The Mayfair Magazine October 2016 by Runwild Media Group

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06/09/2016 16:08

CONTENTS October 2016

Regulars 10 Editor’s letter 12 Five minutes with... Artist and gallerist Fayez Barakat 14 Couture culture The worlds of fashion, film and art collide in October’s cultural round-up 64 Gone with the wind New season knits, coats and polo necks to keep you warm this winter 104 Remembering Mayfair Old Master specialist Colnaghi makes a move

Features 18 The real deal Marianne Dick gets the inside track on collecting from five art specialists

96 62 Cerruti’s new chapter David Taylor sits down with Jason Basmajian, Cerruti 1881’s new chief creative officer 76 Home is where the art is A new book sheds light on Frida Kahlo’s paintings 92 The Picasso of pastry Pierre Hermé reveals the artistry of macaronmaking to Chris Allsop 96 Sides of Sydney Gabrielle Lane finds adventure, glamour and fine dining at three of the city’s smartest hotels

23 Ancient wonders Lending modern appeal to Greek antiquity, Jack Watkins steps inside Kallos Gallery 26 Art of Africa Camilla Apcar reports on the African art market 30 Dada cool Kari Colmans discovers the lesser-known work of Erwin Blumenfeld

34 Collection

57 Fashion

81 Health & beauty

95 Travel

45 Art

75 Interiors

90 Food & drink

105 Property

EDITOR’S LETTER

editor

From the OCTOBER 2016 s ISSUE 061

Acting Editor Hannah Lemon Deputy Editor Camilla Apcar Contributing Editor Lauren Romano Jewellery Editor Olivia Sharpe Watch Editor Richard Brown Editorial Assistant Marianne Dick Editorial Intern Jacinta Ruscillo Sub Editor Francesca Lee-Rogers Brand Consistency Laddawan Juhong Senior Designer Daniel Poole Production Hugo Wheatley Jamie Steele Danny Lesar Alice Ford General Manager Fiona Fenwick Executive Director Sophie Roberts Managing Director Eren Ellwood

Proudly published by

“This world is but a canvas to the imagination” Henry David Thoreau With more than 100 galleries dedicated to photography, contemporary works, the Old Masters, original prints, limited editions, as well as every ‘ism’ you can think of, Mayfair is an art lover’s paradise. This month, as PAD comes to Berkeley Square and Frieze to Regent’s Park, we celebrate the skill taken to execute a good exhibition and provide tips for those who wish to purchase a Picasso or two. Jack Watkins steps inside Kallos Gallery to uncover the mysterious world of ancient Greek antiquities (p.23) and Camilla Apcar discovers the increasing popularity of African tapestries and paintings (p.26). Meanwhile, Marianne Dick gleans insider information from top art dealers on trends and investments (p.18). From a sculpture made with Panadol to a cloud-covered curtain, anyone who says the art world is stuffy better think again.

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IMAGE CREDIT: ©ANNA ISMAGILOVA / SHUTTERSTOCK.COM

LUXURYLONDON.CO.UK A WEBSITE. A MINDSET. A LIFESTYLE.

REGULARS

5 MINUTES WITH...

Which do you enjoy more: being a gallery owner or an artist? This is difficult. It would be very much like having to choose between my right and my left arm. I actually enjoy both equally, though sometimes at different moments.

Who is your favourite artist? Michelangelo, without hesitation. His excellence and versatility in all the disciplines he embraced, and the uniqueness of his artworks inspire in me a sense of awe and profound admiration – almost adoration. To me he is the greatest artist of all time.

visit the New Kingdom period in Egypt – between the 16th and 11th centuries BC. It was a time of immense refinement and great creative sensitivity.

Favourite place in Mayfair?

Favourite gallery in London? To be honest, I am very much a museum person. My heart is divided between two great ones: the British Museum for antiquities and the Victoria and Albert Museum for design, then the National Gallery for paintings.

When did you discover your passion for ancient history and its treasures? When I was about seven years old and started working beside the British archaeologist Dame Kathleen Kenyon. I was sorting and identifying shards from her excavations in ancient Jerusalem.

FAYEZ BARAKAT Enjoying the best of both worlds, the contemporary artist and Brook Street gallerist gives the inside track on specialising in ancient artefacts

Favourite restaurant? I very much enjoy eating at Hakkasan and at Corrigan’s. For a very special dinner I would always go to the Ritz. Though nothing really surpasses my wife’s culinary skills.

Where would you like to open a gallery next? Marrakech. I have a great fondness for the city as well as its people.

Favourite piece that you have sold?

Which period in history would you travel back to? If I could have a time machine with just one destination, I would

CLOCKWISE FROM TOP: FAYEZ BARAKAT; THE RITZ; STATUETTE OF HERCULES; FAYEZ BARAKAT, SERENADE TO MONET, 2011, ACRYLIC ON CANVAS; THE BRITISH MUSEUM

“Michelangelo’s versatility and the uniqueness of his work inspire in me a sense of profound admiration” 12

Hyde Park. Its vast presence in the middle of such an active city is a true blessing for London.

A striking bronze statuette of Hercules dated to the Roman Imperial period, a smaller version of a much older and now lost Greek original. Its dynamism appealed to me, and I admired the semi-god’s powerful muscular body and posture. I was very sad to see it leave my personal collection some years ago. s L U X U RY L O N D O N . C O. U K s

COURVOISIER.COM

LITERARY ITINERARY

AGENDA

CLOCKWISE FROM M TOP: WOMAN AN IN A HAT,, 1935; PORTRAIT OF F DANIEL-HENRY RY KAHNWEILER,, 1910; JAUME SABARTÉS S AND THE ARTIST ST ESTHER WILLIAMS,, 1957; ALL BY PABLO O PICASSO SSO

The National Portrait Gallery has worked with the Museu Picasso in Barcelona to curate an exciting exhibition showcasing the preeminent portraits by Pablo Picasso. The paintings will be on display alongside a programme of exclusive supplementary events, including an evening with art historian and granddaughter of the artist, Diana Widmaier-Picasso. Celebrated masterpieces will be shown together with lesser-known works and will span from some of his earliest portraits to his latest, offering viewers the opportunity to appreciate Picasso’s progression from Realism to Surrealism and beyond. 6 October – 5 February 2017, National Portrait Gallery, St Martin’s Place, WC2H, npg.org.uk

Couture culture THEATRE

The Libertine

IMAGE CREDIT: JOHAN PERSSON

ominic Cooper makes his West End debut as the infamous John Wilmot in an upcoming production of The Libertine, directed by British playwright Terry Johnson. Following the protagonist’s life as the Earl of Rochester, a promiscuous and hedonistic poet of Charles II’s Restoration court, the play documents his life of debauchery and alcoholism that contributed to his premature death. Ophelia Lovibond also joins the cast as Rochester’s love interest, the fiery playhouse actress Elizabeth Barry. Until 3 December, Theatre Royal Haymarket, trh.co.uk

Arguably the most distinctive fashion photographer of the ’90s, Peter Lindbergh’s greatest and most representative work is showcased in a new publication A Different Vision on Fashion Photography. Previously described as a ‘poet of glamour’, Lindbergh’s photography uses stark realism to bring his subjects into focus, offering authentic and intimate snapshots of some of fashion’s most recognisable faces. His signature black and white photographs of femme fatales defined the era and this new tome documents the images that helped to change and shape the fashion industry’s vision of beauty. A Different Vision on Fashion Photography, £49.99, Peter Lindbergh, published by TASCHEN, taschen.com

IMAGES COURTESY OF EONE

REGULARS

TOP PICKS An artist’s essentials Tools that no creative talent should be without

#1 Graphite, £215, Caran D’Ache, harrods.com

FILM

The Girl on the Train

ritish actress Emily Blunt stars as the psychologically troubled protagonist, Rachel Watson, in the long awaited film adaptation of Paula Hawkins’ novel The Girl on the Train. The film explores an intertwined story of love, jealousy and sacrifice and explores questions of mental health. Alongside Blunt, other lead roles are

Karl Lagerfeld’s collaboration with FaberCastell comes in the form of this stunning limited edition set. With an entire spectrum of colours, pending artworks will be boundless

played by a superior cast including Justin Theroux, Lisa Kudrow and Édgar Ramírez. Set in Westchester, New York, the film veers away from the original setting of London, but the mystery remains as the story unfolds to reveal a suspicious disappearance, following an unforeseeable love affair. In cinemas 27 September

#2 Artist’s model, £130, nationalgallery.co.uk

#3 Schmincke oils, £46, shop.royalacademy.org.uk

#4 Apron, £58, The Linen Works, thelinenworks.co.uk

#5 Easel, £255, Winsor & Newton, winsornewton.com

KARLBOX, £2,500, KARL.COM

s L U X U RY L O N D O N . C O. U K s

IMAGE CREDIT: AKA, ©ROH, 2016

Local news Mozart in Mayfair The Curzon Cinema will broadcast Mozart’s dramatic comedy opera Così fan tutte for a one-off showing this month performed by a cast of upcoming stars at the Royal Opera House. Directed by Jan Philipp Gloger, the opera tells the story of two men who plot to tempt their fiancées into being unfaithful for the sake of a light-hearted wager. Conducted by Semyon Bychkov, this Curzon production offers a colourful reimagining of Mozart’s musical score. 17 October, Curzon Cinema, 38 Curzon Street, W1J

PLATE UP FOR PARKINSON’S Dartmouth House will host this month’s Grouse & Grape Luncheon, held in aid of The Cure Parkinson’s Trust which is dedicated to finding a cure for Parkinson’s disease. There will be a delicious buffet of grouse, fine wines, and a selection of cheese. The event is set to raise awareness of the degenerative neurological condition and raise money to fund new avenues of research. 4 October, Dartmouth House, 37 Charles Street, W1J, cureparkinsons.org.uk

A movement revolution Whether you’re a runner, a cyclist, an office worker, or all three, Ten Health and Fitness’ Move Better initiative aims to revolutionise not how much we move, but how we move. Enjoy bespoke reformer Pilates master classes to re-educate your body on the principles of movement. Realigning stretches will alleviate hunched postures and other problems related to sitting at desks for prolonged periods of time. Ten Health and Fitness, 25 Hanover Square, W1S, ten.co.uk

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

CHAIRMAN

Lois Peltz (Policy & Traffic)

SECRETARY

Richard Cutt (Crossrail & Finance)

PLANNING APPLICATIONS Ronald Cottee (Planning)

REGULARS

STRAP IN Anya Hindmarch is launching a personalised strap service at its New Bond Street store this season. Inspired by a love of artisanal craftsmanship expect glitzy, dazzling details that reflect the embellishment trend showcased on the A/W16 catwalks. Clients can personalise bag straps with crystal initials and colourful motifs – from hearts to space invaders – to add a quirky statement to the classically crafted leather goods. 118 New Bond Street, W1S, anyahindmarch.com

FROM LEFT: PRIMROSE HILL, SUMMER, 1968 BY FRANK AUERBACH; ANTHONY HILL AND GILLIAN WISE BY HOWARD HODGKIN

Fortnum’s X Frank Fortnum & Mason is hosting an art installation this month in collaboration with prolific British art collector Frank Cohen. Robert Upstone, a former director at the Fine Art Society, curates this provocative collection of pieces. The exhibition is set to give new audiences an opportunity to see works in a worldfamous setting. Anyone wishing to admire Cohen’s work for themselves should be quick; the installation is on show for one month only. Until 13 October, Fortnum & Mason, 181 Piccadilly, W1A

MEMBERSHIP

Howard Evans (Events & Membership)

s L U X U RY L O N D O N . C O. U K s

The rise of the new art worlds

Art historian Ben Street will be giving an exclusive lecture on 4 October at Phillips that will explore the subject of global contemporary art. His lecture spans the question of identity within our globalised societies where figurative as well as physical borders are increasingly fluid and changing. He will discuss the works of Dan Vo, Meschac Gaba and Maja Bajevic among others. 4 October, Phillips, 30 Berkeley Square, W1J, londonartstudies.com

