930s, the purges began and Russia closed down relationships with the West.” Marc Chagall and Kandinsky had long since left for Europe, frustrated and disenchanted by Lenin’s policies. With a historical eye on post-revolutionary politics and creative scrutiny, Revolution: Russian Art 1917–1932 will consider the achievement of individual avant-garde artists; those who conformed, and those who pushed beyond propaganda in their figurative work.

clockwise from centre: Wassily Kandinsky, Blue Crest, 1917, Oil on canvas, 133x104cm, State Russian Museum, St. Petersburg, Photo ©2016, State Russian Museum, St. Petersburg; Kazimir Malevich, Peasants, c.1930, Oil on canvas, 53x70cm, State Russian Museum, St. Petersburg, Photo ©2016, State Russian Museum, St. Petersburg; Lyudmila Protopopova, A Cup for Serving Tea, 1931, Porcelain, height 6.4cm, The Petr Aven Collection, Photo ©The Petr Aven Collection; Boris Mikailovich Kustodiev, Bolshevik, 1920, Oil on canvas, 101x140.5cm, State Tretyakov Gallery, Photo ©State Tretyakov Gallery

art

Many galleries have covered the Russian avant-garde in the past. Indeed, Dumas previously worked on From Russia, the Royal Academy’s own blockbuster loan-filled show in 2008, which covered 1870 until 1925. “This is a sort of sequel,” she says. “We’re kind of encapsulating a dramatic and tumultuous era through the visual arts.”

“This era produced very interesting art, but socially and historically it was a catastrophe” Interestingly, this new exhibition’s transitional period saw the avant-garde movement run alongside the forced optimism of Socialist Realism, which was soon to replace it. It will be thematic rather than chronological, honing in on industry, utopia and dystopia, leaders and the new world that each strove to create. The majority of paintings have been borrowed from the State Tretyakov Gallery in Moscow and The State Russian Museum in St. Petersburg. Yet this is a varied show. The ever-powerful role of photography, mass media and film – promoted by both Lenin and Stalin – will be explored through the work of creators like director Sergei Eisenstein. In 1932 an important exhibition was staged in Leningrad by Nikolai Punin, “a sort of curatorcritic impresario figure”, describes Dumas. Punin’s idea was to show the diversity and range of art of the nascent Soviet state in a huge display of around 900 paintings (many concerning shortlived movements, others dedicated to individual artists, including the influential Malevich). Over the past few years, regular sales at auction houses have helped bring Russian artists to the

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market, and less familiar names to light. This exhibition is set to do the same. “I think it will appeal as a visualisation of history, and to those interested in 20th-century art,” says Dumas. One space will be taken over by a faithful reconstruction of Malevich’s room at the 1932 exhibition. Elsewhere, a section will explore life in Russia’s cities: austere and eventually subject to rationing. The Royal Academy has borrowed ephemeral material such as food coupons, as well as a selection of posters – the 1920s was a great age for graphic design – that touted totalitarianism. “We didn’t want to put this across as a marvellous period in history,” says Dumas. “It produced very interesting art, but socially and historically it was a catastrophe. We have created a ‘room of memory’, where we’re projecting about 50 photographs from the Gulag museum in Moscow. Most of them are just [of] ordinary people.” Most curious of all, Revolution: Russian Art 1917–1932 will include more than 30 ceramic objects from a private collection. The imperial porcelain factory in Russia created beautiful wares for the tsars, but after their fall it was left with a lot of undecorated items. In an industrious move, the factory painted over the imperial insignia and started using the porcelain for Soviet designs. Those on display include Socialist Realist, Suprematist and Constructivist-inspired examples. Just like the rest of this exhibition is set to do, “we show both sides of the coin,” says Dumas. £18, 11 February – 17 April, royalacademy.org.uk

Equipped with pen and paper, illustrator Ayumi Togashi has journeyed from the foothills of Mount Fuji to the metropolises of Paris and London to capture the heart and soul of luxury brands the world over. Hannah Lemon reports

any artists that make it to the top of their game overcome serious hardship to reach success. The extraordinary characters on history’s canvas are fraught with drama: Vincent van Gogh famously cut his ear off and sent it to a brothel, Frida Kahlo suffered chronic pain for most of her life, and The Scream painter Edvard Munch battled with complex mental health issues. When I meet the shy and retiring illustrator Ayumi Togashi, it is hard to imagine her waging war with the colourful jungle of a creative’s life – her story has the tranquillity of a zen garden. Togashi was born and raised in Yamanashi, which sits in the centre of Honshu, one of Japan’s main islands and in the shadow of Mount Fuji. One can only imagine the calming life led in such surroundings: the place is known for the thousands of blooming shibazakura flowers that spread out like a giant pink carpet below the snow-capped volcano.

ART

She made the move to Paris in 2003 to study fashion, and began drawing as a hobby on the side. Soon these illustrations gained so much attention that people began ordering copies. Her first major project was for a collaboration between accessories brand Yazbukey and Coca-Cola, and she has since worked for Chloé, Paco Rabanne, Hermès, Printemps and Penhaligon’s. “Each project is different and needs consideration,” Togashi explains. “From the small Parisian atelier, to a luxury fashion label or Japanese brand, they have all played an important part in my career.” When I first meet the artist, she is expecting a baby and looks ready to pop. A few weeks later I catch up with her to find out how things are now that the little sprog has arrived. “It’s a totally new experience,” she smiles. “I still have some orders to do, so I hope he will be a good boy and let me draw from time to time!” She mentions that a recent purchase of a mobile that sings Moon River is her – perhaps optimistic – attempt to keep crying at bay.

What projects did she manage to fit in before the birth? “I designed the certificates for The Mayfair Awards 2016 and sketched guests at the event,” she says. “The Ritz London was the perfect venue for such a high-society evening and the table settings were beautiful. I really enjoyed it.” Togashi notes one main influence: Aurore de La Morinerie. The bold and mysterious figures drawn by the French artist are a fascinating take on Parisian fashion, but Togashi’s intricate and detailed style lends itself equally well to the world of luxury goods. Her nimble fingers use permanent pencil and Chinese ink in an ‘aquarelle’ style, a popular technique that creates a thin, almost transparent, veil of watercolour. Whether a woman in a couture dress standing under the Eiffel Tower or a high-end designer store on the picturesque Mount Street, each scene that flows from Togashi’s nib encapsulates a spring-like effervescence – much like the pink valleys below Mount Fuji. agentandartists.com/ayumi-togashi

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FASHION

he folks at Bally can cheer up any wardrobe whether there’s rain, hail or sunshine outside. For S/S17, they have moved away from the 1970s look that dominated the A/W16 and Resort 17 collections, but the range is no less bold or adventurous than its forebears. It features sharp, 1960s-inspired shapes in playful materials such as hot pink velvet, leather mesh and perforated knitwear. We love the classic loafer pumps in eye-popping colours: pristine white and glistening cherry red, and the shimmering quilt-effect Eclipse bag (pictured). The perfect Valentine’s Day gift for a loved one, or even better, just for yourself. Eclipse clutch, £1,650, 116 New Bond Street, W1S, bally.com

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Primary colours Mary Katrantzou goes back to basics in her Resort 17 collection, focusing on a bold primary colour scheme. Blocks of red, blue and yellow feature in styles such as the scarlet Mason coat and the wide-striped Krayola jacket, although Katrantzou’s signature patterns and prints still make an appearance. The lively Duritz dress is inspired by 1960s scarves, but remains sharp with a neatly pleated panel skirt. In the campaign, the models wear two of S/S17’s major colourways on their heads: tousled crimson and sunshine yellow locks. Ella jumper, £795, marykatrantzou.com

WORDS: Marianne Dick

Hockney’s BOSS BOSS creative director, Jason Wu, is well-known for his affinity with contemporary art. For the new BOSS Bespoke soft bag, he has taken inspiration from David Hockney’s characteristic palette: striking shades of moss, rust and royal blue. The masculine cufflink lock is complemented by the bag’s laid-back design, with a softly structured top handle, adaptable side panels and a removable cross body strap. £850, 122 New Bond Street, W1S, hugoboss.com

A delicate matter Dreaded January – a month of ubiquitous hibernation – may be just behind us, but Gilda & Pearl’s new S/S17 collection makes us long for more cosy evenings in. Its Conduit Street atelier has taken a cue from photographer Harriet Clare’s portfolio and created a dreamy, spring-like capsule collection: images from Clare’s ethereal Blumen flower series are printed onto flowing silk kaftans, camisoles and slips. The S/S17 collection also includes the Gina almond gold range (pictured), as well as bridal pieces that can be monogrammed for the big day. Gina collection, from £60, 4th Floor, 21 Conduit Street, W1S, gildapearl.co.uk

Image credit: erik Madigan Heck

Style update

La Dolce Vita The founding years of proudly Italian brands Rubelli and Santoni may have a margin of more than a century between them, but in their recent collaboration the pair appear to be perfectly in sync. For S/S17, Santoni’s décolletés and tasselled moccasins have been reimagined in baroque style with the help of the traditional textile specialist. The 18th century-inspired Queen Anne fabric features a British botanical print and comes in a regal array of gilded claret, coral and aqua. From £565, santonishoes.com

fashion

Gaurav Gupta for Aashni + Co image credit: Muse motion pictures

Indian summer W O R D S : a n n a t h or n h i l l

fter she struggled to find an appropriate outfit for her own engagement, Londonbased, Mumbai-born entrepreneur Aashni Anshul Doshi decided to take matters into her own hands and found a fashion label that fits the bill. Launched in 2012, Aashni + Co specialises in Indian and South Asian high fashion, jewellery and accessories. “Indian weddings can go on for a week, so you need at least six outfits. I had to live in India for six months so that I wouldn’t have to travel back and forth for all of the fittings,” says the creative director. “That’s how the idea for the store came about; there was a clear gap and no one else was around to fill it.” Now her Notting Hill concept boutique and e-store stocks a medley of

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“Indian weddings can go on for a week, so you need at least six outfits” dazzling ready-to-wear and haute couture styles that range from the more traditional affair – fashion label Sabyasachi is the best for conventional bridalwear – to contemporary designs, including Gaurav Gupta’s occasionwear gowns (pictured, from £500-£5,000), which merge modern, fluid silhouettes with intricate embroidery. Last month Aashni + Co hosted its second wedding show at The Dorchester hotel, presenting an eclectic edit of brands and collections that highlight the changing nature of Asian weddings, particularly for those who live in the West. “People are slowly getting into more vibrant colours. Reds, pinks, corals, oranges and greens are becoming more popular for nuptials. Nowadays, parents are more open to accepting different styles too,” Doshi says. “On the other hand, we’re seeing a lot of young brides who want to embrace tradition, so there’s something for everyone.” aashniandco.com 61

Dress, £2,490, Fendi, fendi.com; shoes, £330, Stuart Weitzman, stuartweitzman.com

In the

FRAME Take inspiration from the art world with a vibrant palette of blossoming florals and bold graphic prints in time for spring P h o t o g r a p h y: H e l e n e S a n d b e r g S t y l i n g : N ata s h a H e a s m a n

fashion

ABOVE Jumpsuit, £396, Zimmermann, zimmermannwear.com

RIGHT Dress, £3,260, Marni, marni.com

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fashion

LEFT Dress, £1,175, Proenza Schouler, available at Harvey Nichols, harveynichols.com

ABOVE Top, £5,500, Dior, dior.com

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fashion

ABOVE Dress, £1,640, Preen by Thornton Bregazzi, preenbythorntonbregazzi.com; shoes, £330, Stuart Weitzman, as before

RIGHT Dress, POA, Erdem, erdem.com

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CREDITS Model: Annika-Marie Leick from Next Models Make-up and hair: Lou Box at S Management With thanks to Jerwood Gallery

not all privacy is created equal SOLARIN is the ultimate mobile phone that combines the latest advanced technologies with the highest levels of privacy and the most elegant of designs.

34 Bruton Pl, Mayfair, London W1J 6LD | Harrods, 87-135 Brompton Road, Knightsbridge, London, SW1X 7XL www.sirinlabs.com

Image credit: Casper Sejersen

fashion

Christian’s clan Mr Louboutin is a busy man. At London Fashion Week Men’s last month, the models who walked the E. Tautz runway show wore one of his exclusive, never-before-seen A/W17 styles: a sturdy suede lace-up in dark autumnal shades. Coinciding with this sneak peek, Christian Louboutin celebrated the launch of its S/S17 range centred around a newly-designed coat of arms. The motif is embroidered onto suede slippers that can be worn as mules or sling backs, and is encrusted with stars, pearls and spikes on a range of supple calfskin bags. From £295, 17 Mount Street, W1K, christianlouboutin.com

Style spy

WORDS: marianne dick

Eskimo chic Defying Gravity Lab Series, the men’s grooming specialist, has concocted a new line of anti-ageing skincare that contains extracts of galactic meteorite, allowing you to indulge any starry-eyed childhood fantasies involving space travel within your daily grooming routine. The extract contains magnesium and calcium – promoting natural collagen production – and the products are infused with an aroma that is based on rare Shima lemons. From £105, Lab Series, available at Harrods, harrods.com

The Arctic musk ox is an ice age animal that has survived the harshest conditions due to its incredibly thermal but rarely cultivated underside wool: qiviut. Qiviut & Co is a new company that makes limited editions using responsibly sourced qiviut, a by-product of native subsistence hunting. Its first piece, a classic padded jacket, will take you snugly from the city to the slopes. £975, qiviutandco.com

Suit yourself Trunk Clothiers – our favourite fashion and lifestyle shop on Chiltern Street – is introducing a made-to-measure tailoring service with fabric choices from Ariston, Loro Piana, Fox Brothers and Savile Row’s Holland & Sherry. The bespoke service could be the final piece of the puzzle for Mats Klingberg’s neighbourhood empire, however we imagine he has many other ideas tucked up his immaculately cut sleeve. Head a few doors down to accessories store Trunk LABS for the final touches. Suits from £900, Trunk Clothiers, 8 Chiltern Street, W1U, trunkclothiers.com

Resin d’être

esigner Martha Sturdy combines art, nature and functionality in her pieces, which range from chunky ‘wearable sculpture’ to fluid, ribbony wall-mounted features. Since she hails from British Columbia, Sturdy’s work is mostly preoccupied with natural, elemental materials such as steel, cedar and bronze. At January’s Maison&Objet fair in Paris, she launched a grey and gold collection made from resin: her signature material because of its tactile, nonporous and scratch-resistant qualities. From £5,600, available at Holly Hunt, 20 Grafton Street, W1S, hollyhunt.com

Boucle #1 and Fusion Square Coffee Table from the Grey and Gold Collection by Martha Sturdy, marthasturdy.com. photography: Claudette carracedo

interiors

Scandinavian spirit While euphoria surrounding the cosy lifestyle concept ‘hygge’ might have worn thin, Scandinavia remains on trend as we move towards spring. A new concept named ‘lagom’ – which means ‘not too much, not too little’ and centres around balance and sustainability – is set to be this year’s buzz word. A collection of ecological wallpapers from Sandberg, a Swedish wallcovering specialist, provides clean, graphic backdrops to help you ‘lagom’ your home in expert style. Magnus stripe from the RAND collection, £76 per roll, sandbergwallpaper.com

Interiors news WORDS: MARIANNE DICK

Say it with flowers Pulbrook & Gould are pulling out all the stops for Valentine’s Day, offering customers a one-off opportunity to fill their abode with an abundance of blooms in a fashion reminiscent of their Mayfair store. The florist has taken inspiration from a spectacular scene in Baz Luhrmann’s The Great Gatsby, where Jay Gatsby transforms his cottage with wild waterfalls of flora in an attempt to win the heart of Daisy Buchanan. The memory of the moment, at least, is bound to last a lifetime. POA, Pulbrook & Gould at Thomas Goode, 19 South Audley Street, W1K, pulbrookandgould.co.uk

Bon Jour Monsieur Starck Philippe Starck has launched a new table version of his Bon Jour Unplugged lamp. You can charge and use it portably for up to six hours, and control light emission with a dimmer switch. Starck’s playful wit shines through as he encourages owners to interchange the lamp’s crown (from pleated fabric to illuminous yellow plastic), depending on one’s mood or décor. Bon Jour Unplugged, from £224, flos.com

Smoke and mirrors David Linley’s designs always inspire intrigue: whether it’s searching for a secret drawer or admiring the mind-blowing marquetry. Linley’s S/S17 collection revives the trompe l’oeil effect featured in some of the designer’s early work. His range of Pop Art-esque mirrors create optical illusions such as looking into the reflection of a swimming pool or checking a car’s rear view mirror. Modern marquetry at its most stylish. From £500, Burlington Arcade, 51 Piccadilly, W1J, davidlinley.com s l u x u ry l o n d o n . c o. u k s

Home away Interior design-led hotels are not just something to write home about. Camilla Apcar reports on the hoteliers with their own shops and furniture collections that recreate the holiday spirit back in London

interiors

t is every general manager’s dream and worst nightmare, all in one question from a guest: “Where can I buy this exact table lamp, doorknob, cushion or armoire?” Yet the savviest hoteliers already have a contingency plan for such compliments – a shop on site or online, a little black book that holds their interior designer’s contact details for private commissions or their own line of homewares. The style stakes set by increasingly design-led hotels are ever rising, and travellers looking to bring a piece of their favourite hotel home can find not just the same glassware and trinkets from suites, but entire bedroom sets, floorings and finishing flourishes, too. Two significant interior collections from hospitality behemoths launched last year: Soho Home, by Soho House Group, and Eden Being, through Eden Rock Group and Oetker Collection (responsible for The Lanesborough and Le Bristol Paris).

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opposite: le bristol paris. above: soho farmhouse. below: armani hotel signature suite.

“Eden Being is about capturing memories, the unique special something that will forever remind you of your time at one of Oetker Collection’s properties,” says Eden Being CEO Daniela Ott. Among the e-tailer’s most desirable pieces are Louis XV and XVI furnishings from Le Bristol Paris, with an edit of wooden chests and consoles, Fontainebleau headboards and stools that conjure supreme decadence and elegance. Creating one’s own 18th-century parlour or boudoir is but a few clicks away; the site can be filtered by hotel or product, with furniture then made to order in France by 18th-century specialist Taillardat. The comforts of five Soho Houses became available online at Soho Home in September. Perhaps the most distinctive look is from the Oxfordshire Soho Farmhouse, where “we sourced lots of vintage pieces locally from Tetbury and surrounding antique shops,” says design director Linda Boronkay. Products include a chic ceramic collection plus sofas and

armchairs made by craftsmen in the north of England, using traditional techniques. Designer hotels have their own solutions at the ready. While many of the interiors and amenities at Armani’s hotel in Dubai are bespoke, guests enamoured with its muted and checkered style can visit Armani/Casa’s showrooms in Dubai’s Design District or at Chelsea Harbour’s Design Centre. Every piece is designed by Giorgio himself. The keenest followers can employ the brand’s dedicated interior design studio (ensuring luxe living without the risk of one’s home resembling a showroom itself). At Palazzo Versace Dubai, each piece of furniture has been designed exclusively for the hotel, drawing inspiration from the fashion house’s archive. “The interiors showcase the Versace lifestyle through the contemporary eye of artistic director Donatella Versace, where everything is opulent,” says general manager Sandra Tikal.

“What’s important nowadays is to be differentiated from other hotels. Design has a strong influence” Barely a head can turn without spotting the trademark Medusa head and Greek key motifs, and although bathrobes and towels are always popular requests, it’s the peacock, horse and falcon cushions that really attract attention. These can only be purchased at Palazzo Versace Dubai itself. Chinaware, vases and lumiere glasses embellished with a 3D Medusa can be found in Versace Home boutiques, including on Sloane Street. In the two Imperial suites on the Palazzo’s top floors, everything is available to order from the latest Versace Home collections. “From the moment anyone enters, they are mesmerised,” says Tikal. “The majestic bedhead designs are a favourite with both men and women, as are the chandeliers and wallpapers.” The first suite showcases the plush, neoclassical Vanitas collection, with intricately patterned poufs, elegant table lamps and panelled sofas. The linear Via Gesù in the second suite features chairs with swirling arms and plenty of modern Medusas. Top interior designers have long lent their expertise to the hotel industry: Patricia Urquiola at Lake Como’s Il Sereno, Marcel Wanders in

clockwise from top: the franklin hotel; armani hotel, ambassador suite; como point yamu bay suite bathroom; palazzo versace furnishings; palazzo versace imperial suite

interiors

DESIGN DETAILs South Beach and Manhattan, and Axel Vervoordt soon to come at the Bayerischer Hof in Munich. And when COMO Point Yamu opened in Phuket in November 2013, Paola Navone wrought her first hotel interior project with aplomb. Point Yamu’s general manager Andy Kunz says guests often enquire about even the smallest of details. The hotel is happy to oblige, whether giving up spares, redirecting guests to the hotel’s shop that sells a selection of Navone’s wares (glassware and china are particularly popular), or putting them in touch with the artists whose work line the walls. “We recently had a gentleman from Dubai stay whose daughter liked the furniture so much that he bought a variety for her new house as a present,” Kunz recalls. “What’s important nowadays is to be differentiated from other hotels. It’s usually the people and level of service that allow this, but design also has a strong influence. Point Yamu is very different from any property you could find in Phuket or Thailand. It’s a move away from the sort of ‘cookie-cutter’ rooms that you might find elsewhere.” Kunz continues: “In the past you’d take a picture and make a photo album... some people might take a bit of sand from beaches they’ve stayed at – this is just the same.” The interior designer of Singita’s 12 chic safari camps and lodges across Tanzania, Zimbabwe and South Africa is Boyd Ferguson. Since 1993 he has defined and redefined the safari aesthetic with natural materials and contemporary-cum-tribal panache. In another on-site wonder emporium, his homewares – and locally handcrafted pieces – are stocked in Singita’s colonial farmhouse shops. The devil does, sometimes, lie in the detail. During a major renovation of The Franklin in Knightsbridge last summer, Anouska Hempel used Lapicida’s new collection of stone accessories for floors, walls, tables and objects. “Lapicida is a marvellous old-fashioned company with an awful lot of sensational workmanship at its fingertips,” says Hempel. “The hotel is supposed to look like an Italian home in London, so anybody can have a go at that with ease.” The ultimate souvenir.

the arts club, mayfair Each suite at The Arts Club features a standalone Catchpole & Rye clawfoot bathtub. The cast iron and enamelled Saracen design is made at the bathroom specialist’s foundry in Kent – painted black or polished. From £4,000, theartsclub.co.uk

Four seasons Four Seasons’ twin, full, queen or king-size bed – mattress, box spring, topper (firm or plush) and all – can be ordered directly through one of its hotels or resorts. From around £1,810, fourseasons.com

Six Senses Zighy Bay, oman armanihotels.com, comohotels.com, edenbeing.com, palazzoversace.com, singita.com, sohohome.com, thefranklinlondon.com

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These terracotta goat sculptures – a symbol of this mountainous part of the country – are sold in the resort’s boutique. They can also be made into a table lamp by staff, who drill a hole into the top. From around £23.50, sixsenses.com 77

The art of

speed The BMW Art Car project is a remarkable collection of modern works by the likes of Warhol, Hockney and Lichtenstein. But where to find them? Matthew Carter reports

motoring

S CLOCKWISE FROM left: cars by Jeff Koons; César Manrique; Ernst Fuchs; John Baldessari

ometimes the best things in life happen by accident. It was back in 1975 that the well-connected French auctioneer and racing driver Hervé Poulain decided to invite an artist to use his car as a canvas. He commissioned his friend, American artist Alexander Calder, to paint a BMW 3.0 CSL ‘Batmobile’ that Poulain himself was to race in that year’s 24 Hours of Le Mans. The red, orange and blue machine looked stunning but, alas, retired from the race early with drive-shaft problems and was never raced again. It also proved to be Calder’s last major work, as he died the following year. From these inauspicious beginnings grew the remarkable BMW Art Car project. The official

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BMW line is that, in the beginning, the cars were simply unusually painted racing cars and there was little or no public relations programme built around them. But that changed as some of the world’s best known artists – Roy Lichtenstein, Andy Warhol, Jeff Koons and David Hockney – started painting the latest BMWs. Today the Art Cars – 18 official examples have been created so far – are very much part of BMW’s promotional effort. They are used in adverts and displayed at exhibitions to underline BMW’s involvement as a major sponsor of the arts. And they are still raced. Although the original Calder car had a less than successful time at Le Mans, Poulain drove a BMW 320i painted by Lichtenstein to second in class in the 1977 epic, and he also managed sixth overall and second in class in the Warhol-painted BMW M1 in 1979. Bearing in mind that motor racing is sometimes a contact sport, Warhol also painted several extra bumpers and body panels just in case. His M1 was the fourth Art Car but unlike the three who went before him, Warhol didn’t use a model car to practise on first. Instead, he went straight for the real thing. It is said it took him just 23 minutes to finish the job.