TRAFFIC Lois Peltz

POLICE

Marie-Louise Burrows

LICENSING

Derek Stratton

The

real

Angela Choon David Zwirner

When David Zwirner opened his first European outpost on Grafton Street in 2014, senior partner Angela Choon moved from New York to London to lead the contemporary art gallery’s latest venture. “London is very important,” says Choon. “The financial markets are here, the auction markets, the museums and institutions.” She highlights the globalisation of the art market in the past five

CLOCKWISE FROM BOTTOM LEFT: ANGELA CHOON, PHOTO BY ROGER KELLER; THOMAS RUFF, PRESS++ 01.16, 2015, CHROMOGENIC PRINT, 185 X 23CM; KERRY JAMES MARSHALL, UNTITLED (BEAUTY QUEEN), 2014, ACRYLIC AND GLITTER ON PVC PANEL, 184.7 X 154.5CM; INSTALLATION VIEW FROM THE 2015 SOLO EXHIBITION BINARY FUNCTION AT DAVID ZWIRNER, LONDON. ALL IMAGES COURTESY OF DAVID ZWIRNER, NEW YORK/ LONDON

years, particularly in Asia. According to Artprice, in China auction sales rose 18 per cent in the first half of 2016, knocking the United States off the top spot for hammer prices achieved. “Five years ago, the Asian market was more focussed on Asian artists. They’ve since broadened their tastes and appetites,” explains Choon. “One of our challenges is that the contemporary market is so fast-moving. “Works by South African painter Marlene Dumas or German photographer Thomas Ruff, who have always been very popular will remain so, but we’ve also seen young talents like large-scale painter Oscar Murillo and installation artist Jordan Wolfson arouse interest.” Artworks that have not previously been on the market are becoming increasingly popular. Kerry James Marshall is one of Choon’s favourite artists: “really at the height of what he’s making”. “The contemporary market is definitely more buoyant and active than the ancient or Old Masters markets. It’s more vibrant because there are artists who are alive and making work, so it’s constantly growing and expanding.” 24 Grafton Street, W1S, davidzwirner.com

ART SPECIAL

Mark Merrony Ariadne Galleries

deal Mayfair and St James’s is a concentrated, ever-evolving hub of art market activity. Marianne Dick speaks to five prominent players about the mood for dealing in their diverse sectors – and what keen collectors should be keeping a close eye on

s L U X U RY L O N D O N . C O. U K s

CLOCKWISE FROM TOP: MARK MERRONY; HELLENISTIC OVER LIFE-SIZED HEAD OF APHRODITE, MIDSECOND CENTURY BC, EXHIBITED AND SOLD AT MASTERPIECE 2016; EGYPTIAN WOODEN ROBED FIGURE, SECOND PERSIAN PERIOD, 31ST DYNASTY, C.342-332 BC, TO BE FEATURED AT FRIEZE MASTERS 2016, AROUND £500,000; ANTHROPOMORPHIC STELE, SOUTH ARABIAN THIRD TO FIRST CENTURY BC, ALABASTER, 43 X 20.5CM; JULIO-CLAUDIAN MARBLE BUST (ROMAN), FIRST HALF OF THE FIRST CENTURY AD, EXHIBITED AT MASTERPIECE 2016, COURTESY OF ARIADNE GALLERIES

“Ancient art doesn’t go out of fashion,” says classical archaeologist and director of Ariadne Galleries, Dr Mark Merrony. “It is seen as a good investment because it does appreciate, and is recession-proof, although it is a small market compared with the broader world of commercial art and this makes it increasingly difficult to source well-provenanced, high quality objets d’art.” When exceptional pieces are unearthed, they tend to make quite an impression. A highlight of last year’s Masterpiece fair was a Roman head of Venus that was discovered on Lyon’s Fourvière hill in 1880. This year, a Hellenistic head of Aphrodite was Ariadne’s star (pictured below). “Aphrodite – the goddess of beauty – is hard to beat in Hellenistic sculpture,” says Merrony. “Roman sculpture often tends to be a little more mechanical in its execution compared with Greek works. Hellenistic sculpture is really the pinnacle.” Collectors should keep their eyes peeled for historic personalities, “but they also tend to like abstract artefacts such as Cycladic heads or South Arabian pieces”, says Merrony. “In fact, people often comment on how modern our pieces look.” For Merrony, a dream acquisition would be a Roman imperial personality. “It’s sometimes hard to identify emperors because many look similar for ideological reasons,” he says, “and this is especially the case with the Julio-Claudian dynasty. Portraits are often re-carved to create new personalities, but we do have a bust at the moment (pictured below) that is certainly a senior member of this dynasty.” The past three years have marked a significant shift to London for the ancient art market. “I think part of the reason is the city’s dynamism and rich cultural endowment,” says Merrony, “and it’s all happening right here in Mayfair.” 6 Hill Street, W1J, ariadnegalleries.com

Bernard Jacobson Gallerist

In 1969 Bernard Jacobson swung open the doors of his modern art gallery, and the field has since changed significantly with the arrival of big international players such as Hauser & Wirth and Gagosian. “There’s a lot of money in the modern art market and it is very power-led, but I’m not seeking power,” says Jacobson. “It wasn’t like that when I first got involved. It was a very different game: the artist was all-important and the dealer was a servant for the artist.” This globalisation has also brought great change to the collectors’ market and in turn, the tremendous amounts of money being spent. “An artist has now either made it and is very expensive to collect, or hasn’t made it and is very inexpensive – but however inexpensive they may be, they’re still too expensive for your average doctor or lawyer,” describes Jacobson. “We’re sandwiched between the kind of people who love art but don’t have enough to pay for it, and those who buy huge quantities and tend to put it in the Geneva Freeport. It’s a new order that has very much been accentuated in the past five years.” As for what actually makes ‘modern’ art, the dealer believes it’s too soon to judge new blood such as Damien Hirst or Jeff Koons just yet. “Francis Bacon once said to me that you have to wait at least 25 years after an artist’s death to

CLOCKWISE FROM TOP LEFT: BERNARD JACOBSON; BRUCE MCLEAN, SCULPTURE SHADOW PAINTING, 2016, OIL AND ACRYLIC ON CANVAS, 265 X 265 CM; ROBERT MOTHERWELL, THE BLUE GUITAR, 1990-91, ACRYLIC, PASTED PAPERS AND CRAYON MOUNTED ON PANEL, 47 × 24 CM, ©DEDALUS FOUNDATION, INC/VAGA, NEW YORK AND DACS, LONDON 2016; WILLIAM TILLYER, CUMULUS NIMBUS OVER THE ESK. FIRST INTIMATION OF AN AMBITION TOWARDS REALITY. LANDSCAPE INTO ART, 2016 ACRYLIC ON ACRYLIC MESH AND CANVAS, 122.6 X 122.6CM, ©WILLIAM TILLYER, 2016. ALL COURTESY OF BERNARD JACOBSON GALLERY

William Iselin Arts advisor

Independent antique and decorative arts advisor William Iselin faces altogether different obstacles. “Finding top quality or unusual works of art in any category in good condition – pieces that haven’t been over-restored or altered – at the right price is a challenge,” he explains. “There are also limitations imposed by form and function: collectors are happy to acquire multiple paintings or sculptures, but will most likely only ever buy one dining table.”

judge them,” he recalls. “I think in hindsight that Francis – who was a very wise man – was wrong. I think it’s two generations after their death. “The idea of a new artist straight out of art school having a huge career seems to be waning. More people are beginning to look at blue chip art – the likes of Henri Matisse and Joan Miró, whose work contributed to our Bonheur de Vivre exhibition at the gallery earlier this year. “When Robert Motherwell first saw Matisse’s work as a teenager he said: ‘I feel I’ve been struck through the heart with a golden arrow’.” 28 Duke Street, SW1Y, jacobsongallery.com

ART SPECIAL

CLOCKWISE FROM RIGHT: GERRY FARRELL; NIC FIDDIAN-GREEN, STILL WATER AT MARBLE ARCH, 2010; SLADMORE CONTEMPORARY GALLERY. ALL COURTESY OF SLADMORE CONTEMPORARY GALLERY

Gerry Farrell Sladmore Gallery

Co-founder of Sladmore Gallery Gerry Farrell refers to a quote by abstract expressionist Barnett Newman when describing a common view of his gallery’s specialism: “sculpture is what you bump into when you back up to try and see a painting”. “Sculpture, especially as you go up in size, needs space that is often valuable in London,” he

But he also insists that now is a good time to buy: “there is a feeling out there that nobody’s interested anymore and that prices have come down, which indeed they have on a lot of things. While dealers often ask for retail price, I’ve never found a better moment to be a tough negotiator. People are willing to do business. “Works have been dispersed geographically because the market has globalised, which makes it an exciting time to buy. You have to go to London or Paris, keep track of auctions, follow through with contacts and find pieces to buy privately.” Iselin recently identified a Louis XVI gilt bronze-mounted marble chimneypiece in a private English collection that was made in 1775

s L U X U RY L O N D O N . C O. U K s

FROM LEFT: WILLIAM ISELIN, PHOTO BY CHARLES BEST; AN ITALIAN PIETRE DURE TABLE TOP INLAID WITH THE ARMS AND SYMBOLS OF THE GRIMANI FAMILY, PROBABLY TO A DESIGN BY BERNARDINO POCCETTI (1548-1612) GRAND DUCAL WORKSHOPS, FLORENCE, C.1600-1620, ESTIMATE £400,000£600,000, SOLD FOR £3,509,000 AT SOTHEBY’S LONDON, 10 DECEMBER 2015, IMAGE COURTESY OF SOTHEBY’S

explains. “Often clients come in with a space they want to fill, as this can be easier than falling in love with something that will not fit.” Farrell remarks on recent interest in 3D art, popularised by the likes of Hirst and Koons, and public pieces such as Nic Fiddian-Green’s Horse at Water at Marble Arch (pictured above left). Nature also holds an evergreen attraction for collectors. “The feel of the maker’s hand, the materials – whether it’s earth, bronze, stone or clay – all help connect the viewer to the basic, reassuring real world.” The thrill of finding a hitherto undiscovered young sculptor or ceramicist remains Farrell’s ultimate joy. “The market is small and specialised, but this niche can be an advantage,” he says. “In London I have found a greater demand for sculpture in new apartments, because curved walls seem to be fashionable – and you can’t hang a picture very easily!” 57 Jermyn Street, SW1Y, sladmore.com

for the Duc d’Aumont, the collector and courtier, to install in his townhouse on the Place de la Concorde. The chimneypiece will now return to Paris to a French collector’s dining room in the 16th arrondissement. “One of the joys of my business is helping objects come full circle from one collector to another,” says Iselin. “It takes work to find the good pieces, but it’s gratifying because the prices are very sensible. My dream piece would be a great Italian Renaissance pietra dura table top like the one from Warwick Castle, which sold for £3 million above its estimate at Sotheby’s last December (pictured left).” 13 Old Burlington Street, W1S, antique-advisor.com

I N D U LG E N C E

www.theritzlondon.com/the-ritz-salon Mayfair October 16 issue.indd 1

19/08/2016 13:17:37

ART SPECIAL

A N C I E N T

One of Mayfair’s newest galleries is lending thoroughly modern appeal to Greek antiquity, with sleek displays and carefully curated exhibitions. Jack Watkins steps inside Kallos Gallery on Davies Street

TOP ROW, FROM LEFT: PHALERA, GILT-SILVER, EAGLE OF ZEUS; AMPHORA SIGNED BY PAMPHAIOS AS POTTER; CYCLADIC MARBLE BOWL BOTTOM ROW, FROM LEFT: CRETAN BRONZE HELMET; KORE, CULT STATUE HEAD, SHOULDERS & ARMS, TERRACOTTA; PYXIS, ‘SCHUSTER’ MARBLE ALL ©STEVE WAKEHAM AND KALLOS GALLERY

s L U X U RY L O N D O N . C O. U K s

he essence of Kallos Gallery, which opened in 2014, lies in its very title. Kallos is Greek for ‘beauty’ and the gallery prides itself on specialising in ancient Greek artwork, which it describes as “treasured for millennia for their timelessness and universally esteemed beauty”. The pedigree of its founder – Baron Lorne Thyssen Bornemisza – is impeccable. His father founded a museum in 1992 to display some of his personal collection of Old Masters in Madrid, while Baron Thyssen has used his own wealth to amass a collection of antiquities from the classical Greek and Roman worlds. But don’t imagine that his gallery, one of Mayfair’s newest, is some stuffy ‘collectors only’ affair. Baron Thyssen has remained true to his purpose: to “shake things up and blow the cobwebs off the antiquities game”. “We always intended to bring antiquities into the light, figuratively and literally,” he explains. “Our gallery space and displays allow for a tantalisingly close engagement with the objects. The pieces displayed on plinths have glass on just two sides, allowing the viewer an unobstructed view.