What might have been the most successful BMW Art Car of all – in racing terms – was the 1999 V12 LMR, a sports prototype built by BMW and Williams Grand Prix Engineering. Three cars were involved in that year’s race, one of which was worked on by neo-conceptual artist Jenny Holzer. Although it appeared at the traditional Le Mans test a month or so before the race, it was dropped from the 24 Hours itself. The event was won by another, conventionally stickered, V12 LMR – the only time BMW has taken outright honours at Le Mans. The tradition continues today. The latest Art Car, an M6 GTLM painted by John Baldessari, is due to make its race debut in the Rolex 24 Hours at Daytona on 28 January. Not all the Art Cars have made it to the race tracks, however. A comparatively sedate 7-Series saloon was finished by African artist Esther Mahlangu in 1991. Her bold geometric patterns and colours were influenced by the clothing and

jewellery of the Ndebele people of South Africa, and the car is currently on display in the British Museum as part of its South Africa: the Art of a Nation exhibition, which closes on 26 February. The other Art Cars are no strangers to exhibitions either. BMW regularly gathers them together and sets them off on countrywide tours: the Institute of Contemporary Arts displayed a selection of the vehicles in a Shoreditch car park as part of the London 2012 Festival under the title Art Drive!.

CLOCKWISE FROM TOP: cars by frank stella; sandro chia; andy warhol painting a bmw; warhol’s finished product

motoring

To confuse issues somewhat, there are several unofficial BMW Art Cars, too. The German artist and graphic designer Walter Maurer, who assisted Andy Warhol and Frank Stella on their art cars, created his own collection in collaboration with BMW. Stella also bucked the trend when he went on to decorate a BMW M1 Procar outside of the Art Car programme, the only person to have an official and unofficial version. His original car, a 1976 ‘Batmobile’, has a wonderful graph paper design that becomes “interesting when morphed over the car’s form”, said the artist when it was revealed. Stella’s unofficial car was commissioned in 1979 by American racer Peter Gregg and formed part of Stella’s Polar Coordinates suite of works, commemorating his friend, Swedish racing driver Ronnie Peterson who died in an accident at the start of the 1978 Italian Grand Prix. The car was sold by Gregg’s widow in 1990 and donated to the Guggenheim Museum in 1999. It was then sold, in 2011, at the Pebble Beach Concours d’Elegance auction for $854,000 to Jonathan Sobel, an art and car collector who also happens to be a BMW dealer. If an unofficial Art Car was worth around £700,000 six years ago, what does that make an official one worth today? That’s an impossible question to answer – each one is priceless. Besides, they’re not for sale.

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What is an official Art Car worth today? Impossible to answer – each one is priceless. Besides, they’re not for sale “They are a collection and won’t be split,” said a BMW spokesperson. “But if you look at the stature of the artists involved in the programme, it’s easy to see why putting a value of them is virtually impossible.” If you’re in the market to invest in Art Cars, the only way to do it is to find some of the models produced by Minichamps for BMW in around 2005. But even that is easier said than done. The 1:18 scale miniatures were made in comparatively small numbers. The early cars were produced in runs of 3,000 while some of the later cars, notably the Jeff Koons 2010 BMW M3 GT2, have a run of 5,000. They’re pricey now. An American model car dealer is currently advertising the BMW 535i Matazo Kayama Art Car at an eBay buy-it-now price of more than £300, while another collector is selling a boxed example of the Andy Warhol M1 at almost £750. Not bad for a toy car. artcar.bmwgroup.com

health & beauty

Smoke signals YSL’s new Couture Variation No.4 eye palette is designed for all the smoky eye enthusiasts out there. With ten shades in different textures, you can layer matte or metallic on the creamier primers. For a finishing touch, try combining with the new Eye Gloss Smudger – a non-sticky gel – to create a more messy, wet look. From £18.50, yslbeauty.co.uk

prep and prime

Beauty news W O R D S : m e l iss a e m e rso n

Mirror shine Christian Louboutin boldly welcomes spring with its new limited edition Loubichrome nail polishes. Inspired by Specchio, a laminated leather with a mirrorlike quality, the three shades – magenta, fiery red and limegreen tinted yellow – come in miniature versions of its classic bottle, with a rainbow-effect cap. Pigmented pearls reflect light to give a look of liquid metal. £23 each, selfridges.com

A secret ingredient Danish make-up artist Kirsten Kjær Weis’s natural cosmetic label has launched its first moisturising product: The Beautiful Oil. It contains olive, jojoba and almond seed oils as well as the more unusual ingredient dioscorea batatas – a perennial plant with white flowers that is used in Chinese medicine. Recent evidence suggests it possesses powerful anti-inflammatory and healing properties, to give skin a natural, healthy glow. £180, net-a-porter.com

NARS has launched a trio of primers to cover all bases when it comes to prolonging and enhancing make-up. The mattifying Pore & Shine Control minimises pores, while the Radiance primer uses pearlescent pigments to warm the complexion. Sun protection is also key: the Smooth and Protect primer has an SPF 50 rating. Wear alone or mix together according to your skin’s needs, and observe the added benefits over time. £27, narscosmetics.co.uk

water world Perfumer Francis Kurkdjian has introduced a new scent to his water-themed Aqua Universalis and Aqua Vitae creations. The Aqua Celestia scent is light and refreshing, combining Mexican lime and English mint with blackcurrant from Burgundy. The fragrance can be enjoyed as an eau de toilette, body cream or shower cream. From £45, selfridges.com

s l u x u ry l o n d o n . c o. u k s

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health & beauty

SALON REVIEW

Some like it hot Josh Rees Hole is the latest hairdresser to pick up a pair of thermal scissors at his studio in Urban Retreat. Hannah Lemon finds out what all the fuss is about

ven if you were to just drop in for a coffee with Josh Rees Hole, you’d be impressed. His easy manner and cheeky laugh has me spilling out my life stories as I sip on a cappuccino and settle into one of the black chairs in the Urban Retreat salon. I’m not normally one for a department store haircut, generally preferring the more intimate setting of local boutiques. However, I can’t help but be wowed by the efficient service at the flagship luxury salon on the fifth floor at Harrods. With 32 styling stations, 21 beauty rooms, 14 manicure and pedicure stations, a make-up salon and a Moroccan hammam, this really is a one-stop beauty shop. I’m offered refreshments, someone takes my coat and hangs up my handbag, while another offers me a stool to rest my weary feet. I chat through my requirements with Josh – a slight trim off the ends and some soft layering – and I instantly know I’m in safe hands. The usual embarrassment of me tripping out excuses and apologies for my split ends, which have been tied up in a bun Josh Rees Hole

The thermal scissors warm the Keratin within the hair follicles, to seal ends as they are cut for the last two weeks, is met with not even a flicker of disapproval. But then that is to be expected. Josh has honed his skills and knowledge with extensive experience in the industry. He has sharpened his combs on international photoshoots, European competitions in Paris, and – he rather bashfully admits – E4’s Great British Hairdresser, for which he was a finalist. Not to mention the exclusive list of VIPs and royal clients that seek his services. I am whisked over to a sink for a quick hair wash and a relaxing scalp massage – my favourite part – to

prepare my disgraceful mop for its magical transformation. Josh picks up a pair of thermal scissors, which have a wire plugged in to heat them up, and sets to work. The premise of this now quite popular equipment is to strengthen and protect. Suitable for all hair types, the heat warms the keratin within the follicles, to seal ends as they are cut. It also aims to protect against environmental damage, promote regrowth and add a healthy shine. A perfect option for someone like me who wants to grow out their locks while maintaining a sharp look. Sure enough, by the time Josh has finished the blow-dry, there are bouncy waves and a new lustre that I’m sure wasn’t there before. Plus, I feel like I’ve made a new friend. £300, Thermal Cut & Blow-Dry by Josh Rees Hole, Urban Retreat, Harrods, 87-135 Brompton Road, SW1X, urbanretreat.co.uk

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food & drink

Dinner party dishes Burnt vegetables, cold soup and ravenous guests – if this is the general scene when you try to host a dinner party, you’ll be relieved to hear that we’ve found a way to lighten the load. The Mount Street Deli is taking the stress out of cooking with a six-person menu that can be delivered free to addresses in W1. You can choose from dishes such as vegetarian and gluten-free moussaka and lasagne, 34 Mayfair’s chicken masala, The Ivy’s shepherd’s pie, Daphne’s parmigiana or J Sheekey’s fish pie. £55, 100 Mount Street, W1K, themountstreetdeli.co.uk

Food & drink news WORDS: HANNAH LEMON

A matter of taste

Let them eat cake Loathe it or love it, single or taken, Valentine’s Day is back. To mark the occasion Godiva has created Buffet de Gâteaux, a limited edition chocolate selection inspired by cake recipes. Opt for old favourites like lemon cheesecake, crème brûlée and strawberry shortcake, or test your taste buds with matcha chiffon and ParisBrest. Filled with ganache or praline, each one is encased in premium Belgian chocolate. Don’t be too disheartened if you can’t find that someone special to give them to – the more for you. £20, 141 Regent Street, W1B, godivachocolates.co.uk s l u x u ry l o n d o n . c o. u k s

At the end of last year, Daryl Haldane, head of education at The Macallan graced us with his presence at Hedonism Wines to conduct an expert tasting session. The immersive evening highlighted the best 12-year-old expressions from the cupboard – Fine Oak, Sherry Oak and Double Cask – as well as the Rare Cask. But it was the exquisite M Decanter that wowed the crowd. The single malt comes in a Lalique bottle and is crafted from the rarest whiskies at the distillery. All expressions are available at Hedonism Wines, 3-7 Davies Street, W1K, themacallan.com

Whisky tasting with Daryl Haldane

Red, red wine What’s the next step after selling 70 million records worldwide? Well, reggae band UB40 took the decision to enter the wine business with Eminent Life, a company that celebrates excellence in the arts with limited edition products. Taking inspiration from their hit song, founding members of the band Ali, Astro and Mickey have released Red Red Wine Bordeaux Supérieur to mark the release of their new album Unplugged. A blend of Merlot and Cabernet Franc grape varieties ensure a full and fruity bouquet with blackberry notes and a long and elegant finish. £28.50, eminent-life.com/ub40