GOLD 80-LITRAI OF SYRACUSE, SICILY (OBVERSE)

GOLD 80-LITRAI OF SYRACUSE, SICILY (REVERSE)

GOLD DRACHM OF SYRACUSE, SICILY (OBVERSE)

GOLD DRACHM OF SYRACUSE, SICILY (REVERSE)

“I want people to be blown away by the majesty, movement or delicacy of a piece. And if they’ve never collected ancient Greek artworks before, that doesn’t matter. These objects are first and foremost extraordinary works of art. They are also the cultural products of our shared past, but that does not need to mean that they are weighed down by history.” Among its treasures, Kallos currently holds an armlet with a Herakles knot from the late fourth to early third century BC, an outstanding piece of Hellenistic craftsmanship. The gallery’s light airiness is intended to entice the public. “If you are a collector, a student, an archaeologist or simply someone with a modicum of curiosity, we hope you will feel encouraged to come inside for a closer look. Ancient art is often thought to have a steeper learning curve than modern or contemporary art. But not everyone is a specialist, and you don’t need to be in order to appreciate these beautiful objects.” The intention is also to bring together collectors, scholars, institutions, governments and other experts to help promote the study of classical antiquities and tackle challenges around their protection. “The humanities have never been

ART SPECIAL

“We’re committed to bringing ancient Greek art to wider public attention and exploring its relevance to our contemporary world. It’s the only way we can safeguard its future” so poorly funded. Government budgets are under pressure in this era of austerity, and priorities lie elsewhere,” argues Baron Thyssen. “Many of our most precious archaeological sites exist within conflict zones, so it has never been more important to ensure proper and professional stewardship of mankind’s legacy from the ancient world. “If we are able to use Kallos as a forum to discuss these issues and share these wonderful objects with schoolchildren learning Latin or ancient history, and help kindle their interest, so much the better. We’re committed to bringing ancient Greek art to wider public attention and exploring its relevance to our contemporary world. It’s the only way we can safeguard its future.” While it sometimes feels as if the art of ancient civilizations is remote and poorly understood, Baron Thyssen detects a “renaissance” of interest. “Just look at Mary Beard’s place in the bestseller lists, Bettany Hughes’s ratings on TV and Tom

OPPOSITE PAGE: KALLOS GALLERY ©KALLOS GALLERY AND STEVE WAKEHAM BELOW: BARON LORNE THYSSEN BORNEMISZA ©KALLOS GALLERY AND ALAN HOWARD

Holland’s appearances on Newsnight. The classics are going through a golden age,” he insists. The gallery will exhibit at Frieze Masters for the first time this year: “a great opportunity to reach those with an interest in cross-collecting but who haven’t yet considered ancient art as an avenue for investment.” Among the items to be unveiled is an incredibly rare, historically important example of Archaic Cretan armour, and the better preserved of only two known examples of a Cretan helmet with a tall crest and open-faced design (pictured, first page). This type of helmet was once thought to be a legend of the period around the Trojan War, known only through artistic depictions. “The Kallos helmet is doubly important as it retains minutely engraved scenes that offer insight into the myth tradition of Archaic Crete,” says Baron Thyssen. “It’s the most extraordinary object. The bronze has developed a viridian green patina, but in places the sheen of the original polished bronze is still visible.” As for the collectors’ market, Baron Thyssen says there has been “a big shift in prices at the very top end, where we operate. Unlike the contemporary art market, the supply of high quality and historically significant pieces from the ancient world is extremely limited.” Kallos currently has the only known black-figure amphora signed by acclaimed potter Pamphaios, as well as a wonderfully tactile Parian marble pyxis (pictured, first page), a rare type with a pedestalled foot. “A substantial proportion of our clients began as collectors of modern and contemporary art and later discovered an appreciation for ancient art,” Thyssen continues. “Museum-quality works are available to these collectors for a fraction of the cost of top-flight modern and contemporary ones. Some are savvy enough to take advantage of the market while it remains relatively undervalued. We help our collectors build collections containing the very best artworks from the ancient world.” For the rest of us, with its regularly changing displays and exhibitions (most recently an exploration of coinage from 561-135 BC that celebrated kings, athletes and horses in ancient culture), Kallos Gallery offers a reminder of the power of Greek art to move us today, much as it did for its contemporaries. 14-16 Davies Street, W1K, kallosgallery.com

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The contemporary African art market is flourishing, full of monochrome photography, monumental sculpture and kaleidoscopic tapestries – and collectors are flocking to London to discover the most exciting new creators. Camilla Apcar reports

PEJU ALATISE, UNCONSCIOUS STRUGGLE, METAL, RESIN, WOOD, PANADOL TABLETS AND ACRYLIC, 274 X 117 X 71CM, ESTIMATE £30,000-£40,000

uring the past few years, London has established itself as an international champion for contemporary African art – and October sits at the peak of its calendar, starting with Bonhams’ biannual Africa Now auction. It is not a particularly vast one, with around 60 lots and estimates ranging from about £2,000 to £120,000. Yet the sale is the largest of its kind. Bonhams has offered modern and contemporary African art since 2008 – the only house to then do so. This year Sotheby’s followed suit and set up its own department. Pieces by two of the biggest names in the contemporary field will be up for sale on 6 October. El Anatsui is a Ghanaian sculptor who transforms found objects into mesmerising wall hangings of elephantine proportions. In 2012 Bonhams sold New World Map (pictured top right), a 3.4 by 5m tapestry made entirely of flattened bottle caps woven together by wire, for £541,250 – the highest price achieved for the

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artist’s work. In October lots will include El Anatsui’s earlier wooden panels, which Bonhams’ director of African art, Giles Peppiatt, believes are “still undervalued”. One such piece, Spear Bearer (pictured below), is estimated from £50,000. Bonhams’ second headliner, South African printmaker William Kentridge, is celebrated for the political sensitivity in his work. His first major UK exhibition in 15 years has just opened at the Whitechapel Gallery and will run until January. The most expensive work by Kentridge in Bonhams’ sale – a charcoal and pastel drawing Theodolite Drawing: Lovers in a Pond (pictured overleaf) – is estimated between £30,000 and £50,000. Other pieces include examples of his bronze sculptures. Kentridge can also be found at Osborne Samuel gallery on Bruton Street, where Collage on Atlas Index shows figures processing across atlas pages and evokes the injustices faced during the apartheid and by refugees today. A relatively lesser-known artist to watch out for at Bonhams is Peju Alatise, a Nigerian creator whose larger-than-life metal, resin and wood sculpture Unconscious Struggle (pictured left) is estimated from £30,000, with three figures covered in Panadol tablets. Alatise’s critique of child marriage traditions expresses concern that religion in Nigeria is often used to justify gender inequality and violations of human rights. But it is ‘big names’ like El Anatsui and Kentridge that are leading the pack, admits Peppiatt. “That’s not unique to contemporary African art, though. It’s the same all over the art world.” The director reports that the market has “improved enormously” over the last five to ten years, and sees no reason why it should not continue to grow.

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EL ANATSUI, NEW WORLD MAP, 2009-2010, TWICE SIGNED AND DATED, ALUMINIUM BOTTLE CAPS AND COPPER WIRE, 340 X 500CM

EL ANATSUI, SPEAR BEARER, SIGNED AND DATED ‘EL/91, CARVED AND INCISED UKPAKA WOOD, 170 X 44 X 35CM, ESTIMATE £50,000-£80,000

For some, ‘African art’ is a neo-colonial lumping of 54 countries into one bracket. Many others, Peppiatt included, do not think the label is a problematic one. “I don’t think there would be enough artists from Ghana or Kenya, for example, for us to just have a sale of their contemporary art,” he says. Indeed, artists from South Africa and Nigeria have broadly found the greatest success thus far. The reason is closely linked to their domestic art markets – and each country’s economy. “Both have strong, active and vibrant local art markets,” says Peppiatt. “Collectors are engaged, and there is a culutre of going to exhibitions. The money is there too. When people are fortunate enough to acquire wealth, one of the things they often want is art. “In some African countries the network of galleries is not as strong – and that’s the secret of

keeping this market alive. It’s for the local markets to thrive.” Peppiatt also says that there’s “a huge chicken and egg situation”. Being represented by one of the world’s leading dealers, like Kentridge at Marian Goodman, is a stamp of approval that helps an artist’s chances of commercial success. Yet, again, the principle is not unique to African art. Equally dedicated to bringing contemporary works to a wider audience, and named after the number of countries on the continent, the 1:54 fair returns to Somerset House from 6 to 9 October. Its first edition in 2013 received under 6,000 visitors – many of whom were curators or those with links to Africa. Last year it welcomed 15,000. Touria El Glaoui, 1:54’s director, takes pleasure in an increased number of collectors coming from the continent itself, although they remain a small proportion of the fair’s total visitors. Like Peppiatt, she believes that “if we want to see stable growth over the years, African collectors have to

really get engaged with the art – and buy, on the continent. “If you talk to African galleries, they’ll say 70 per cent of what they sell is to outside the continent. It’s good that they have a platform to sell to international collectors, but we shouldn’t neglect the local collector base.” El Glaoui hopes slower yet consistent growth means appetite for African art won’t just become a “trend”. There is a significant photography theme at 1:54 this year, which its director believes may be because it is a medium that can be mastered relatively swiftly. Among the works on show will be monochrome shots from the 1960s and 1970s by late Malian photographer Malick Sidibé. During the fair the courtyard at Somerset House will be taken over by an installation of sculptures by Zak Ové. His work pays tribute to diasporic and African history, and takes a particular interest in the culture of Trinidadian carnival. Inside 1:54, the artist’s kaleidoscopic wall collages

“The secret of keeping the African art market alive is for its local markets to thrive”

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CLOCKWISE FROM TOP LEFT: MOHAU MODISAKENG, INZILO 1, 2013, INKJET PRINT, 112.5 X 150.2CM, ©THE ARTIST, COURTESY OF TYBURN GALLERY; WILLIAM JOSEPH KENTRIDGE, EIGHT FIGURES, 2010, LINOCUT, EDITION: 10/40, 85 X 180CM, COURTESY OF OSBORNE SAMUEL; WILLIAM JOSEPH KENTRIDGE, THEODOLITE DRAWING: LOVERS IN A POND, CHARCOAL AND PASTEL ON PAPER, 45 X 50CM, ESTIMATE £30,000-£50,000; IBRAHIM EL-SALAHI, THE ARAB SPRING NOTEBOOK: THE POINT OF NO RETURN, 2011, INK ON PAPER, INSTALL DIMENSIONS VARIABLE, 10.5 X 14.5CM, COURTESY OF VIGO GALLERY; GONÇALO MABUNDA UNTITLED THRONE, 2015, DECOMMISSIONED ARMS 117 X 92 X 65CM, COURTESY OF JACK BELL GALLERY, LONDON; ZAK OVÉ, DP13, 2016, PLYWOOD FRAME WITH SACKING CROUCHE DOILIES, 180 X 122CM, COURTESY OF VIGO GALLERY; ABDOULAYE KONATÉ, COMPOSITION VERT ÉMERAUDE ET ROUGE, 2016, COURTESY OF THE ARTIST AND BLAINSOUTHERN, PHOTO TODD WHITE; ROGER BALLEN, GUARDIANS, 2011, COURTESY OF THE ARTIST; ROGER BALLEN, FACE OFF, 2010, COURTESY OF THE ARTIST

made from layers of crocheted doilies (pictured above) will be shown by Mayfair’s Vigo Gallery. Generally created by older Trinidadian women for decorative use around the home, from the 1950s onwards they were a sign of elevating one’s social mobility. Vigo will also exhibit The Arab Spring Notebook (pictured above) by Sudanese modernist Ibrahim El-Salahi, who was the subject of a retrospective at the Tate Modern in 2013. In the 1970s the artist, then Sudan’s undersecretary for culture, was imprisoned without trial for six months with ten others – and despite serious repercussions if discovered, he continued to sketch on scraps that he buried in the ground. The notebook’s 46 black ink drawings serve as a historical document as well as a dark and detailed response to the events of the Arab Spring. There is much African art to be found in Mayfair, year round. On Albemarle Street, the Gallery of African Art will host an exhibition of Senegalese visual artist Momar Seck from 29 September. Blain|Southern has just finished staging a solo show of Malian artist Abdoulaye Konaté, whose huge woven tableaux are created using layers of