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food & drink

review

Great expectations Camilla Apcar takes a bite of the hype at Marcus Wareing’s twice Michelin-starred restaurant in The Berkeley hotel

he life of a celebrity chef surely comes with a double-edged sword. On the one hand, fame, fortune and a steady flow of eager diners; on the other, expectations to meet, surpass and subvert. MasterChef: The Professionals judge Marcus Wareing opened his now twice Michelin-starred restaurant, Marcus, at The Berkeley in 2008. Perhaps best known at first for sparking a legal battle with Wareing’s former mentor Gordon Ramsay, it has since gone through reincarnations that have cemented its reputation less as a catalyst for drama than as a destination for seasonal fine dining, where failure to please quite simply seems not to be an option. The menu is snappy, with six choices for each course. What makes matters less straightforward is

For Valentine’s Day, Marcus has devised an eight-course menu: think oyster emulsion and plenty of truffle its wording, which is somewhat on the vague side. Will “quail, solliès fig, walnut” involve meat or egg? How will “bergamot, meringue, iced tea” arrive? A noun or two could go a long way. Enter the smartly jacketed staff, many French-speaking and each as knowledgeable as the last. This sort of semantic quibble goes out the window once the plates arrive. Pumpkin agnolotti, d’Espelette and a few shavings of truffle provide a punchy kick to the usually less flavoursome ways of serving native lobster. A perfect combination of

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sweet and savoury follows in the form of rare fallow deer, celeriac, blackberry and pine nuts. Dessert, as ever, bears serious contemplation, but all sensibilities are well covered. Chocolate fiends will opt for a clementine, honey and rosemary dish; those with a tooth for the alternative will enjoy what turns out to be a construction of Earl Grey sorbet, miniature meringue peaks and rings of filo pastry. For lunch or dinner this Valentine’s Day, Marcus has devised a five or eight-course set menu – think oyster emulsion and barri caviar; Jerusalem artichoke agnolotti or quail, each with plenty of truffle; and chocolate, blood orange and rosemary. While a constant stream of waiters glide silently between tables in the open-plan dining room, there’s little chance of feeling that one’s meal is anything less than intimate, especially seated at one of the leather banquets lining the walls. For a romantic gesture that is sure to deliver, this ‘celebrity chef’ may have just cracked the code. Valentine’s Day Menu available on 14 February, The Berkeley, Wilton Place, SW1X, marcusrestaurant.com

Burst the

bubbleS Krug is one of the most sought-after champagne brands, still managed by descendants of the original family. With the launch of the latest Krug vintage, sixth-generation director Olivier Krug talks to James Lawrence about family and why he never drinks from a flute

s one of the champagne industry’s most influential ambassadors, you might expect an interview with Olivier Krug to be a decidedly formal affair. Yet, the most famous name in the business is disarmingly relaxed and jovial as we settle into the Moët Hennessy offices in Victoria. The director has even brought along some bottles to taste, ensuring that the interview starts on a high. “The truth is that I absolutely hate champagne flutes,” is Olivier’s

surprising opener, insisting that we sip our bubbles from generously proportioned wine glasses. This stops me in my tracks. After all, the flute is the universally accepted vessel for sparkling wine everywhere. “Drinking champagne in a flute is like listening to an opera with earplugs in. It is absurd and oldfashioned. A white wine glass is the right choice for drinking champagne,” the 50-year-old insists. An extraordinary statement from a man born in Champagne, but then

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Olivier Krug

again Krug is no ordinary company. For a start, it pioneered the ID concept, whereby each bottle of Krug’s Grande Cuvée is equipped with a code that, when entered on their website, reveals the wine’s full technical data, including year of base wine, the grape composition and the number of reserve wines. “The world changed and we realised Krug had to change with it,” Olivier says. “Today, Krug has been called the

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most transparent of champagne houses, which I’m very proud of. For, let’s face it, modern consumers won’t pay for a luxury product that they don’t understand.” He continues: “Luxury has changed. Today’s consumers want authenticity, roots, truth and transparency. We live in a different world, an era of information, and we need to be open about our products.” Krug, of course, is a familiar sight in restaurants across Mayfair, having produced superlative vintages for more than a century. It was founded in 1843 by Joseph Krug, after he cut his teeth at rival house Jacquesson. Joseph worked with his son Paul in the 1860s to develop a prestige champagne like no other by growing an extensive mixing palette of vintage reserve wines, and the house has faultlessly stuck to its quality principles. Since the founders began in the 19th century, there has always been a father-and-son team at the helm, passing on their knowledge and pushing the envelope for higher quality. However, in 1999, Olivier’s now deceased father Henri and his uncle Rémi sold the house to luxury goods group LVMH, though it retained its independence and family interest. But the question remains – does Olivier regret losing complete family control? “Not at all,” comes the quick-as-a-flash reply. “We are far stronger as part of a larger family of houses. Being part of LVMH gives us added security, without sacrificing the vision and philosophy of our founder Joseph Krug.”

Today, Olivier remains an integral part of that destiny, as Krug’s director, brand ambassador and spokesperson for the industry at large. It’s a role that Olivier has slipped into with ease, having spent most of his life surrounded by wine and champagne. Born in Reims, Oliver completed a business and financial management degree, before heading to the UK in the late 1980s to immerse himself in the wine trade. “The highlight of my time in Britain was working in a nightclub in Colchester,” laughs Olivier. “Lots of late nights and headaches, but I learned so much about the wine business.”

“Being part of LVMH gives us added security, without sacrificing the vision of our founder Joseph Krug” Even today, Olivier is a regular visitor to the UK, responsible for introducing Krug’s vintage releases to the wine trade and press. His latest project is the 2002 Krug vintage. Widely considered to be one of the finest Krug vintages ever released, I can confirm that the 2002 is, indeed, utterly outstanding: complex, aromatic and extremely powerful. “The 2002 growing season was almost too easy,” says Olivier. “Our winemaker talked about managing the egos, as so many of the blending wines were powerful and expressive in nature. This is definitely a vintage to lay down for a long time.” But aside from his working life, where does Olivier like to spend his time in London after hours? “I love Mayfair’s 5 Hertford Street. It’s an amazing venue with a great selection of Krug vintages,” he enthuses. A passionate gourmet, Olivier spent several years in Tokyo

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in the 1990s promoting Krug to an educated and appreciative audience. “London and Tokyo vie for the position of my favourite city,” says Olivier. “I love them both for their incredible energy.” Does he speak Japanese? “Only after a few drinks,” he smiles. His other major passions are fishing and family, although he concedes that his family doesn’t get together as often as he would like. The conversation turns to Olivier’s children, and the question of succession. I ask if he wants, or indeed expects his son to follow in his footsteps. “Of course, I would be proud if he continued the tradition, but ultimately he has to follow his own path,” Olivier replies. “So perhaps I will

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From far left: Olivier Krug in the vineyard; The 2002 Krug vintage; Krug HOUSE

be the last generation of the Krug family to be involved in the house. Although I’m not planning to retire any time soon – let's wait and see!” As the interview draws to an end, we come full circle and muse over Joseph Krug’s legacy that has endured for more than a century. While I’m sure that Krug will continue to thrive even after Olivier’s – eventual – retirement, it will nonetheless be slightly poorer for this remarkable man’s absence. The 2002 Krug vintage is available at Claridge’s, and is also stocked at Berry Bros. & Rudd, Farr Vintners, and Fine+Rare

YO U M AY N E V E R M A K E I T BA C K HOME T H E SA M E .

Book your Bermuda holiday with Classic Collection Holidays on 0800 294 9329 or 01903 836643.

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Arabian nights Surrounded by five hectares of gardens, Le Palais Rhoul provides a tranquil getaway in Marrakech – not to mention the ideal location for our fashion shoot last month. Guests can eschew suites to sleep under the stars in one of eight Arabian tarpaulin tents, sample Moroccan cuisine first hand with a cookery course or take to the spa for beauty treatments using black soap and orange flower water. Try the harem with its sunken indoor pool strewn with rose petals. From €290, palais-rhoul.com

Travel news WORDS: james coney

Beachfront beauty Art will be in the air until April at the Eden Rock Hotel on the French overseas territory of St Barths. At its beach-side gallery, an outdoor sculpture exhibition will include the unmistakeable clock by Salvador Dalí that is featured on our cover this month. A six-week pop-up exhibition from the Gagosian Gallery closed at the end of January. From €650, edenrockhotel.com

A STEP IN STYLE Ludwig Reiter’s new range of travel footwear includes the Roadstar, a shabby-chic driving shoe, and the Inflight Slipper, which boasts the perfect blend of elegance and comfort. Up, up and away. From £339, ludwig-reiter.com

eden rock st barths Art Gallery ©Yotam Sandak

And the award goes to... For this year’s Academy Awards, 45 Park Lane is ready to get into the spirit. On 26 February, courtesy of its Awards Season Experience, guests can enjoy a chocolate Walk of Fame welcome, LaLaLand89 cocktails and dinner for two at Wolfgang Puck’s CUT – think gala dinner hits like chicken pot pie and black truffle risotto – and an American-style breakfast with pancakes galore. Groups of ten can take advantage of a party package including a feast and private screening of the ceremony. Move over Chateau Marmont. From £761 for two people or £5,000 for ten, dorchestercollection.com s l u x u ry l o n d o n . c o. u k s

Suite dreams no.15 great pulteney Words: camilla apcar

eoclassical Georgian townhouses line Bath’s Great Pulteney Street, and behind the Grade I façade of number 15 sits a hotel that opened only in December. To be greeted by no concierge desk and no staff in sight might, to some, be disarming. But eventually a kind soul materialises, and three

history and development can be found, and plenty to become preoccupied with besides: each of the 22 rooms is decorated with its own twist. My suite features two huge Grecian urns, a coffee table that doubles as a display case for a carefullyarranged collection of oriental fans and another, smaller, doll’s house that opens to reveal a

Artworks and trinkets line every wall: this is a cabinet of curiosities where employees are on hand to take bags, pluck keys from an oversized doll’s house and provide local car parking permits. It is just this attitude and whimsical attention to detail that characterises No.15 Great Pulteney. In London, this might not fly. Here, it seems perfectly apt. It continues. Up in the eight suites, there are no hefty manuals detailing when breakfast is served, check-out times or how to work the facilities. Instead a ring-bound essay on the building’s

Nespresso machine, dainty china teacups and a bar of coffee and buckwheat chocolate. The walls are unfinished in places. It’s intentional – although, while some areas are yet to be completed, a shabby-chic air will prevail even after a spa is added in the summer, and more bedrooms later on. The design nods to No.15’s architectural history, layered with vintage flourishes. This is the third property by The Kaleidoscope Collection, a group with two other hotels in Bath.

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clockwise from above: no.15 great pulteney suite; bar 15; the playing card cocktail menu; cafe 15; the lobby

No.15 is its boutique outlet – not overtly romantic, but well-suited for couples or a girls’ weekend away. All this has been created by both local and international interiors talents including Martin Hulbert Design, the maestros behind Coworth Park, the Dorchester’s spa, and treehouse suites at the Chewton Glen. The townhouse is far from formal: a designinclined Sir John Soane’s museum, a cabinet of curiosities where aesthetic sensibility trumps all. Artworks and the most eclectic mix of trinkets line every wall (a Pantone colour chart; piggy banks; aircraft pinbadges; beaded handbags). More than 60 chandeliers are hung throughout the hotel, including one made up of 5,000 earrings, and another in the ladies’ water closet that is illustrated as a sight not to be missed by no less than three staff (for good reason). A culinary point of difference is that there is no dinner service. In No.15’s early days, and set within walking distance of a city overflowing with smart restaurants, there seems no need. Breakfast is taken downstairs in an apothecary-style room where walls are lined with jewel-bright pharmaceutical bottles. Afternoon tea appears, like at Mandarin Oriental Hyde Park, hanging from golden trees. In Bar 15, evening cocktails are king. In another deviation from the norm, the menu comes as a pack of playing cards, each printed with a different tipple. A Bloody Mary becomes The Italian Job, packed with buffalo mozzarella, tomato juice and basil pesto, while rum punch receives an upgrade with Angostura 1919 and salted caramel ice cream. Dinner might not be on the cards, but there are 52 persuasive reasons to spend an evening in.

aesthetic sensibility trumps all It’s a theme that runs throughout: recognising what could be deemed as “lacking”, the hotel compensates in other ways. No mini bars, but instead a larder choc full of complimentary sweet treats, ice creams and speciality lemonades. No.15 is ‘different’, yes, and not quite flawless. I’ll take it over soulless perfection any day. From £149, Great Pulteney Street, Bath, BA2 4BR, no15greatpulteney.co.uk

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wirls of coving, intricate plasterwork and smooth columns make up the fabric of Lithuania’s capital. On a visit in 1812, Napoleon apparently proclaimed the city’s Gothic red-brick Church of St Anne so beautiful that he wanted to take it home in the palm of his hand. As a relatively undiscovered city break destination, it’s safe to say Lithuania rarely enters most Brits’ minds – save for once a year at Eurovision or in reference to the three former Soviet Baltic states. Yet perhaps this is a blessing in disguise, leaving the largest Baroque city north of the Alps mostly free from big tourist groups. Back in the 14th century, the Grand Duchy of Lithuania was the largest country in Europe. Its medieval heritage, museums, historical monuments and UNESCOprotected Old Town mean it ticks all the right boxes for a cultural weekend away. The city is compact enough for walking, so begin at the Old Town’s neo-classical Cathedral Basilica of St Stanislaus and St Ladislaus (strikingly lit at night), and up past the impressive Vilnius University buildings. The Gate of Dawn, the last standing of five grand entrances built into the former city walls, is also worth your time, with its famous painting of the Virgin Mary in the chapel. For a sense of Vilnius in the Middle Ages, as well as more recent history, visit Gediminas’ Tower, part of the Grand Duke’s old castle that was completed in 1409 and houses a selection of medieval armour, plus models of how the city looked back then. It’s also a fantastic vantage point. For a little light relief, head to the Palace of the Grand Dukes, with its musical staircase that plays a different note for each step. Finally, for a sense of the Lithuanian sense of humour, end up in the artistic district of Užupis, whose inhabitants declared an independent republic in 1997. Read its 41-point constitution, handily translated, with a generous dose of irony, declaring that ‘everyone has the right to be idle’, ‘a dog has the right to be a dog’, ‘everyone has the right to be an individual’ and ‘everyone has the right to have no rights’.

[city break ]

Vilnius

Its medieval history and storied architecture make Lithuania’s capital a fascinating destination. Clare Vooght uncovers the less-travelled Baltic city Palace of the Grand Dukes of Lithuania ©vilnius-tourism.lt

Cathedral Square ©vilnius-tourism.lt

View from the Cathedral Belfry ©vilnius-tourism.lt

VILNIUS ©Marina J/Shutterstock.com

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Where to stay

Gediminas’ Tower ©vilnius-tourism.lt

On Cathedral Square in the Old Town, The Kempinski has all the comforts you would expect from a large hotelier, but the personality of a boutique hotel. Expect constantly changing events, including visits from Michelin-starred chefs to the Telegrafas restaurant (most recently Berlin’s Hendrik Otto), sommelier-led wine tastings and collaborations with local fashion designers. Its underground spa makes a feature of remaining brickwork from 16th-century former city walls, while honeycomb from the hotel’s rooftop beehive is served with breakfast. From €190, kempinski.com

SUITCASE E S S E N T I A L S #1 Beret, £300, Maison Michel, net-a-porter.com

#2 Cuff, £370, Isabel Marant, net-a-porter.com

Where to eat

kempinski grand suite

Opt for the seven-course tasting menu at Sweet Root, a modern Lithuanian restaurant with an open kitchen. Its seasonal menu – think creamy dill and cucumber soup made with buttermilk and snail caviar or handmade pasta filled with ground elder and catnip – is accompanied by a list of local places where the food was sourced, including eco farms and co-operatives. Emotional cuisine plays a part, too, such as a soft-centred fried semolina intended to evoke Lithuanian childhood breakfasts, topped by bittersweet wood sorrel to conjure memories of forest walks. sweetroot.lt

#3 Handbag, £2,900, celine.com

#4 Tunic, £410, longstafflongstaff.com

Mayfair recommends

The Church of St. Anne and Bernardino ©vilnius-tourism.lt

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Charming Dom Bow Ties, a shop just south of the university, stocks traditional silk bow ties, wooden and even concrete designs – plus feminine versions and necklaces, and adorably downsized ties for kids. If your bow tying skills are rusty, staff will happily show you the ropes. Keeping with the textile theme, the Lithuanian Art Museum has an impressive permanent collection, plus ceramics, folk and fine art from the country’s borders and beyond. lietuviskospeteliskes.lt; muziejai.lt

#5 Boots, Gianvito Rossi, £650, harrods.com

Having just relaunched with extensive renovations, Trisara resort in Phuket is a slice of heaven served at just the right temperature â&#x20AC;&#x201C; with a side of panoramic ocean views, as Bethan Rees discovers

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t was while I was lying face down on a massage table, soothed by the subtle scent of jojoba oil, with three pairs of hands beginning to gently knead away my aches and pains, when I realised Trisara was unlike anywhere else I’d visited before. At this boutique outpost in Phuket, the Royal Trisara 6 Hand Massage is the epitome of the hotel: regal and rare. On the island’s north-western shores, Cherngtalay is among its less developed areas and provides a perfect, peaceful and undisturbed backdrop. Trisara is one in a handful of truly luxe resorts that have been developed in Phuket, including Anantara, COMO Point Yamu, Amanpuri and Banyan Tree. But what sets it apart from its esteemed counterparts is the privacy provided by its low density of villas and the space between each one. Each villa has ocean and sunset views, and a private swimming pool. Albeit on a mammoth scale (39 pool rooms, suites and villas plus private residences), the notion of tightly-packed accommodation that caters for the maximum number of guests simply doesn’t exist here.

The twinkling Andaman Sea effortlessly sets the scene from almost every position on this mammoth resort

clockwise from top: trisara; oceanfront residence; the main pool; destination dining

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What’s more is that Trisara doesn’t want to keep you cooped up in its beautiful resort – as much as you might, in fact, want to stay put. It creates local experiences such as guided visits to Old Phuket Town or excursions that revolve around walking meditation, which is usually practised by Buddhist monks. The twinkling Andaman Sea effortlessly sets the scene from almost every position. It feels completely solitary, yet never lonely, with the subtle crashes of the surrounding sea. In Sanskrit, Trisara translates to ‘the garden in the third heaven’. It’s perfectly apt, as its ocean view pool villas are wrapped in a tropical jungle of towering palms, bamboo and banana trees. The scent of jasmine follows me around the hotel. From my warm greeting at reception,

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where I’m offered a jasmine flower garland, to the cooling towels handed out during excursions and the jasmine tea being sipped by guests at all hours. It both relaxes and energises me at the same time. The immaculate private beach is the perfect place to reflect, either on a sunbed or – my personal preference for ultimate relaxation – a hammock that gently rocks you above the shallow waters. Paired with a freshly-picked coconut, the outside world couldn’t seem further away.

A formidable 25 per cent of guests return – and Trisara wants to provide new experiences every time

Trisara is independent and family-owned. The story goes that the Pattamasaevi family opened the hotel in 2004 in a bid to share their cultural heritage with the rest of the world. Indeed, it has certainly allowed them to create an experience whereby guests are totally immersed in the destination’s natural beauty. After a day lazing at the beach, it’s time to retire to my room to get ready for the evening. My villa has never looked better than in the golden hour, with the sun slowly setting and reflecting on the ten-metre, ocean-facing, chlorine-free infinity pool, which makes you feel as if you’re taking a dip straight into the ocean. The villa itself is a huge 240 sq m space, a structure that sees pagoda meet plantation house: the combination of dark teak wood and shutters is understated glamour at its finest.

clockwise from centre: ocean pool villa; residential villa; oceanfront pool villa; residential villa

Following its relaunch in December 2016, Trisara’s accommodation has reached higher heights. The new Ocean View Pool Junior Suites offer outlooks from the resort’s highest vantage point, for that extra ‘in the canopies’ feeling. The main driver for renovating 40 per cent of the resort was the owners’ desire to provide its returning guests – a formidable 25 per cent of those who stay – with new experiences every time. There are multiple dining options to be sampled at Trisara. The most formal is Seafood, a restaurant that brings its oceanfront atmosphere straight to the plate with beautifullypresented fresh produce from around the world. Don’t go home without trying the Canadian lobster paired with black truffle, bone marrow, pearl onions and sweet carrots – a feast for both the eyes and the mouth. The newest dining experience is PRU: a tribute to the terroir of the Andaman region that plays into the ‘farm-to-table’ food movement, something that we have seen a lot of across

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carved, all executed to a fun-filled soundtrack from a live local jazz band. Before travelling to Phuket, I had nightmarish visions of drinking sickeningly sweet cocktails out of sandcastle buckets and slightly seedy cabaret – but, thankfully, my preconceptions of Thailand as a place only to party have since completely disappeared. Phuket is an island of pure natural beauty, and at Trisara, it feels like you’ve stepped directly into a scene from Robinson Crusoe. From £1,812 per night, trisara.com

London, from The Grain Store in King’s Cross to The Dairy in Clapham. Named after Pru Jampa farm, where the sea air meets the sweet scent of tilled soil, PRU aspires to plant its own food and raise its own meats. It has begun its culinary journey already. Farming organically and sustainably, the menu features dishes such as “carrots, cooked in the soil they came from, fermented carrot juice and cured egg yolk from the farm”. The Deck, meanwhile, is a more casual affair full of authentic Thai dishes. From crispy catfish and mango salad to pad Thai; braised pork belly with star anise to blue crab in a yellow curry sauce, it gives diners cross-section of regional Thai cuisine. The Bar overlooks the ocean and main pool, and spills onto to the beachside open air decks, and is the perfect spot to watch the sun go down, accompanied by a lychee martini and a black truffle pizza. But it’s the Trisara Sunday Jazz Brunch that steals the show. With a buffet of the highest standard, expect to see fresh seafood such as lobster, oysters and giant king prawns alongside flawlessly rolled sushi, and hot beef ready to be

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IMAGES COURTESY OF MANDARIN ORIENTAL MARRAKECH

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Marrakech appeals as a buzzing metropolis with plenty to explore, but it comes up trumps as a relaxation retreat too, as Ellen Millard discovers on a week-long tour of the Red City

n the middle of Marrakech’s Jemaa el-Fnaa square, amidst the food stall sellers frantically waving menus at tourists, snake charmers coaching pythons out of wicker baskets and women brandishing books of henna designs, sits a lone man in front of a plastic fold-out table, on which an assortment of teeth are displayed. The vendor beams at us with a gappy smile as we approach, but offers no explanation, merely nodding at our befuddled expressions. He’s there the next night too, grinning with recognition, and the following two nights after that. In fact, if you hopped on a plane to Morocco now I bet he’d still be there, smiling away at confused visitors stopped short on their way to the souks. A quick Google back on home soil reveals the molar man to be one of Morocco’s many medicinal mavericks, offering to remove painful teeth for a price. The exhibited fangs are, of course, his success stories. It says a lot about a city when amateur tooth extraction is offered as an explanation to a problem and, instead of raising eyebrows, it makes perfect sense. This truly sums up Marrakech: a city so surprising that, in the end, nothing is surprising at all. Jemaa el-Fnaa is the beating heart of the metropolis, a pulsing frenetic square with people and sites to see every which way you look. The souks sit in the middle, but you’ll have a job getting to them without being stopped multiple times along the way, whether it be for the offer of food, a glass of fresh orange juice (it’s delicious), or an excursion. Moments of calm can be found in the hotels located just outside of the city walls – close enough to nip in for a turn around the medina, but far enough away to enjoy some quiet time, too. The Mandarin Oriental is one such place. It opened in October 2015, but there are signs that it has already become part of the furniture. One night during our stay our taxi driver stops the car as we pull into the drive and leans out to pat a passing dog’s head, later telling us that the friendly hound is a pet of a regular that frequents the hotel every month. A home from home for some, the space is

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surprisingly intimate despite spanning 20 hectares; in fact, its 54 private-walled villas give the air of a lavish estate, albeit one with room service, restaurants and an on-site spa. My guest and I stay in one of the 43 Mandarin pool villas, a one-bedroom ground-floor house with a private terrace, outdoor Jacuzzi and a swimming pool. When the concierge shuts the door behind us, we can’t help but jump for joy at the sight of our temporary home. Created by architect Pascal Desprez and interior design house Gilles & Boissier, the space marries Mandarin Oriental’s Asian heritage with Moroccan culture and a minimalist eye for design. The result is a largely monochrome space offset with mosaic tiles, embroidered upholstery and terracotta walls. The villa is surprisingly private given its busy surrounds, so much so that if you never make it outside it would be easy to forget that you were staying in a hotel at all.