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brightly coloured ribbons (pictured above). Referencing the importance of textiles in west African tradition, each piece is hand-embroidered to form abstract rainbows. From 3 February, Hamiltons will mount an exhibition by Roger Ballen (pictured above), an American photographer who has lived in South Africa for more than 30 years. Meanwhile, Belgravia Gallery holds a number of colourful sketches by the late Nelson Mandela. And at 1:54 Jack Bell, the gallerist promoting African artists, will exhibit works by Ivorian painter Aboudia as well as a chair made from decommissioned arms by Mozambique sculptor Gonçalo Mabunda (pictured above). “The market continues to go from strength to strength,” agrees Bell. “While it’s still early stages, momentum is growing with international exhibitions and weight is being added when young artists are shown by major commercial galleries. Is it exciting? Certainly.” 1-54.com, belgraviagallery.com, blainsouthern.com, bonhams.com, gafraart.com, hamiltonsgallery.com, jackbellgallery.com, osbornesamuel.com, vigogallery.com

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DADA COOL As Osborne Samuel gallery celebrates Erwin Blumenfeld with an exhibition titled From Dada to Vogue, Kari Colmans finds that Blumenfeld the artist is far more interesting than Blumenfeld the fashion photographer

“W

hat I really wanted to be was a photographer pure and simple,” said Erwin Blumenfeld, “dedicated to his art for art’s sake alone”. The great photographer – who shot more Vogue covers than anyone in history, and influenced dozens of artists who came after him – is less known for his pre-fashion work, which many would argue is far more avant-garde than the images for which he became renowned. Having produced an extensive and varied archive throughout his 35-year career, Blumenfeld left 30,000 negatives, 8,000 black-and-white prints and dozens of fashion films behind after a heart attack in 1969. Due to complex family relationships and a tug-of-war over his estate that lasted years after his death, a great number of those images have never before been seen in public. Blumenfeld was born in Berlin in 1897 to a Jewish bourgeois family, and his early work shows his close affiliation with the ‘anti-art’ Dada movement in Europe. Some will be familiar with his anti-war collages Charlie (1921),

Madonna of War (1923) and Hitler’s Mug Shot (1933), even if they don’t equate them with the same artist that photographed the early nudes and iconic portraits of Audrey Hepburn and Grace Kelly, taken while working in Paris and then later in New York. Blumenfeld survived two world wars – he deserted the German army in the first, and escaped the Holocaust in the second – and his early anarchic pieces were kept hidden from view for a long time. But it’s these pieces that Osborne Samuel gallery will be celebrating in equal measure this month, in its Erwin Blumenfeld: From Dada to Vogue exhibition. The show’s curator, Lou Proud says: “Peter Osborne was really blown away by the Erwin Blumenfeld retrospective held at the Jeu de Paume, Paris in 2014, which took you on an incredible walk through the life and vast creativity of the artist. I went to the opening and it was wall-to-wall photo legends everywhere. He realised that there was so much more to Blumenfeld than the more famous fashion images. These other works are the culmination of so much that he

“Without a mirror I would never have become a human being. Only fools call it a narcissist complex”

CLOCKWISE FROM TOP LEFT: GESTURES, NEW YORK, 1942; MADELEINE SOLOGNE, PARIS,1937; UNTITLED, NEW YORK, 1949; SOLARIZED MODEL, NEW YORK, 1942, ALL PHOTOGRAPHY: ERWIN BLUMENFELD; IMAGES COURTESY OF OSBORNE SAMUEL

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lived and experienced, but also what he lived for – beautiful women.” Given his first camera aged ten, Blumenfeld experimented with photography from a young age, at first with a chemistry set and a magic lantern. Three years later, he took a famous self-portrait as Pierrot using a mirror. “We are doubles,” said Blumenfeld, as recounted by his grandson, producer Remy Blumenfeld, in the film The Man Who Shot Beautiful Women. “Without a mirror I would never have become a human being. Only fools call it a narcissist complex. No mirror, no art, no echo, no music.” These self-portraits were often distorted and disturbing, playing with his fetish for beauty. His use of psychological portraiture, as it became known, was the start of a lifelong fascination with examining ‘the self’ and his obsession with women. “I could never really love a single woman,” he said. “I love women,” was a sentiment that ran through his art as well as his unconventional personal life.

“A lot of Blumenfeld’s early work was very personal and was not meant for public viewing” Proud feels that for much of his work, some time had to pass before it could be accepted in a public arena. “A lot of Blumenfeld's early work was very personal and was not meant for public viewing,” she says. “The collages were experiments, which sometimes contained personal messages or were made for his wife or close friends. Also, some of his first images of the natural nude were of his daughter – he was considering the form and how to capture that.” A spread in Verve in 1937, and then in 1938, was a pivotal point for Blumenfeld, and he soon caught the eye of renowned British photographer Cecil Beaton, who was moved by his maverick technical ability and his experimental use of film, print and multiple exposures. Although Beaton remarked that

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Blumenfeld was “incapable of compromise” and that his images were “better than fashion” he introduced him to French Vogue who immediately took him on. It was at this time that he created one of his best-known and most innovative images: Nude under Wet Silk. Arriving in the US in 1941, already 44 years old, Blumenfeld immediately began working for Harper’s Bazaar, shooting the very first colour photography cover for the magazine that year. At the peak of his fashion career, he was the world’s most famous and highly paid photographer. In The Man Who Shot Beautiful Women, high-fashion photographer Rankin says of his work: “I look at it and go: ‘I wish I’d taken that’.” Perhaps Blumenfeld’s most famous Vogue cover was Doe Eye (1950), the shot of model Jean Patchett, recognisable by only her eye, mouth and mole that has been copied countless times. “He defines the way we think of the ’40s and ’50s,” Rankin continues. “Not necessarily how it looked, but how we think it looked. And I think that’s what makes him a great photographer. If you define an age visually for the rest of time, you’ve created something amazing.” The personal conflict of selling out was a constant one for Blumenfeld. He was torn between the commercial side of photography, on which he relied for both his reputation and income, and the more politically and sexually avant-garde, to which he was naturally more drawn. He often referenced the idea of prostitution in his autobiography Eye to I. Despite holding art directors in great contempt, such was his skill and charisma that he was able to run the show from his studio (the ‘protective cocoon for his dreams’) for more than two decades. Proud says: “When he arrived in the US it was quite difficult for him to really be himself and exalt the body photographically in the way he was used to because of the puritanism of the time. Even in the ’60s with magazines such as Playboy, the depiction of the female body did not become any more palatable for him. Women in his eyes

were presented as plastic, homogenised forms with none of the crystallised, frozen allure that he had worked so hard to create a decade earlier.” As many of his grandson Remy’s interviewees agree (and the Osborne Samuel exhibition this month shows), Blumenfeld the artist is far more interesting than just Blumenfeld the fashion photographer. “I was an amateur – I am an amateur – and I intend to stay an amateur,” he once said. “To me an amateur photographer is one who is in love with taking pictures, a free soul who can photograph what he likes and who likes what he photographs.” Erwin Blumenfeld: From Dada to Vogue, 5-29 October, 23a Bruton Street, W1J, osbornesamuel.com The Man Who Shot Beautiful Women by Remy Blumenfeld is available to watch via erwinblumenfeld.com

OPPOSITE, FROM TOP: FANTASIES PARISIENNES, 1924-6; KALEIDOSCOPE FOR DAYTON’S OVAL ROOM, NEW YORK, 1964; TWO MODELS FROM DAYTON COMPANY, NEW YORK, 1961, ALL PHOTOGRAPHY: ERWIN BLUMENFELD; IMAGES COURTESY OF OSBORNE SAMUEL

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BLURRED

LINES

he worlds of jewellery and architecture often find common ground, as jewellers are inspired to emulate the dramatic, sculptural lines of buildings on a miniature, wearable scale. A case in point is Georg Jensen. The Danish jeweller called upon architect Zaha Hadid before she passed away to create a unique collection that drew on her artistic eye. Unveiled at this year’s Baselworld, the range comprises five rings and three cuff bangles that reference the undulating silhouettes of Hadid’s famed structures. Georg Jensen X Zaha Hadid, The Lamellae Collection, sterling silver, £670-£3,350; rhodium with black diamonds, £5,650£33,600, georgjensen.com IMAGE COURTESY OF GEORG JENSEN

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Carnival of colour Inspired by the vitality of her home town of Rio de Janeiro, Rebecca Winch has brought a touch of South American soul to London with her statement semi-precious jewellery. Bold, bright designs, teeming with vivid blue jasper, rubies, emeralds and onyx are sourced from the best independent Brazilian jewellery designers using locally mined stones that are chosen for their healing and mood-boosting properties. For a further introduction to Brazilian culture, download the playlist of traditional bossa nova music from the website and be transported to the sun-drenched beaches of Ipanema while you shop. From £139, rebeccawinch.com

THE HIGH SEAS

Jewellery news

WORDS: OLIVIA SHARPE

Take a stand Since debuting prêt-à-porter jewellery in 2015, Kova is aiming for new heights with its first haute couture collection in which Russian-born designer Katie Kova considers the concept of Russian Suprematism through six handmade cocktail rings. Rare gemstones – including quartz, aquamarine, nephrite, blue spinel and pearls – have been sculpted in ivory and rose, while the 18-karat gold setting comes in white, pink or black. Kova worked with artist Naomi Filmer on the campaign, which sees the graphic jewellery elevated to become objets d’art. From £11,200, kovajewels.com

British jeweller Tessa Packard is never content with sitting still. Her latest collection – For King and Country – quite literally covers the globe, inspired by the Age of Discovery when the likes of Christopher Columbus took to the high seas. From South Sea pearls to semi-precious stones, the collection highlights the many treasures those intrepid travellers unearthed. Star pieces include the Explorer necklace, featuring a minute spinning globe, and the one-of-akind Opera length pearl necklace. This is the first time the designer has worked with pearls – demonstrating how she, too, is never afraid to take on a new challenge. From £50-25,000, tessapackard.com

HOME STRETC STRETCH Regarded by his peers as a ‘jewellery engineer’, British designer James Ganh (formerly at Fabergé) is fast making waves with his shape-shifting designs, including the 3 Way Tiara Bangle, part of his new Princess collection. The fine jewellery piece – which comes in either 18-karat white gold with white diamonds and pearls or 18-karat yellow gold with white diamonds, amethysts, tourmalines, peridots, topaz, yellow and blue sapphires – can be stretched out as a tiara or kept in its original bangle form. POA, jamesganh.com

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Heart and sole Salvatore Ferragamo may be most famed for its shoes, but in recent years the Italian brand has left its distinctive footprint on the jewellery industry. This year sees Ferragamo present an exclusive fine jewellery collection. Staying true to its heritage, each handcrafted design was forged by Florentine jewellers in workshops on the Ponte Vecchio, just steps away from the brand’s historic headquarters. Each piece reinterprets timeless Ferragamo motifs, including its most memorable footwear designs, rendered in miniature by way of 18 individual pendants. Most chic of all, the legendary red shoes created for Marilyn Monroe by Ferragamo himself arrive in three jewel-studded versions: white diamonds, rubies and sapphires. POA, ferragamo.com

Let there be light It is hard to believe that this year marks the first time that William & Son has launched a bridal jewellery collection. Then again, it is also amazing to think that the company came into being just 17 years ago, considering its parent brand Asprey was founded in 1781. Under the direction of head jewellery designer Clémence Devaux, the range has taken four years to create, but having seen its unveiling at Claridge’s, it was certainly worth the wait. The simple and elegant line comprises three classic diamond shapes: a three-carat cushion-cut; a two-carat pear-cut and a one-carat brilliant-cut – along with a pendant and stud earrings. From £3,000 to £90,000, williamandson.com