Jemma el-Fnaa is the beating heart of the metropolis, a pulsing frenetic square with people and sites If you don’t want to venture too far from your room, I would advise you take advantage of the hotel’s two restaurants. Our meal at the signature eatery, Mes’Lalla, was particularly outstanding. Overseen by head chef Meryem Cherkaoui, the restaurant specialises in traditional Moroccan tastes with a French twist. I opt for the chiwates to start, a selection of Moroccan salads. They’re delicious, but be warned – the dish would ideally be suited to share if, like me, your eyes are bigger than your stomach. Still, I manage to find room for my main, a tender beef and potato tagine laced with lemon that sets the foodie bar high for the rest of the trip. For some R&R, the on-site spa has four treatment rooms, two hammams, a beauty salon and a fitness centre on offer. Each treatment room is equipped with its own private outdoor terrace, where your session can take place should

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you wish, although I am grateful when my therapist suggests we conduct my massage indoors where the air-con is on full-blast. My masseuse works at the knots in my shoulders – the side-effect of a desk-bound job – using the country’s famed argan oil and by the end of my hour-long treatment I fully understand the nation’s obsession with the beauty elixir: my skin feels silky smooth and my back has been relieved of its office slump. The Mandarin Oriental Marrakech certainly goes out of its way to make its guests feel relaxed, creating an oasis of calm in contrast to the frantic city centre. In fact, if it weren’t for the subtle design references to its homeland, it would be easy to forget that you were in Marrakech at all, a sentiment that will no doubt appeal to some. But those looking to explore the city from a closer angle should pay a visit to one of the many traditional riads that are dotted around the medina, too, where unrefined luxury can still be found in the heart of the buzzing kasbah. La Sultana, a converted house situated in the Golden Triangle region of the city, offers a taste of the true Marrakech lifestyle, with five separate riads offering a total of 28 individually designed rooms. Intricately detailed mosaics pepper the five spaces, each with its own colour scheme and style. One takes a minimalist approach with white tiles and a miniature Jacuzzi in the centre of the floor, while another is a suntrap that houses the hotel’s pool. My personal favourite is the green, yellow and cobalt blue designed space, which reigns as the rainbow champion of the hotel, with buttercup yellow sofas in the alcoves and a water feature filled with peachcoloured flowers. Our riad boasts an indoor garden and a library. Each room is named after an animal and we take up temporary residence in the Crocodile Suite, where little crocs adorn the mint green cupboard doors and larger models watch over the marble bath tub. The suite is dark but such is the nature of a riad; fortunately, La Sultana has made the most of its space and elsewhere the hotel feels light and sizeable. Like many cities that are short on room, the architects of Marrakech have mastered the art of going up, and the hotel’s rooftop terrace is no exception. The space offers a 360-degree panoramic view of the city and the surrounding

IMAGES COURTESY OF LA SULTANA MARRAKECH

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Like many cities that are short on room, the architects of Marrakech have mastered the art of going up, and the hotel’s rooftop terrace is no exception Atlas mountains, as well as a second pool and a restaurant. This is where my guest and I dine on our first night, opting for the traditional Moroccan tasting menu (for research purposes, of course), which comprises five courses, each featuring several dishes. Once again, my greed prevails and I am left feeling more than a little full, but incredibly satisfied with my choice. Stand-out dishes included the pigeon bastilla with cinnamon (don’t knock it ’til you’ve tried it) and the braised beef with toasted almonds, both of which were delicious. One of the best things about La Sultana is without a doubt its location. Just a short walk from the hustle and bustle of the medina, it’s easy to peruse the local attractions and still have the option to nip back to the pool when the temperature gets too hot to handle (which, trust me, it does). The hotel offers privately guided tours of the nearby amenities for those who want to see the city through the eyes of a local, which may be advisable if you’re a little nervous about exploring the centre for the first time. The late couturier Yves Saint Laurent once said: “a visit to Marrakech was a great shock to me. This city taught me colour”. He famously moved there after his retirement in 2002, and his ashes are scattered in the city’s Majorelle Garden, where his love for brazen hues comes to the fore. I stay for a week, but by the end I feel as if I’ve only scratched the surface of what Marrakech has to offer. Needless to say, I will definitely be returning to uncover the rest of the colours in the Red City’s rainbow. Mandarin Oriental Marrakech, from approx. £570 a night, including breakfast and transfers, mandarinoriental.com La Sultana Marrakech, from approx. £267 a night, based on two people sharing, lasultanahotels.com

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REGULARS

Remembering

Thomas Gainsborough WORDS: Hannah Lemon

nder the request of King George III, the Royal Academy of Arts was founded in 1768 to promote ‘the art of design’, with a school and a roster of annual exhibitions. Of the 34 founding members was one of Britain’s pre-eminent portrait painters and landscape artists, Thomas Gainsborough. Born in Suffolk in 1727, Gainsborough was the youngest of nine children belonging to a weaver in the wool trade. While he grew up in Sudbury, Gainsborough began to fill pages with pencil sketches of the startling landscape with its wizened trees, winding glades and sunny nooks, often running truant from school to do it. It wasn’t long before he was an accomplished painter, too. His father quickly cottoned on to this talent and packed the well-mannered 13-year-old off to London to receive some formal training. According to the Scottish author Allan Cunningham: “[Gainsborough’s] genius, his history, his modest deportment, and his good looks, obtained him many friends.” He first trained under French engraver HubertFrançois Gravelot, but eventually became associated with famous pictorial satirist William Hogarth under the tutorship of painter Francis Hayman. Not much later, when he was 19, Gainsborough married the illegitimate daughter of the Duke of Beaufort, 16-yearold Margaret Burr. They moved to Suffolk and later had two daughters. However, he struggled to make it financially

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as a portrait painter in the rural community and uprooted his family to Bath to make more of the high-society residents living there. Gainsborough’s reputation soon flourished and he began sending portraits to the Society of Arts – now the Royal Society of Arts, of which he was one of the earliest members – as well as the Royal Academy. His popularity increased and it wasn’t long before his list of clients included actors David Garrick and Sarah Siddons, the Duke and Duchess of Cumberland, and King George III and his queen. Gainsborough relocated to London in 1774 to live in Schomberg House at 80-82 Pall Mall, where he constructed a studio in the garden. He rented the premise for a princely sum of £300 a year. An English Heritage blue plaque was placed on the house in 1951 to mark this milestone. The artist’s life was not without tension, however. In 1784, King George’s royal painter died and, although Gainsborough had struck up a strong relationship with the royal, the position was passed on to his rival, Joshua Reynolds. Then in 1783, Gainsborough had his paintings moved from the Royal Academy and over to his house in St James’s after he quarrelled over the hanging of them. In 1788, at the age of 61, the artist died of cancer and was buried in Kew churchyard, a place of worship that the King often frequented. His wife joined him ten years later. Although Gainsborough’s success came mainly from portraits, he maintained a preference for painting landscapes. And, luckily for us, despite their previous squabbles, the Royal Academy still hangs many of these romantic scenes from its walls.

s l u x u ry l o n d o n . c o. u k s

detail of Thomas Gainsborough, Portrait of the Artist with his Wife and Daughter, c.1748 ©The National Gallery, London

MAYFAIR

Mayfair estate agents Beauchamp Estates 24 Curzon Street, W1J 7TF 020 7499 7722 beauchamp.com

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Dexters 66 Grosvenor Street W1K 3JL 020 7590 9590 (sales) 020 7590 9595 (lettings) dexters.co.uk

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London, Hyde Park and Bayswater 44 Connaught Street W2 2AA 020 7402 1552 (sales) 020 7371 3377 (lettings)

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Knightsbridge 82 Brompton Road SW3 1ER 020 7225 6506

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Pastor Real Estate Ltd 11 Curzon Street W1J 5HJ 020 3879 8989 (sales)

Sotheby’s international realty 77-79 Ebury Street SW1W 0NZ 020 7495 9580 sothebysrealty.co.uk

48 Curzon Street W1J 7UL 020 3195 9595 (lettings) pastor-realestate.com

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For estate agent listings please contact Sophie Roberts at s.roberts@runwildgroup.co.uk

Wetherell 102 Mount Street W1K 2TH 020 7493 6935 wetherell.co.uk

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New horizons

Expert commentary and the inside track on the marketâ&#x20AC;&#x2122;s prime movers

image courtesy of john taylor

The spring market is becoming very exciting, we have a number of buyers registered who are keen to purchase their next home. A shortage of available property in the market is leading to competition amongst buyers in some instances. If you are considering a sale this spring, now is the time to make contact.

Harvey Cyzer Office Head, Mayfair & St James's 020 8166 7484 harvey.cyzer@knightfrank.com

SOLD Half Moon Street, W1J Guide price: £14,950,000

SOLD Jermyn Street, SW1 Guide price: £4,000,000

SOLD

Albemarle Street, W1S Guide price: £15,950,000

SOLD

Cleveland Court Mews, SW1 Guide price: £6,950,000

SOLD

Whitehall Court, SW1 Guide price: £2,375,000

Green Street, W1K Guide price: £14,950,000

@KnightFrank KnightFrank.co.uk Mayfair Mag Feb

11/01/2017 12:36:52

Westchester House, Seymour Street, Hyde Park W2 Generous three bedroom mansion apartment moments from Hyde Park

KnightFrank.co.uk/hydepark hydepark@knightfrank.com 020 3544 6140

A south facing lateral apartment of fantastic proportions, situated on the raised ground floor of a well maintained residential block, benefiting from daytime conceirge service and located in close proximity to the amenities of Marble Arch and Connaught Village. 3 bedrooms, 2 bathrooms, reception room, kitchen, utility room. EPC: D. Approximately 95 sq m (1,027 sq ft). Leasehold: approximately 91 years remaining

Guide price: £1,495,000

@KnightFrank KnightFrank.co.uk

KnightFrank.co.uk/HPE160190

Mayfair Mag February 2017 - The Hempel

11/01/2017 10:26:31

FOUND. Your perfect tenant. Let with Knight Frank. Call us today to arrange your free market valuation: KnightFrank.co.uk/lettings marylebonelettings@knightfrank.com 020 3641 5853 KnightFrank.co.uk/lettings hydeparklettings@knightfrank.com 020 3641 1708

Guide price: £1,375 per week

Montagu Mansions, Marylebone W1U

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A beautifully refurbished three bedroom apartment in a portered red brick mansion block with lift access. 3 bedrooms, 2 bathrooms, reception room and kitchen. EPC: D. Approximately 99 sq m (1,065 sq ft). marylebonelettings@knightfrank.com Office: 0 2 0 3 6 4 1 5 8 5 3

All potential tenants should be advised that as well as rent, an administration fee of £276 and referencing fees of £48 per person will apply when renting a property. Please ask us for more information about other fees that may apply or visit KnightFrank.co.uk/tenantcharges

@KnightFrank KnightFrank.co.uk

Guide price: £1,150 per week

Clifton Place, Hyde Park W2 An immaculate three bedroom flat which has been finished to a very high standard. 3 bedrooms (1 en suite), open plan dining/reception room, fully fitted kitchen, guest cloakroom. EPC: D. Approximately 106.83 sq m (1,150 sq ft). hydeparklettings@knightfrank.com Office: 0 2 0 3 6 4 1 1 7 0 8

Mayfair Mag 11.11

12/01/2017 09:37:03

property

market

insight Market movers Partner and head of Knight Frank Mayfair, Harvey Cyzer, reports on the highs and lows of the global property market

here are tentative signs of recovery in London’s super-prime market (£10m-plus) after a series of tax changes slowed activity. Indicators of demand are rising as vendors are increasingly prepared to adjust asking prices to reflect an increased tax burden on purchasers. While the result of the EU referendum added a longer-term political uncertainty, it has served as a catalyst for overdue price reductions. Demand has also been boosted by a favourable currency movement, making London property more than 15 per cent cheaper for buyers denominated in US dollars. The number of new prospective buyers offering above £10m in the four months following the vote increased 18.8 per cent year-on-year, while the number of viewings rose by half. More realistic asking prices and a favourable currency movement mean many buyers have benefited from a twin boost. There is still a portion of the market that remains circumspect about the short-term prospects for pricing, which has been amplified by the political uncertainty surrounding Brexit. Yet the reality on the ground is that demand is strengthening and the risk is that you miss the moment when the market starts to bottom out.