INSET: MAGIE BLANCHE NECKLACE, PHOTOGRAPHY: BEN HASSET @CARTIER FAR RIGHT, FROM TOP: QUETZAL BRACELET, PHOTOGRAPHY: VINCENT WULVERYCK ©CARTIER; INCANTATION RING, PHOTOGRAPHY: BEN HASSET @CARTIER

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Magic touch Cartier conveys the mesmerising magic of transforming a precious stone into an exquisite piece of jewellery in its latest collection, Magicien. Conjured in the French maison’s workshops by master craftsmen, the collection’s pièce de résistance, the Incantation necklace, comprises meticulously small geometric designs paved with interlacing precious diamonds. The striking platinum necklace can also be inverted so that its embedded 22.84-carat cushion-shaped Ceylon sapphire can double up as a ring. Magicien collection, POA, 175-177 New Bond Street, W1S, cartier.co.uk

The

golden touch

ortune favours the brave, as the famous proverb goes, and when applied to Marco Bicego, never was a truer word spoken. In just over 15 years, the Italian jeweller has created a brand that both embraces and flouts his goldsmithing heritage, thereby creating something truly unique and modern. Having grown up in Trissino – a small commune in northern Italy famed for its rich culture and goldsmithing tradition – and being the son of an artisan, one might say Bicego was destined to become a jeweller. He, however, would argue that his career came about organically, having only decided to be a jeweller after leaving school. “My family, being Italian, liked to think I would take over the business, but they never pushed me,” he says. “I spent a lot of time as a child learning and absorbing, and one day I realised I was passionate about it... but I never thought my future would be in design.” Bicego has never had any formal training as a jewellery designer. The education he received in his father’s workshop, which specialised in gold chains, was invaluable. Bicego proudly advertises the fact that all his pieces are handcrafted in Italy and use 18-karat gold. The company headquarters in Vicenza very much encapsulate the brand’s identity. Within this modern building, 70 artisans – each trained in the ‘bulino’ hand-etching technique passed down to Bicego by his father – work tirelessly to interpret ancient craft into innovative contemporary designs.

Olivia Sharpe meets talented Italian jeweller Marco Bicego, who has struck gold with his eponymous award-winning brand

Since he is based in Italy, the jeweller is rarely found in London, but I am fortunate to catch up with him on a flying visit to talk through his latest collection: Masai. Travel has always been a huge source of inspiration for the designer and this collection is rooted in the legacy of Kenya and Tanzania’s

Maasai. By interpreting the tribal culture’s traditional spiral jewellery into an elegant set of yellow and white gold pieces, which feature multiple rows of golden coils interspersed with diamonds, the jeweller has found a way to seamlessly bridge the gap between the traditional and the contemporary. Although Bicego has

FROM LEFT: NECKLACE, £14,600; WHITE GOLD RING, £1,440; YELLOW GOLD RING, £1,620; RING, POA; BRACELET, £12,740. OPPOSITE PAGE: MARCO BICEGO

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always preferred modern design, he believes it is vital to “look to the past in order to see the future”. Incorporating his love of nature, organic shapes and gemstones give the jewels an easy-to-wear and versatile quality, in spite of their size. This collection, as with all Bicego’s to date, has been designed to be worn from day to night. “Women today play with jewellery: they mix and match, and this is the whole concept of Marco Bicego,” he explains. “It’s everyday jewellery that can be worn for different occasions. It can be casual or it can be dressy. It’s up to you.” Bicego relies on his intuition when coming up with new ideas. “I definitely use my instinct. I consider what the consumer wants, what they like and don’t like. For every design I produce, I need to understand who will appreciate and buy it.” Having spent many years travelling the globe, the jeweller has immersed himself in different cultures and prides himself on an openminded approach, not to mention a strong grasp of what his female customer base is looking for – and the emotional process involved in choosing a piece of jewellery. “When I go shopping, I tend to buy nothing. I have everything I need, but if you find something different, something unique and you hear yourself saying, ‘I have to have it’, then this is when you should buy,” he describes. In today’s technology-driven world where information can be accessed at the click of a button, Bicego notes how modern consumers want to know every detail about a product’s origins before they commit. “It’s like with a fine wine,” he explains. “It’s not just a bottle of wine, especially if it’s expensive. You need to know which kind of bottle, the history of the producer, the grape, and so on.” With a firm hand on everything from design and production to distribution and marketing, Bicego is both

creatively and commercially minded. This is no doubt why his jewellery brand has welcomed so much success, having now expanded into more than 40 countries. While the US is currently its strongest market, he believes the brand is the perfect fit for the UK customer – and hopes to one day open a store in London. But this is not something he would rush into, as he would have to find “the right spot, right location, and the right investment”. Rather than joining the ranks of Harry Winston and Graff on New Bond Street, Bicego would rather opt for a more discreet and inconspicuous location that still receives good footfall. In person, Bicego comes across as quiet and unassuming and yet his passion – not to mention charm – is evident when he discusses his business. He confides how he always aims to create something different. This was highlighted in his Materica collection, unveiled at this year’s Baselworld, the prestigious annual watch and jewellery convention. Quite a departure from his collections to date, Bicego had fallen in love with some fossilised stones unearthed on one of his globe-trotting trips and decided to incorporate them into an experimental capsule range. While it received mixed reviews, Bicego insists he would rather take that risk than not at all. The jeweller describes one’s head as being “like a basket” in the way that it is constantly coming up with new ideas – but the good ones are rare, so he always keeps his eyes peeled for new sources of inspiration. Along with creating more high-end bespoke jewellery, he would love to open a restaurant in his hometown one day (food being his other great passion). For now, he is in the process of persuading his wife about the idea’s value. Like his covetable jewellery, I am certain it is pure gold.

“It’s everyday jewellery that can be worn for different occasions. It can be casual or dressy. It’s up to you”

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Masai collection, from £750-£25,000, marcobicego.com

2016 Where is your favourite cocktail mixed to perfection? Which boutiques do you return to time and again? Who hides in the shadows but deserves the limelight? From top hotel suites and restaurants to the best exhibitions and displays of craftsmanship over the past year, The Mayfair Awards 2016 will raise a toast to the area’s finest establishments and shine a light on its unsung local heroes.

THE PRIZE Vote for your favourite Mayfair establishments and you will be entered into a prize draw to win:

A three-night stay at Palazzo Versace in Dubai and a threecourse dinner for two at Vanitas, the hotel's Italian restaurant.

A Frederic Malle fragrance of your choice and a consultation at the perfumer’s private consulting room in Burlington Arcade, led by a scent expert.

A weekend brunch at steak and seafood grill restaurant 34 Mayfair in Grosvenor Square, and tea and cakes to the value of £50 at The Mount Street Deli.

HEADLINE SPONSOR

VENUE SPONSOR

ASSOCIATE SPONSOR

For full terms and conditions, please visit www.themayfairawards.com

ASSOCIATE SPONSOR

MEDIA PARTNER

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Space age Launched in 2004, Harry Winston’s Project Z aimed to elevate the humble sports watch into the realms of haute horology. Its mission, the brand said, would be achieved by matching groundbreaking mechanics with next-generation materials. To that end, the project’s tenth iteration, the Z10, sports a double retrograde display in an ultra-lightweight case composed entirely of Zalium – an extremely corrosion-resistant alloy of aluminium and zirconium trademarked by Harry Winston – with an openwork dial inspired by the Manhattan Bridge. Days of the week are displayed at four o’clock and seconds are shown at eight o’clock. Hands travel 120 degrees before automatically jumping back to resume their operation. Only 300 examples will be produced. £16,800, harrywinston.com

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WORDS: RICHARD BROWN

TAG Heuer Connected Martin Garrix, £1,300

Formula 1 Red Bull Special Edition, £1,300

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Mass market appeal It’s been a busy year for TAG Heuer’s marketing team. First, it masterminded sponsorship of the Virgin Money London Marathon; then it joined with the world’s most followed football league when it became the official timing partner for the Premier League; then came the news that Manchester United would also be running on TAG Heuer time as of this season. This summer, the brand sidestepped into Formula One to launch a limited-edition timepiece with Red Bull wunderkind Max Verstappen. And from motorsport to music, TAG recently went partying with DJ deities David Guetta and Martin Garrix when it launched a watch on the White Isle. What next for TAG Heuer’s ever-industrious marketing department? Perhaps a much-needed break. tagheuer.co.uk

SCENE STEALER As the BFI London Film Festival rings in its 60th anniversary from 5 to 16 October across London, IWC – the event’s time partner since 2014 – has launched a limited-edition timepiece to celebrate. A customised version of IWC’s Spitfire Chronograph engraved with ‘BFI Film Forever’ on its caseback will herald the event’s diamond jubilee, and its stainless steel chronograph features an in-house movement alongside a flyback function. It is available in the IWC’s New Bond Street boutique. This year the IWC and BFI partnership extends to a £50,000 bursary, which will be awarded to a UK-based writer or director whose first or second feature-length fiction film is premiering at the festival. £7,950, 138 New Bond Street, W1S, iwc.com

INVESTMENT MANAGEMENT To coincide with its 20th anniversary, The Watch Club has launched a new website, showcasing more than 250 of its rarest and most desirable pieces, many presented for the first time in 20 years. Highlights include a sought after 16520 Zenith-powered Rolex Daytona, bearing one of the finest Patrizzi dials ever to come to market. The brown subdial colour (pictured below) has developed over time, the result of a chemical reaction in the Zapon varnish then used by Rolex. Find your latest investment online now. Royal Arcade, 28 Old Bond Street, W1S, watchclub.com

return of the kings As the mastermind behind Audemars Piguet’s Royal Oak and Patek Philippe’s Nautilus, watch designer Gérald Genta practically invented the luxury sports watch industry. Five years after his death, his creations continue to inspire a raft of sporty reinventions W or d s : C h r i s Ha l l

sk a watch designer which watch they admire more than any other, and there is an overwhelming chance you will get only one answer: Audemars Piguet’s Royal Oak. I have lost track of the number of times this has happened to me – in fact, I’ve stopped asking. Of all the watches made in the last half-century, it occupies a mythic status unmatched by anything else. The reasons why are not complicated. The Royal Oak laid down a template for a whole new style of watch, singlehandedly changing perceptions of what a luxury watch could be. It was, and is, the original luxury sports watch. It spawned a legion of successors (some would say imitators), creating a niche that no self-respecting manufacturer could afford to ignore. Its defining features were its angular, multi-faceted steel case and integrated bracelet (the links appear to flow directly from the case without the need for a pair of lugs). Like the Rolex Submariner, its status is

such that it’s almost a brand in itself – you rarely, if ever, hear it described as ‘the Audemars Piguet Royal Oak’. Created for the Italian market in particular, the Royal Oak was the creation of Gérald Genta, a designer who – in large part thanks to this very story – became the most famous and successful watch designer of the 20th century. The myth is so well-known among watch circles that it’s almost folklore. Tasked with producing something dynamic, luxurious yet sufficiently durable for young, affluent signores to wear on the beach, he defied the accepted wisdom that only precious metals were good enough. It was so difficult to make, ironically, that the prototype shown at Baselworld in 1972 was actually white gold. But, soon enough, the real (steel) deal was proving immensely popular. While it is true to say that the Royal Oak began an entire category of watches, it’s more true to say that it was Genta himself who made ‘sports luxe’ a thing. Having lit the spark with above: Royal oak chronograph, £45,500, Audemars Piguet

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the Royal Oak, he continued by reinventing IWC’s Ingenieur (the Ingenieur SL) and – probably his second most famous work – created the Patek Philippe Nautilus, both released in 1976. He continued in the same vein, producing integrated bracelet designs for the likes of Omega (which failed to capture the imagination in the same way), and when he established his own brand, his flagship watch was a piece called the Octo, which had a steel case and bracelet, and an octagonal bezel with a round dial. Even the landmark pieces of this genre that Genta didn’t design are often attributed to him. The third most significant sports luxe watch, Vacheron Constantin’s Overseas, was long thought