In a sign that demand for high-value London property remains resilient, the number of transactions above £30m increased to 14 from ten year-on-year between January and September, while the total value of transactions rose by 28 per cent. This underlines how there has been no diminution of London’s standing as a place to live for many of the world’s wealthiest families. Kensington retained the largest share of superprime sales, with 19 per cent of transactions in 2016. Alongside Mayfair and Knightsbridge, it is an area where demand is strengthening as a result of price reductions that make it look better value. Buyers have a higher appetite for risk when the market is buoyant. When activity is more constrained, the focus intensifies for best-in-class properties in the best locations. However, as a result of higher levels of stamp duty, there is also growing interest in large, unmodernised houses to avoid higher upfront tax costs. People are prepared to do more work than they were in the past. The stamp duty saving can represent a large chunk of any build costs.

The number of transactions above £30m increased between January and September: there has been no diminution of London’s standing as a place to live

s l u x u ry l o n d o n . c o. u k s

Knight Frank Mayfair, 120a Mount Street, W1K, 020 7499 1012, knightfrank.co.uk

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[ hot property]

Chesterfield House, W1

beautifully refurbished first-floor apartment has become available within Chesterfield House, a 1930s mansion block in the heart of Mayfair. The light reception room in this one-bedroom property centres around an original marble fireplace, features elegant parquet flooring that is edged with light Poplar wood, as well as an opulent antique crystal chandelier from the 1940s.

The bespoke kitchen â&#x20AC;&#x201C; complete with integrated Siemens appliances â&#x20AC;&#x201C; is modern and understated, with clean, light grey cabinets offset by pearly Carrara marble worktops and sleek Buster + Punch brass handles. The spacious double bedroom boasts ample storage, including tailored oak wardrobes fitted with soft close doors and LED lighting. The vintage style bathroom comprises of a Duravit suite with stylish, nautical Samuel Heath taps and

PROPERTY

shower fittings, globular Fritz Fryer wall lights and motionsensitive lighting. Other desirable features include Forbes & Lomax sockets and switches throughout, a 24-hour porter and an elevator. The flooring has been entirely re-laid with acoustic underlay and lights illuminate the entrance hallway. Positioned at the back of the building, this property is exceptionally quiet; situated adjacent to bustling Curzon Street and a short walk from Hyde Park and Piccadilly.

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Mayfair has long been popular with fashionable and artistic characters (from Beau Brummell to Keith Moon), and this apartment provides the perfect sanctuary to retreat to after exploring these rich and colourful streets. ÂŁ1,695,000 (share of freehold). For more information: Simon Green, sales negotiator, 48 Curzon Street, W1J, 020 3879 8989, simon.green@pastor-realestate.com, pastor-realestate.com

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FOR SALE CURZON STREET, W1J

ÂŁ1,375,000

This 2 bedroom 4th floor apartment with lift is ideally positioned to benefit from all that Mayfair has to offer. Extending to 739 sq ft (69 sq m) the accommodation comprises: entrance hall, reception room with dining area, master bedroom with en-suite bathroom, second bedroom, shower room and separate fully fitted kitchen. Leasehold.

Simon Green

FURTHER DETAILS :

E sales@pastor-realestate.com T +44 (0)20 3879 8989

FOR SALE CHESTERFIELD HOUSE, MAYFAIR W1

ÂŁ1,375,000

This refurbished and interior designed one bedroom apartment is set within a purpose built block with lift. Extending to approximately 650 sq ft (60 sq m) the apartment features solid wood flooring, a fully fitted eat-in kitchen with quality appliances and 24 hour porter. Leasehold plus Share of Freehold.

FURTHER DETAILS : Simon Green

E sales@pastor-realestate.com T +44 (0)20 3879 8989

www.pastor-realestate.com

TO LET SHEPHERD MARKET, MAYFAIR W1

£695 per week

Two new one bed apartments nestled in the heart of Mayfair’s Shepherd Market. These superb properties have been refurbished to an exceptional specification to include air conditioning, underfloor heating, bespoke kitchens, marble shower rooms and excellent storage. Entrance hall, reception room, shower room, double bedroom, fully fitted kitchen with Miele appliances, entry phone system and intruder alarm. Available for long let.

Spencer Taffurelli

TO LET PICCADILLY, MAYFAIR W1

£895 per week

Modern newly refurbished apartment quietly situated in this period block, with a lift, moments from Piccadilly and the open spaces of Green Park. Large windows offer excellent light & the accommodation comprises entrance hall, reception/dining room with wall mounted TV, two double bedrooms, full fitted kitchen with all appliances, bathroom and guest cloakroom. Amenities include a day porter & parking is available by separate negotiation.

FURTHER DETAILS :

E lettings@pastor-realestate.com T +44 (0)20 3195 9595

Elisabeth Erard

E lettings@pastor-realestate.com T +44 (0)20 3195 9595

PASTOR REAL ESTATE 48 CURZON STREET, LONDON, W1J 7UL • T +44 (0)20 3195 9595 F +44 (0)20 3195 9596

Pastor Real Estate 48 Curzon Street MAYFAIR W1J 7UL London

Pastor Real Estate 11 Curzon Street MAYFAIR W1J 5HJ London

T: +44 (0) 20 3195 9595 F: +44 (0) 20 3195 9596 E: contact@pastor-realestate.com

T: +44 (0) 20 3879 8989 F: +44 (0) 20 3195 9596 E: sales@pastor-realestate.com

Lettings Investment Architecture Consultancy Commercial Project Management Property Management

Sales

www.pastor-realestate.com

Price: £23,500,000

Pont Street, Knightsbridge SW1 A very impressive and beautiful 6 bedroom home in the heart of Knightsbridge measuring 6346 sqft (589.56 sqm) and set out across 4 floors with a passenger lift. The property boasts traditional high ceilings and the reception rooms provide voluminous entertaining space with stunning period features. Pont Street is a very popular location in Knightsbridge within easy reach of Harrods and the boutiques and restaurants of Sloane Street and the Kings Road.

020 7580 2030 WWW.ROKSTONE.COM 5 Dorset Street, London, W1U 6QJ enquiries@rokstone.com

»» »» »» »» »» »»

Leasehold 6 bedrooms 7 bathrooms Knightsbridge Lift 6346 sqft (589.56 sqm)

St James’s Place, St James’s SW1A

£1,500 per week

A beautiful two double bedroom apartment, on the second floor of a boutique development in St James’s, close to Green Park. The apartment has been furnished to a high standard throughout and the property benefits from a Sonos sound system and air conditioning. EPC rating D. Approximately 982 sq ft (91 sq m). Reception room/kitchen | Two bedrooms | Bathroom | Shower room | Sonos sound system | Air conditioning | Recently refurbished

Furnished

77-79 Ebury Street, London SW1W 0NZ sothebysrealty.co.uk +44 20 7495 9580 | london@sothebysrealty.co.uk

sothebysrealty.co.uk

Whitehall Court, St James’s SW1A

£3,950,000

Situated on the third floor of this imposing and highly sought after period building in the heart of Westminster, the apartment has been refurbished to an extremely high standard throughout. Benefiting from a fabulous double reception room with high ceilings and period features, the property is ideal for entertaining. EPC rating C. Approximately 2,180 sq ft (203 sq m). Reception room | Dining room | Three bedroom suites | Kitchen | 24 hour porterage | Lift | Residents street parking

Leasehold: approximately 71 years remaining

© 2016 UK Sotheby’s International Realty. All rights reserved. Sotheby’s International Realty is a registered trademark licensed to UK Sotheby’s International Realty in the UK. Each offïce is independently owned and operated. All information non - contractual, approximate and subject to error, change and withdrawal without notice. Rent excludes administration fees. Please contact our offïces who can provide this information.

HYDE PARK PLACE, W2 Penthouse Falmouth House â&#x20AC;&#x201C; Stunning views across central London A stunning three bedroom lateral penthouse apartment with south facing terrace which has magnificent views in all directions across central London and beyond. The apartment has been the subject of a major refurbishment programme and is now offered with up to date amenities including smart home technology throughout and air conditioning. Falmouth House is in a sought after location overlooking Hyde Park. The building has full porterage and the apartment comes with a secure off-street car parking space. Accommodation: Drawing room/dining room, kitchen, master bedroom suite, 2 further bedrooms, guest bathroom, guest cloakroom, terrace. Amenities: Parking, full porterage, smart home technology and air conditioning.

No tenant fees

ÂŁ2,900 / week karolina@beauchamp.com

www.beauchamp.com

24 Curzon Street, London W1J 7TF

+4 4 (0) 20 7499 7722

Mayfair Showroom 66 Grosvenor Street, London, W1K 3JL 28 offices in Central London and over 60 across London

St Jamesâ&#x20AC;&#x2122;s Place, SW1A ÂŁ6,100,000

An elegant Grade II Listed Freehold townhouse which is presented in excellent condition throughout. This house has many period features with the original panelling, sash windows and shutters having been recently refurbished. There are three reception rooms and a large kitchen/breakfast room, five bedrooms, five bathrooms and a patio terrace. Dexters Mayfair 66 Grosvenor Street, London, W1K 3JL T: 020 7590 9590 E: mayfairsales@dexters.co.uk

dexters.co.uk

Upper Brook Street, W1K £5,000 per week

A recently refurbished six bedroom interior designed Mayfair townhouse. Arranged over six floors the property retains many period features including floor to ceiling windows and feature fireplaces. There are three reception rooms, a large kitchen with space for informal dining and five bathrooms, energy rating d. Dexters Mayfair 66 Grosvenor Street, London, W1K 3JL T: 020 7590 9595 E: mayfairlettings@dexters.co.uk

dexters.co.uk

Tenants fees apply: £180 per tenancy towards administration, £60 reference fee per tenant and £144 towards the end of tenancy check out report (all inc VAT).