ABOVE, FROM L-R: INGENIEUR AUTOMATIC, £4,650, IWC; OVERSEAS SMALL MODEL, £43,800, VACHERON CONSTANTIN; 5980/1AR-001, £45,270, PATEK PHILLIPE; POLO S, £8,650, PAIGET; LAUREATO, £8,750, GIRARD PERREGAUX

The last five or six years have been characterised by a tendency to look back, to revive, to pay homage to have originated from a Genta design; however, it was Jorg Hysek who created the 222, the Overseas’ forefather. Likewise, for all its similarity to the Royal Oak and Ingenieur, the Girard-Perregaux Laureato was not Genta’s work either. Casual observers of the watch industry will know that the past five or six years have been characterised by a tendency to look back, to revive, to pay homage. Our collective appetite for ‘heritage pieces’ has known no limit, and watches from the 1970s have been hit hardest of all. In 2013, IWC brought out a range of Ingenieurs bearing close resemblance to Genta’s SL. Bulgari has made hay with the Octo, proving its versatility with ‘finissimo’ ultra-thin versions and most recently a minute repeater. Other brands have cashed in on the Genta-revivalism without the

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need to have been there in the first place – check out the Glashütte Original Seventies, launched in 2011, for a quirky alternative. This year, the trickle became a stream. Vacheron Constantin went first, debuting an overhauled Overseas in January (followed by world timer versions over the summer). It’s the most emphatic revamp the Overseas has had for more than a decade, with platinum-cased perpetual calendars, ultra-slim pieces and Vacheron Constantin’s first in-house automatic chronograph to boot. March saw Girard-Perregaux bring back the Laureato as part of the brand’s 225th anniversary celebrations. The watch may not be getting the attention of its more storied colleagues, but it’s compelling enough that, as it is limited to just 225 pieces, many will be left wanting. In July, Piaget re-launched its lynchpin of the 1980s, the Polo, as the Polo S. Neither a 1970s watch nor one of Genta’s design, it nevertheless qualifies – just look at it – though Piaget could have been braver with the new design. So, 2016 has already been defined as the year of sports luxe revival – and the best is yet to come. This year represents the 40th anniversary of Patek’s Nautilus, and it’s understood that a new version will land just in time for Christmas. What’s interesting, of course, is that the Royal Oak has never needed reviving. It may have seen mutations over the years – right now, AP is glorying in a full-fat range of yellow gold Royal Oaks – but the basic shape is unchanged and, crucially, if you pick one up tomorrow, it remains as impactful and captivating as it was 44 years ago. Genta may have sown the same seeds at other brands, but the original – as is so often the case – remains the best. No wonder so many designers love it.

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PROWESS IN PAPER

ollages are always infinitely intriguing, and an exhibition of more than 40 new works by Peter Clark at Portland Gallery will not disappoint. The British artist seeks out interesting papers â&#x20AC;&#x201C; anything from old Ordnance Survey maps to sheet music and airline tags â&#x20AC;&#x201C; at antique and village markets across Europe, from which he creates his sizeable and whimsical studies. Many take on animal form (dachshund, pug, cockerel, lobster), but all his creations require stepping up close to be fully admired. Peter Clark, 27 October-11 November, 3 Bennet Street, SW1, portlandgallery.com

PETER CLARK, HANDLE WITH CARE, 2015, COLLAGE, 96.52 X 76.2CM

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Art news WORDS: CAMILLA APCAR

Suspended motion Of the many selling exhibitions timed to coincide with the Royal Academy’s new blockbuster (Q&A, far right), Waddington Custot’s upcoming show of recent works by French painter Fabienne Verdier is among the liveliest. The artist toys with gravity by using custom-made brushes of her own design, and tools suspended from her studio ceiling to allow her to paint canvases vertically, experimenting as Pollock and Rothko did in the 1940s. Rhythms and Reflections, 25 November-4 February 2017, waddingtoncustot.com

Hidden layers For a particularly monochromatic Abstract exhibition (this work aside), Sophia Contemporary gallery is mounting 15 large paintings by American artist Robert Kelly. There’s a great Piet Mondrian influence to be found in his work, as well as postcards, letters and posters hidden beneath the impasto oils that the artist layers on the canvas with a sort of trowel-like brush. On 6 October the gallery will host a talk with Kelly himself, and will also be exhibiting his work at Frieze (turn to page 52 for a full preview of this year’s fair in Regent’s Park). Selected works from Black on Bone, 28 September-28 October, sophiacontemporary.com

Why has it been so long since the last major exhibition on this movement? Abstract Expressionism was rapidly followed by Pop Art, Minimalism and other movements – so it got rather pushed out of the public eye. And with the growing number of exhibitions worldwide, borrowing works of this quality is increasingly difficult. How did you begin work on the exhibition? One starting point was securing key loans. We explore such themes as the artists’ use of colour and gesture, their search for absolutes, the exploration of darkness and the changes that occurred in their late works. Which works are your favourite? Obviously, Pollock’s titanic Blue Poles and Joan Mitchell’s vast sun-drenched Salut Tom. And the extraordinary, unprecedented group of loans from Denver’s Clyfford Still Museum. What role do other mediums play? Sculptors such as David Smith and Louise Nevelson took the imagery and ideas of Abstract Expressionism and transformed them, impressively, into three dimensions. Aaron Siskind, Minor White, Barbara Morgan and other photographers made energy and motion visible. Abstract Expressionism, until 2 January 2017, royalacademy.org.uk

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CLOCKWISE FROM TOP: FABIENNE VERDIER, TRIPTYQUE ROUGE, 2016, ACRYLIC AND MIXED MEDIA ON CANVAS, 183 X 407CM, COURTESY OF WADDINGTON CUSTOT; CLYFFORD STILL, PH-950, 1950, OIL ON CANVAS, 233.7 X 177.8CM, CLYFFORD STILL MUSEUM, DENVER ©CITY AND COUNTY OF DENVER / DACS 2016, COURTESY OF THE CLYFFORD STILL MUSEUM, DENVER, CO; ROBERT KELLY, LUCHINO’S NOCTURNE II, 2014, OIL AND MIXED MEDIA ON CANVAS, 182.88 X 142.24CM, COURTESY OF THE ARTIST AND SOPHIA CONTEMPORARY GALLERY; FABIENNE VERDIER IN HER STUDIO, 2016, COURTESY OF WADDINGTON CUSTOT

with DAVID ANFAM, co-curator of the Royal Academy’s new exhibition Abstract Expressionism

Sumerian door catch, 2700-2500 BC, Alabaster, Central Asia

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Prize lots SOLD: £185,000 E S T I M AT E : £ 1 0 0 , 0 0 0 - £ 1 5 0 , 0 0 0

Portrait of Two Sisters, Circle of Robert Peake the Elder “This type of stylised Elizabethan portraiture is very much in vogue at the moment with collectors. The bold, geometric design and two-dimensional surface of these pictures, together with their exquisitely detailed and ornate costumes, appeal to contemporary taste and sit very well in modern interiors. For those with an eye for a more eclectic style, they also hang very well alongside contemporary works of art.” – Julian Gascoigne, senior British pictures specialist at Sotheby’s

SOLD: £850 E S T I M AT E : £ 2 0 0 - £ 3 0 0

Methode Amusante Pour Enseigner l’ABC “Darton was a well known children’s publisher from the late 18th to early 19th century, and the hammer price achieved against the low estimate is indicative of the market’s appreciation for condition and completeness combined with genuine scarcity.” – Roddy Newlands, rare books specialist at Dreweatts & Bloomsbury UPCOMING

SOLD, FROM LEFT: A PORTRAIT OF TWO SISTERS, PROBABLY ANNE OF DENMARK AND HER SISTER ELIZABETH, CIRCLE OF ROBERT PEAKE THE ELDER, OIL ON OAK PANEL, 87.9 X 116.5CM, OLD MASTERS DAY SALE AT SOTHEBY’S, 7 JULY, IMAGE COURTESY OF SOTHEBY’S METHODE AMUSANTE POUR ENSEIGNER L’ABC, THE BIBLIOPHILE SALE AT DREWEATTS & BLOOMSBURY, 25 AUGUST, DREWEATTS.COM, IMAGE COURTESY OF DREWEATTS & BLOOMSBURY

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Smoke, Mert & Marcus, 2011

It is fascinating to consider how different contemporary fashion photography would look today if this creative duo hadn’t met in London during the early 1990s. Mert Alaş and Marcus Piggott are now celebrating 20 years of collaborative success with their first major solo show and selling exhibition, hosted by Phillips. One of the highlights is this polished print from a LOVE magazine editorial, starring Polish model Anja Rubik. It is reminiscent of the pioneering images shot by Hiro, who – in the wake of Richard Avedon – was among the champions for fashion photography to be considered as art. Bids from £16,000, Mert & Marcus: Works 2001-2014, 24 October-3 November, phillips.com 48

UPCOMING, FROM LEFT: IMAGE ©MERT & MARCUS IMAGE ©CHRISTIE’S IMAGES LIMITED 2016

Thais, Demétre Chiparus, c. 1925 Demétre Chiparus was a Romanian Art Deco sculptor who based himself in Paris for much of the 1920s and 1930s. The influence of this decadent era is reflected in his work, which often portrays performers such as the infamous Dolly sisters. This rare, intricate sculpture due to be auctioned at Christie’s depicts the courtesan Thais: protagonist of Anatole France’s redemptive 1890 novel set in fourth-century Alexandria. The tale was soon adapted into a highly charged opera, which enthralled Parisian theatregoers of the Jazz Age, and in turn inspired Chiparus. Estimate £100,000£150,000, Historical Design at Christie’s King Street, 26 October, christies.com s L U X U RY L O N D O N . C O. U K s

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PAD London

In October Berkeley Square welcomes the tenth edition of the fair that celebrates 20th-century creativity. Camilla Apcar hones in on lustrous metal furniture, modern Italian art and the most eye-popping contemporary design on show

he Pavilion of Art and Design (PAD) selling fair celebrates its tenth anniversary this year from 3 to 9 October – when a distinctive blend of art and design will be brought to Berkeley Square by on-the-pulse dealers from Mayfair and across the globe. “In the past decade we’ve worked hard to promote cross-collecting and I hope this approach continues to grow,” says the fair’s director Patrick Perrin. “Collecting is not about spending huge sums for investment’s sake, it is to fall in love with works of art for what they bring you personally and combining them with flair and taste.” An appreciation for modern Italian art has built on a strong presence at last year’s fair. Mazzoleni will return with large-scale works by Alberto Burri and Enrico Castellani (Superficie rossa,, pictured right, the surface of which seems to be in relief and was created in acrylic on canvas by way of a nail-gun – this time in a Lego-like shade of red, rather than the artist’s trademark white). At Repetto Gallery, the spectrum of works on show, from silkscreen to watercolours, will include a camouflaged canvas by Alighiero Boetti and an intriguing piece hewn entirely from salt and lead by Pier Paolo Calzolari. Ridges of salt trail across a 90cm square canvas in the purest white. More of Calzolari’s work will appear in an exhibition running from 5 October at the Bruton Street gallery, focussing on Arte Povera. Elsewhere, Pissarro, Dufy and Chagall will be shown by new exhibitor Richard Green; and Dubuffet, Warhol and a Picasso from 1944 will feature at Opera Gallery, another first-timer. In the design category – largely synonymous with furniture – a metal theme runs through. “Metal furniture has existed almost since the beginning of

CLOCKWISE FROM TOP LEFT: ENRICO CASTELLANI, SUPERFICIE ROSSA, 2009, ACRYLIC ON CANVAS, 120 X 150CM, COURTESY OF MAZZOLENI ART, ©CITTÁ DI CASTELLO (PERUGIA) AND ARCHIVIO ENRICO CASTELLANI; MARC CHAGALL, AUTOUR DES FRUITS ROUGES, C.1970-1975, OIL ON CANVAS, 46.4 X 38.1CM, COURTESY OF RICHARD GREEN; HERVÉ VAN DER STRAETEN, CONSOLE ORIGAMI N°516, ANODIZED BLUE ALUMINIUM, 74.80 X 23.62 X 33.07IN, COURTESY OF HERVÉ VAN DER STRAETEN; MICHELE OKA DONER, RADIANT TABLE, 2015, BRONZE 75 X 193CM, COURTESY OF DAVID GILL GALLERY. OPPOSITE PAGE: W.A.S. BENSON, TABLE, C.1900, COURTESY OF H.BLAIRMAN & SONS LTD.