Property news PrimeResi brings you the latest news in prime property and development in London

Developing the landscape Major projects turning Mayfair back into London’s most wanted residential address

ayfair’s resurgence as London’s most in-demand residential district has been one of the big trends of the past decade. Now one of the greatest concentrations of household wealth anywhere in the world, the enclave currently houses more than 2,000 millionaires in some of the capital’s most expensive real estate. According to research by Wetherell, EGI and Westminster Council, 1,305 of the area’s 4,348 residential properties are end-user, privatelyowned homes, while 870 are social housing (shared ownership and rented). The balance of 2,173 properties consists of privately rented dwellings owned by landlords/investors and occupied by affluent tenants.

188%

Increase in Mayfair prices over the past ten years

£4,638 Best price per sq ft in 2016 (resale market only January to end June 2016)

£2,400 Average price per sq ft to date in 2016 (resale market only January to end June 2016)

PrimeQResi Journal of Luxury Property

Between 2006 and 2016, property values have risen by 188 per cent. Of the privately-owned properties, only five per cent are now worth less than £1m; 50 per cent come in between £2m to £10m; while 45 per cent are valued at over £10m. The most expensive homes in Mayfair can command up to £200m. An “entry level” flat can cost more than £1m, while the average home

costs £4.8m and rents for an average of £1,387 per week. Rising demand has triggered a raft of new luxury schemes in the neighbourhood; 11 new top-end residential developments – providing 160 new homes – are currently under construction, with another 21, providing a further 410 new homes, in the planning pipeline. These new homes have the largest average floorplates in London – 2,700sq ft, compared to a London-wide average of just 500. Wetherell forecasts that property values in the area will double over the next ten years, pushing top-end values up into the territory of £10,000 per sq ft, with a cost of £5,000 per sq ft becoming “the norm”.

Mayfair prices perform better long term than prime central London MAYFAIR PRIME CENTR AL LONDON

Relative to 2007 peak

+50%

Ten years (%)

117%

188%

10%

Ten years (% p.a.)

+45%

courtesy of native land

property

The new brigade

courtesy of alchemi

Green light for £13.5m residential transformation of Westminster Fire Station

Readying for residents

lchemi Group has netted planning approval for its restoration of the Grade II-listed Westminster Fire Station in Victoria. The red brick and Portland stone former fire station, built in 1906, was decommissioned by London Fire Brigade in January 2014 and sat empty until Alchemi, as development manager, managed the acquisition of the site from LFB in July 2016. Approved designs by Openstudio Architects now aim to “preserve and enhance the character and appearance of the listed property”, delivering 17 apartments, a restaurant and a refurbished garden courtyard across two buildings, totalling 22,380sq ft. The £13.5m restoration includes the demolition of the current modern rear building and its replacement with a hand-made brick residential building, including glazed brick detailing, which has been “carefully designed to complement the grandeur and heritage of the listed front building”. Alchemi plans to start on site in February, with a provisional completion date of October 2018.

ative Land’s Rogers Stirk Harbour + Partners-designed Burlington Gate scheme in Mayfair has now reached full height. The team marked the milestone in ceremonial fashion, hoisting a yew tree skywards in front of a 100-strong crowd, in a tradition dating back to pre-Dark Ages Scandinavian cultures (the idea, back then, was to appease the tree-dwelling spirits for unseating their ancestors). An investment consortium made up of Native Land, Hotel Properties Limited and Amcorp bought the prize site just behind the Royal Academy from Standard Life in 2012, with Native Land acting as development manager. Planning was bagged in 2014 for a high-end scheme made particularly noteworthy by the inclusion of a new public arcade linking Old Burlington Street and Cork Street, the first to be created in Mayfair since the 1930s. The key aim, says the team, is to create a “sense of place”, and the design also sees the ground and lower ground floors devoted to art gallery space. Around £6m is going towards affordable housing and some big improvements to Cork Street. The 42 residential units will have the kind of spec one would expect from the firm behind such schemes as NEO Bankside, Cheyne Terrace and 10 Montrose Place, and residents will have access to a full gamut of “hotel-style” luxury amenities. Completion is due in the summer of 2017. primeresi.com

s l u x u ry l o n d o n . c o. u k s

129

courtesy of native land

Native Land tops out £225m Mayfair scheme

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Penthouse Triplex, Albert W1K Embankment, SW1 FOUNTAIN HOUSE, MAYFAIR,

A stunning penthouse with panoramic views of the lights of iconic buildings including Big Ben reflected in the Thames. 3 With panoramic views of Hyde Park, on Park Lane, a 6th floor apartment in this prestigious building with 24 hour concierge services and lift. bedrooms with 2 ensuites and a family bathroom with Villeroy & Boch sanitary ware and Fantini fittings. Molteni & C kitchen In need of refurbishment, the apartment has a large entrance hallway, formal sitting and dining rooms, fitted kitchen, family room, three with Gaggenau and Miele appliances with a dining and sitting room open plan area opening onto a sensational 21st floor 438 double bedrooms, staff bedroom, three bathrooms and a guest cloakroom. Long Leasehold. EPC Rating C. JSA Savills, Mayfair. sq ft (40.7 sq m) terrace with its own outdoor kitchen, barbecue and Riviera hot-tub. 2nd roof top terrace on top of the world accessed by an automated solid glass sliding roof light. Fully automated by Creston. CCTV, concierge, gymnasium.

Guide £4,850,000 PRICE: Price: £6,950,000 Leasehold LEASEHOLD

John John Taylor Taylor UK UK 48 48 Berkeley Berkeley Square, Square, London London W1J W1J 5AX 5AX Tel: Tel: 020 020 3284 3284 1888 1888 Email: Email: london@john-taylor.com london@john-taylor.com

www.john-taylor.com www.john-taylor.com

PROPERTY

Waterfront wonderhomes Leading developer St James is transforming Albert Embankment into central London’s prime riverside address with a trio of iconic developments

CLOCKWISE FROM LEFT: Albert Embankment: view of The Corniche, The Dumont, and Merano Residences; Luxury open-plan living at The Corniche; Spectacular views across The Thames from The Corniche

he final residences to come to the market at Albert Embankment, the Thames-side destination developed by St James (part of the Berkeley Group), are due to be unveiled. At 30 storeys and designed by David Walker Architects, The Dumont is the tallest in a trio of mixed-use developments that crown the 1.6-acre waterfront scheme. Its 186 floor-to-ceiling glazed apartments are set in a building angled at a 45-degree diagonal, taking full advantage of the downriver Thames views. For a break from admiring the skyline, residents can pay a visit to The Dumont’s ten-pin bowling alley, billiards room and screening room, or nip over to The Corniche’s pool, gym and spa. The building is also home to a 24-hour concierge, private observatory lounge and secret garden terrace. Potential buyers will need to think fast, as Albert Embankment’s two other developments were snapped up in a flash: The Corniche, 252 apartments designed by Foster + Partners is already 95 per cent sold (and due for full

132

completion in 2018), while Merano Residences, 40 homes designed by Rogers Stirk Harbour + Partners, is entirely sold out. The Dumont will launch this spring and is scheduled to be completed in 2020. The development’s commercial core will be Albert Embankment Plaza, with a range of office, retail and restaurant spaces. But more than half of Albert Embankment will be a public realm project: its revitalised railway arches, cultural commissions and interactive art installations will reflect the artistic neighbourhood that surrounds it. Between Westminster Bridge and Battersea Power Station, Albert Embankment faces Tate Britain and is not far from the Houses of Parliament, Big Ben, the London Eye, the South Bank and Damien Hirst’s Newport Street Gallery. King’s College London and Chelsea College of Art and Design (University of the Arts London) are close by. 020 8246 4190, stjames.co.uk

s l u x u ry l o n d o n . c o. u k s

A LB E RT E M B A N K M E N T

Enjoy a lifestyle thatâ&#x20AC;&#x2122;s ahead of the curve Show Apartment launching Saturday 25th February - 10am - 6pm The Corniche, is an exclusive riverside address with panoramic views over the most iconic stretch of the River Thames. With a 19th floor Skyline Club lounge and terrace above a beautifully landscaped piazza, The Corniche, with completions from Spring 2018, features a wealth of luxury amenities including an infinity pool, spa, gym and a 24-hour concierge. Highly specified three bedroom apartments, within the exclusive Skyline Collection, are now available on the 16th floor and above.

Prices from ÂŁ3,350,000 To register for the launch please call +44 (0) 20 3733 3520 or email corniche.london@stjames.co.uk To discover more visit www.cornichelondon.co.uk or visit the marketing suite on Albert Embankment Sales & Marketing Suite open daily 10am to 6pm. Prices and details correct at time of going to press. Computer generated image is indicative only.

www.cornichelondon.co.uk Proud to be a member of the Berkeley Group of companies

The Society for the Protection of Ancient Buildings

Drawing of St Dunstan-in-the-West by SPAB Scholar Ptolomy Dean

Founded by William Morris, the SPAB protects the historic environment from decay, damage and demolition. It responds to threats to old buildings, trains building professionals, craftspeople, homeowners and volunteers and gives advice about maintenance and repairs. Since 1877 countless buildings have been saved for future generations.

Information about maintaining your home is available through events, courses, lectures, publications and telephone advice. To support our work why not join the SPAB? Members receive a quarterly magazine, our list of historic properties for sale and access to our regional activities.

www.spab.org.uk 020 7377 1644 A charitable company limited by guarantee registered in England & Wales. Company no: 5743962 Charity no: 1113753 37 Spital Square, London E1 6DY

PHOTOGRAPHY OF GALLERY INTERIOR

A MARYLEBONE GALLERY SO PRIVATE, ONLY A FEW WILL EVER SEE IT

A new gallery now open in fashionable Marylebone is unmissable; but to visit this venue at The Chilterns, on Chiltern Street, you’ll need to buy a property there – and just three apartments remain, each designed by Rabih Hage. As a resident, you’ll have exclusive access to the gallery, displaying large-scale works by iconic photographer David Bailey, and there’s a five-star concierge, private spa, gymnasium and cinema. Minutes from Mayfair and the Regent’s Park, Chiltern Street has fabulous boutiques and restaurants, including the celebrated A-list Chiltern Firehouse - all on your gallery’s doorstep.

thechilternsw1.com For more information about The Chilterns or to arrange a private appointment, please contact Oksana d’Offay on +44 (0)20 3770 6278 or email oksana@thechilternsw1.com

Upper Grosvenor Street - £6.5M

Park Street - £5.75M

Charles Street - £5.5M

WE Green Street - £4.18M

South Street - £2.65M

MAYFAIR

Bourdon Street - £1.85M

Three Kings Yard - £3.75M

Hertford Street - £1.85M

Wetherell have been in love with Mayfair for over 35 years and have the finest selection of properties in the area.

bringing residential life back to mayfair

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Weth

South Audley Street - £5M

Park Street - £4.75M

Berkeley Street - £3.45M

Mount Row - £3.25M

Half Moon Street - £1.75M

102 Mount Street, London W1K 2TH

Upper Grosvenor Street - £975,000

T: 020 7529 5566

Brick Street - £4.5M

South Audley Street - £3.2M

Davies Street - £500,000

E: sales@wetherell.co.uk

wetherell.co.uk

no-one knows mayfair better than wetherell

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Park Lane - £3,500 PW

Grosvenor Square - £2,250 PW

sackville street - £1,950 PW

WE Grosvenor Square - £1,495 PW

Park Street - £1,300 PW

MAYFAIR

Down Street - £795 PW

Albemarle Street - £1,300 PW

Hertford Street - £700 PW

Wetherell have been in love with Mayfair for over 35 years and have the finest selection of properties in the area. 102 Mount Street, London W1K 2TH T: 020 7529 5588 E: rentals@wetherell.co.uk

wetherell.co.uk

bringing residential life back to mayfair

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Weth

FARM STREET MAYFAIR W1 An immaculate newly built four bedroom house of 8,139 sq ft with parking, lift and swimming pool.

102 Mount Street, London W1K 2TH T: 020 7529 5566 E: sales@wetherell.co.uk

wetherell.co.uk

Â£25,000,000 Freehold

no-one knows mayfair better than wetherell

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