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time, but in the 1920s and 1930s, those such as Mies van der Rohe started using tubular metal,” says Martin Levy, director of H. Blairman & Sons. “It’s that aesthetic that appeals: clean lines and forceful design.” Copper-coloured tables come courtesy of Arts and Crafts designer W.A.S. Benson at Blairman & Sons’ stand (pictured right), and in a more contemporary guise from Spanish artist-designer Jaime Hayon, who has collaborated with Swarovski, Baccarat and whose work resides in permanent collections the world over. Galerie Kreo will show two versions of Hayon’s Game On side table: one in copper made in an edition of 20 last year and another textured version with concave indents in black marble.

David Gill’s stand will be dedicated to a solo exhibition of new work by Michele Oka Doner (pictured far left), the American artist now entering her 70s and whose mile-long walkway embedded with bronze and mother of pearl at Miami International airport is hard to miss. Among her furniture, mirrors and accessories on show will be the playful Ice Ring bench, a dark doughnut in bronze. More striking Dutch design will come from a table that seems to be quite literally dripping in gold at contemporary dealer Priveekollektie, while Paris’ Hervé Van der Straeten will exhibit one of his own ultra-cool creations, Console Origami (pictured far left). This year’s PAD is set to stun. 3-9 October, Berkeley Square, W1, pad-fairs.com

FA I R F I N D S COURTESY OF DUTKO GALLERY

Eric Schmitt, Scale Dresser, 2008 “Eric Schmitt is influenced by the French Arts Décoratifs tradition,” says gallerist Jean-Jacques Dutko, “in particular Art Deco, a period that I cherish. I’m sensitive to artists who take inspiration from the past to produce striking contemporary pieces.” Marble scales and lacquered wood, edition of eight, 176 x 100 x 41cm, from Dutko Gallery

COURTESY OF SARAH MYERSCOUGH GALLERY

Christopher Duffy, Abyss Table, 2015

Zao Wou-Ki, Untitled, 1974 COURTESY OF ATKIS GALLERY

A major retrospective of the late Chinese-French artist, who had close relationships with Giacometti, Miró and Jacques Chirac, has just opened in New York at the Asia Society. His work regularly achieves multi-million hammer prices at auction. This piece was dedicated to the writer Gaston Vogel. Watercolour on paper, 29 x 22cm, from Atkis Gallery

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The pattern of the Abyss series is based on ocean surface topography, and this table was specially commissioned by Sarah Myerscough for PAD. “It was created by highly skilled craftsmen in London using cutting-edge technology – an excellent example of the developing relationship between technology and craft,” says the gallerist. “It can be seen as encompassing the zeitgeist of today.” High grade wood from Forest Stewardship Council-managed forests, resin, glass and acrylic, 150 x 75 x 40cm, from Sarah Myerscough Gallery

As art returns to Regent’s Park for Frieze London and Frieze Masters, Rebecca Wallersteiner has an eagle eye on the fairs’ chief exhibitors

CLOCKWISE FROM TOP: TEAM LAB, FLOWERS AND PEOPLE – DARK, 2015, INTERACTIVE DIGITAL WORK, 3-8 CHANNELS, DIGITAL WORK, ENDLESS SOUND BY: HIDEAKI TAKAHASHI, PHOTO: COURTESY TEAMLAB ©2016 TEAMLAB, COURTESY OF PACE GALLERY; LYNN CHADWICK, BEAST XVI, 1959, COURTESY OF THE ESTATE OF LYNN CHADWICK AND BLAINSOUTHERN, PHOTO: PETER MALLET; LYNN CHADWICK, THE STRANGER, 1954, COURTESY OF THE ESTATE OF LYNN CHADWICK AND BLAINSOUTHERN, PHOTO: MATTHEW HOLLOW

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CLOCKWISE FROM TOP: LATIFA ECHAKHCH, LA DÉPOSSESSION (DETAIL), 2014, THEATRE CANVAS, PAINTING, STEEL TUBE AND STRAPS, VARIABLE DIMENSIONS, ©LATIFA ECHAKHCH, PHOTO: FABRICE SEIXAS, COURTESY OF THE ARTIST AND KAMEL MENNOUR, PARIS; PENNY SIOPIS, WHEN IS A LIFE GRIEVABLE?, 2015, NEWSPAPER CUTTINGS, INK AND GLUE ON CANVAS, 57.5 X 76.5CM, COURTESY OF STEVENSON GALLERY; ALICE BROWNE, SYNTHESIS (IN FOUR PARTS), 2015 OIL AND ACRYLIC ON CANVAS, 220 X 184CM, COURTESY OF LIMONCELLO GALLERY

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here to find the coolest art dealers in the world as the vintage champagne flows? Frieze returns to Regent’s Park for its 14th season from 6 to 9 October, bringing with it more than 160 of the world’s leading galleries and artists. Although the fair aims to sell art, it is also a festival – not quite like Glastonbury or Edinburgh’s offerings, but with a huge selection of entertainment to be enjoyed in its own right. Frieze London specialises in showing contemporary work from the most cutting-edge sources. While the price tags are often dizzying, the fair isn’t snooty and welcomes anyone with an interest, and there will certainly be something for all tastes at this year’s edition. Hauser & Wirth will bring works on paper by Rita Ackermann and Louise Bourgeois as well as a larger-than-life, two-metre tall marble tiffin box by Subodh Gupta. The international and Mayfair gallerist will also exhibit a Dieter Roth Tischmatte from 1991. The Tischmatten – ‘table mats’ in German – is a body of work that Roth produced for many years and right up until he died in 1998, with the help of his son Björn. The cardboard bases were used by Roth to keep tables clean while he painted – and not unlike Roth’s diaries, this example includes Polaroids, scribbled notes and doodles. Another Tischmatte sold for £51,650 at Christie’s in 2012.

A group of smaller scale sculptures by primary colour-loving artist Eddie Martinez will be presented by gallerist Timothy Taylor, while Pace Gallery will bring – among other pieces – a digital interactive work by teamLab, Flowers and People, in which petals blossom and wilt at the viewer’s touch or according to how they move through the installation’s walkway. “Frieze has become known for its strong curated sections,” says Victoria Siddall, the fair’s director. “This year I am particularly excited to see Nicolas Trembley’s selection of artists who changed the conversation in the 1990s.” The new space will recreate and revisit key exhibitions of the decade including Wolfgang Tillmans’ very first show at Daniel Buchholz’s gallery. This year Frieze London welcomes back global leaders such as Gagosian, the specialist in big American names such as Jeff Koons and Roy Lichtenstein. The gallery will focus on works by Cy Twombly for the fair. White Cube, meanwhile, will showcase the work of German painter Magnus Plessen, as well as Raqib Shaw (the Indian-born artist perhaps best known for his wildly detailed oil paintings), and pieces by ultra-modern – to the point of futuristic – artists Liu Wei and Mona Hatoum. To pick up some truly insider knowledge about contemporary trends, head for a series of talks and exciting debates led by influencers including former Venice Biennale director Okwui Enwezor and Pamela Golbin, chief curator at Musée des Arts Décoratifs. If you prefer art that comes in more traditional guises, make a beeline for the concurrent Frieze Masters, now in its fifth year, celebrating Old Master paintings and works created up until the

For art that comes in more traditional guises, head to Frieze Masters late 20th century. Four London galleries – Jonathan Clark Fine Art, Robilant + Voena, Blain|Southern and Marlborough – are staging standalone tributes honouring British treasures. The brightest star is perhaps Sir Eduardo Paolozzi at Jonathan Clark. Heads, Bronze & Plaster is a show of the late sculptor’s heroic busts, ahead of the Whitechapel Gallery’s Paolozzi retrospective next year. It will include colossal sculptures – often self-portraiture – that bear a Cubist resemblance to the Moai on Easter Island. “In the last two decades of his life Paolozzi produced a monumental series of portrait bronze and plaster heads,” comments Clark. “They were the culmination of ideas he worked on from as far back as the 1950s, when he created collages from cut up magazines, sub-divided in a process of deliberate fracturing. As works of art they have a presence that can be alarming, personal and extremely physical.” Meanwhile, a display of art created in 1954 will take over Robilant + Voena’s stand, including Man in Blue VII, painted by Francis Bacon at the

CLOCKWISE FROM TOP LEFT: EDUARDO PAOLOZZI, GROUP OF BRONZE HEADS, 1993-95, BRONZE, DIMENSIONS VARIABLE, COURTESY THE ESTATE OF EDUARDO PAOLOZZI/JONATHAN CLARK FINE ART; TADDEO GADDI, C.1300-1366, SAINT ANTHONY ABBOT, TEMPERA ON PANEL, 61.8 X 35.4CM, PROVENANCE: GERMANY, PRIVATE COLLECTION, COURTESY MORETTI FINE ART; FRANCIS BACON, MAN IN BLUE VII, 1954, 152.7 X 116.5CM, COURTESY ROBILANT + VOENA; PIETRO NOVELLI, 1603-1647, PROMETHEUS CREATING MAN, OIL ON CANVAS, 208 X 163CM, PROVENANCE: PRIVATE COLLECTION, COURTESY MORETTI FINE ART; AUGUSTE RODIN, THE KISS, CONCEIVED IN 1886, CAST DURING THE ARTIST’S LIFETIME, 2ND REDUCTION, SIGNED, BRONZE, 59.4 CM

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height of his creative powers. Bacon’s nightmarish, fractured portraits and Paolozzi’s busts of European intellectuals both show influences of Picasso (whom they each admired), and are an ocean away from the celebrity sitters favoured by Andy Warhol. Over at the Marlborough Gallery’s spot, don’t miss The Vivian Girls, a booth of Paula Rego’s quirky folk-inspired paintings from the 1980s that illustrate the adventures of mischievous girls living on a planet controlled by evil soldiers. Rego’s anarchic subjects are captured in her bold colours and spontaneous, painterly work. Another Masters treat is rarely seen work from the 1950s, crafted in bronze and steel by British sculptor Lynn Chadwick and presented by Blain|Southern. A leading sculptor of his generation, Chadwick experimented with spatial relationships throughout his life. Created for the Venice Biennale in 1956, the huge

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couple seated on the bench of Back to Venice sold for more than £1.65m at Christie’s in June. This year’s fair offers art for all the senses. At Frieze Sounds, visual artists Giorgio Andreotta Calò and Liz Magic Laser will present the UK premiere of a set of sound commissions to encourage the cross-fertilisation of ideas between contemporary art and music. Frieze will also be accompanied by an exhibition of large-scale sculpture in leafy Regent’s Park. Yorkshire Sculpture Park’s director of programme, Claire Lilley, has returned to choose pieces by Chadwick, Jean Dubuffet and Conrad Shawcross. In addition, Frieze has partnered with the Contemporary Art Society to help a regional museum acquire an important contemporary artwork from the fair with a grant of £50,000. The Middlesbrough Institute of Contemporary Art, which opened in 2007, will be the beneficiary of the scheme. Since its inception 14 years ago, Frieze has evolved to become a landmark on the international art calendar. Around 65,000 art lovers visited last year, when a number of galleries sold out almost immediately. Despite Brexit affecting many sectors within our economy, the coolest galleries are sure to sell out overnight once again. 6-9 October, Regent’s Park, frieze.com

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FASHION

THE

MAN WHO FELL TO EARTH P

aul Smith is a brand that consistently exudes the character of the man behind the stripes. The A/W16 collection is an amalgamation of his classic colours, prints and slick tailoring with, as always, a dash of the unexpected – look out for the peach tones. Since the collection draws inspiration from Smith’s earliest creations, the brand taps into David Bowie’s androgynous and eccentric ’70s style for the campaign. The cinematic lighting gives a nod to the pop star’s inimitable presence both on stage and on screen, and reminds us of his lead role in The Man Who Fell to Earth, released in 1976 – the same year Smith’s first collection was shown in Paris. 9 Albemarle Street, W1S, paulsmith.co.uk

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IMAGE CREDIT: MARIO SIERRA

FASHION

In her shoes Former model and muse for renowned artists and fashion designers, Naty Abascal, has been tapped by designer Edgardo Osorio to be the inspiration and face of his new capsule collection. Her timeless, sophisticated and adventurous taste makes a perfect pairing with the well-heeled world of Aquazzura. Detailed charms and encrusted features transform the classic styles into works of art. From £555, 38 Albemarle Street, W1S, aquazzura.com

Style update W O R D S : J A C I N TA R U S C I L L O

Fine print Mayfair tailor Drake’s has collaborated with J. Crew on its debut line for women. The exuberant five-piece collection is made from 100 per cent silk and employs J. Crew’s signature use of colour on tops, trousers, scarves and shoes that mix loungewear with cocktail hour. Four of the prints have been picked from Drake’s archives, recoloured and printed in Italy. From £65, jcrew.com

CRÈME DE LA CRÈME Ralph Lauren on Regent Street On the corner where New Burlington Street meets Regent Street now sits Polo Ralph Lauren’s European flagship – a new store that opened mid-September, spanning three floors. The space includes the Polo Custom Shop (from £80), which allows shoppers to personalise timeless classics such as saddlebags, polos and blazers with monogrammed crests and designs – from bulldogs to Corgis – that embody the best of British spirit. Navy blazer, £379, 169-173 Regent Street, W1B, ralphlauren.co.uk s L U X U RY L O N D O N . C O. U K s

Winter is on its way, and to soften the blow comes a new line of Jérôme Dreyfuss accessories in cream lambskin. The buttery leather has been tanned to maintain the raw material’s natural texture while remaining lightweight and, of course, practical. The designs, which add a playful statement to autumn ensembles, will also be available in a spectrum of pumpkin and ochre. From £330, 22 Berkeley Square, W1J, jerome-dreyfuss.com

ROBERT PRINGLE THE SECOND 1940 AND THE PRINGLE FAMILY, CIRCA

A knit in time Hannah Lemon leafs through the Pringle of Scotland archives to learn about the origin of golf two-pieces and argyle-patterned socks

he famous argyle sweater conjures up a plethora of images. A group of gentlemen taking a putt on a fine Saturday afternoon at a local golf course, perhaps. Or maybe a vintage 1950s scene of housewives swapping recipes in diamond-patterned jumpers. Or even Her Majesty the Queen strolling through Balmoral in a fetching cashmere cardigan, corgis at her heel. Whatever it may be, each of these moments is thanks to Pringle of Scotland, famous for the checked pattern. The companyâ&#x20AC;&#x2122;s story goes back to 1794, when a 16-year-old boy named John Pringle was taken on as an apprentice by William Beck, the master hosier in the border town of Hawick. In 1815, he decided to go into the stockings business with his half-brother Robert Pringle and two others. Four years later, the company moved premises from Slitrig Crescent down the road to Cross Wynd, and Robert Pringle was established as head of the firm. With innovation at the forefront of his mind, Robert Pringle introduced new frames to the manufacturing process, enabling the company to produce not just hosiery, but underclothing for both men and women. By 1905, the creative gene had been passed down from father to son and the fourth generation of Pringle initiated the move into clothing.

The signature intarsia design was developed in the 1920s, a popular outfit choice for The Duke of Windsor Pringle of Scotland introduced knitted cashmere, now a staple of the brand, as well as the signature intarsia design that was developed in the 1920s, a popular clothing choice for The Duke of Windsor and his social circle at the time. This particular clientele helped transform the companyâ&#x20AC;&#x2122;s sporty two-piece cardigan and sweater set, favoured for golf outings, into an ideal outfit for tea parties if matched with pearls and a cup of Earl Grey. Momentum continued to grow decades later with the help of pin-ups Jean Simmons, Margaret Lockwood, Deborah Kerr, Grace Kelly, Brigitte Bardot and Margot Fonteyn, all of whom favoured the brand. Today, Pringle of Scotland is still as strong as ever. Although the company changed hands to Dawson International in 1967 and then Hong Kong-based S.C. Fang & Sons in 2000, the emphasis is still very much on its Scottish

FASHION

heritage. Modern day influencers have helped promote this unique history: actress Tilda Swinton has worked closely with the label as its ambassador since 2009, as have collaborators including Turner Prize winner Douglas Gordon, actor Luke Evans and artist David Shrigley. Still Pringle of Scotland has no thoughts of slowing down. A store on Mount Street was launched in 2013, a Shanghai boutique in 2014, the brand’s 200th anniversary was celebrated last year, and in February Massimo Nicosia was appointed as men’s design director and Fran Stringer for womenswear. In fact, as much as the clothing label celebrates the past, the future holds just as much promise. In 2014, it experimented with 3D printing, calling in the help of architect and material scientist Richard Beckett to create the ready-to-wear collection. The recognisable old-school designs

ARCHIVE IMAGES COURTESY OF PRINGLE OF SCOTLAND

were transformed into slinky silk-knit dresses, mesh tops and bright bomber jackets. This year’s London Fashion Week is no exception with a stunning selection of gingham dresses alongside cobalt puffball-sleeved shirts and floaty, pastel yellow skirts. As the months cool, it’s time we start assembling our own woolly ensembles. While the days of Her Majesty’s two-piece set have been replaced with models in cashmere skirts and high-heels, there’s no need to hold back on that famous argyle knit. Pringle of Scotland, 94 Mount Street, W1K, pringlescotland.com PRINGLE OF SCOTLAND A/W16 CAMPAIGN

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Cerruti’s NEW chapter Cerruti 1881 has a new chief creative officer – and the fashion house couldn’t have chosen better, says David Taylor

ason Basmajian, the new chief creative officer at Cerruti 1881, is dressed in a simple and stylish outfit of blues and blacks when we meet in Mayfair’s George Club. As engaging and charming as an interviewee can be, it isn’t hard to see how he has made a success of every project he’s touched. Indeed, he could be seen as the standard-bearer of how to succeed in the fashion industry. During a summer job in a menswear store he was bitten by the fashion bug, and hasn’t looked back. Without formal training, this modest start paid dividends as he moved to houses such as Calvin Klein and Donna Karan, before his first title as creative director at S.T. Dupont. From there, stints at Brioni and Gieves & Hawkes helped earn Basmajian a reputation for revamping heritage brands. Now at Cerruti, which celebrates its 50th anniversary next year, he’ll be sticking to the formula that has won him many plaudits so far. “I try to extract the core values of a brand, and distil them to rebuild the foundations of a company,” he explains. “You want to be modern and relevant, but I think you need to always go back in order to go forward. You can’t diversify before understanding your core brand values.” At Gieves & Hawkes, a loved but tired British tailor revitalised by the steady inclusion of modern pieces, even Basmajian’s introduction of something as innocuous as a t-shirt was done true to the brand’s values. So, why Cerruti? “I thought the brand was very interesting,” says the new chief creative. “It’s very

international: on any given day we’ve got French, Italian, Mandarin and English being spoken in the studio, and it’s great. “On my new team I have a couple of senior people and a group of talented younger kids who are super professional, and it just makes a really nice energy. You need that mix – the senior element pulling, the younger element pushing. That dynamic creates something quite exciting.” This team also has the thumbs up from Mr Cerruti himself, who has supported Basmajian wholeheartedly, opening the archives and giving full use of the family mill for fabric development. For the chief creative, who sees Mr Cerruti as a personal hero, this is an important milestone. “Mr Cerruti gave Mr Armani his first job, back in 1967. He was always, to me, a cooler Armani. He invented this casual tailored chic look. He was always more relaxed, and he was one of the first designers to focus on cut and fabrics in menswear. “I think he appreciates that we’re dedicated to building something long-term. It’s not a seasonal fashionality or a seasonal trend, it’s actually about a brand’s DNA and philosophy.”

FASHION

JASON BASMAJIAN ON...

TRAVEL I always pack pieces that are versatile: a dark suit where you can split the trousers and the jacket, a white shirt and maybe a knit tie, a couple of crew neck sweaters, a couple of t-shirts, maybe one pair of elegant trainers, one pair of shoes, and a pair of dark jeans. Then you can really mix it all up and never go wrong. A dark suit is like a little black dress, you can put it with anything. I try to pack very minimally, but I love to throw a tuxedo in if it can fit. I always like wearing a tuxedo jacket with a t-shirt and jeans.

TAILORING Tailoring is important – men will always look and feel great in a jacket. It’s important to give men more options, and help them realise that they don’t have to wear a suit with a shirt and tie. They can wear it with trainers, a t-shirt, a polo shirt, they can break up the trousers and jacket. It’s about focusing on how guys shop. You can buy a Gieves suit, a Cerruti overcoat and a Topman t-shirt, and it all works. That is how a modern man dresses.

COMFORT Men today probably have the same values as our fathers and grandfathers but our lifestyles are hugely different. The rules have changed. With Cerruti, it’s about taking it back to the idea of relaxed elegance, sportswear and tailoring. Mr Cerruti was always ahead with his modernity and he was never interested in superfluous detail. His personal aesthetic very much aligns with mine. I don’t think it’s a question of age; it’s a question of attitude.

THE FUTURE The idea of clothes and collections filtering through the fashion press and buyers as ‘validation’ will become less important. Fashion will start going directly to the consumer. We still need feedback from the industry, for checks and balances – that is important – but the way people

do business now is different. The way we present and think about delivering a collection to stores has to change. The fashion season will be less important, although I don’t advocate getting rid of them altogether: the seasons create interest, create buzz, and it’s what pulls the industry together as well.

CERRUTI A/W16 The new season has a sophisticated colour palette, with lots of texture and a mixture of casual and smart tailoring fabrics. A tremendous amount of fabric research went into the collection, and a lot was done with the Cerruti mill in Piemonte. The collection brings in a lot of menswear jacquards – whether in a herringbone or Prince of Wales check – into technical outerwear fabrics that look like traditional materials, but are actually waterproof as well as windproof.

“Tailoring is important – men will always look and feel great in a jacket. It’s important to help them realise that they don’t have to wear a suit with a shirt and tie”

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Coat, £1,401, skirt, £279, both Rochas, net-a-porter.com; boots, £1,040, Jérôme Dreyfuss, 20-22 Berkeley Square, W1J, jerome-dreyfuss.com

with the

Breeze into the new season with chunky knits, oversized coats and polo necks that will keep you warm when the temperature dips P H O T O G R A P H Y: W I L L I A M G A R R E T T S T Y L I N G : A N AT D Y C H T W A L D

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FASHION

LEFT Turtleneck jumper, £330, BOSS, hugoboss.com; sleeveless jumper, £595, trousers, £470, shoes, POA, all Stella McCartney, stellamccartney.com; scarf, £79, COS, cosstores.com

ABOVE Jumper, £207, PINKO, pinko.com/en-gb; trousers, DVF, £225, selfridges.com; coat, POA, shoes, POA, both Marni, marni.com

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Coat, £1,500, jumper, £330, sandals, £415, all BOSS, as before

FASHION

ABOVE Coat, £1,320, David Koma, davidkoma.co.uk; turtleneck jumper, £330, BOSS, as before; jumper, £165, PINKO, as before

RIGHT Cardigan, £575, Zadig & Voltaire, 19 South Molton Street, W1K, zadig-et-voltaire.com; turtleneck, £810, trousers, £1,175, shoes, £546, all Ralph Lauren Collection, ralphlauren.co.uk

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CREDITS Model: Maria from firstmodelmanagement.co.uk Hair: Shukeel Murtaza from untitledartistsldn.com Make-up: Gia Mills from untitledartistsldn.com Photographerâ&#x20AC;&#x2122;s assistant: Andrew Goss Production: Paper Moon Productions Shot on location at Camber Sands, with special thanks to The Gallivant Hotel, thegallivant.co.uk

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HUNTSMAN, IMAGE CREDIT: HARRY SOAMES

FASHION

with CAMPBELL CAREY, creative director at Savile Row tailor Huntsman

Style spy WORDS: MARIANNE DICK

Return of the mac

WHAT MAKES HUNTSMAN SO UNIQUE? Our ability to move with the times but still maintain our 167-year reputation as being the best on Savile Row. The New York pied-à-terre and our expanding Asian trunk shows means that owning a Huntsman suit is more attainable than ever.

The unpredictable UK climate is a familiar autumnal obstacle often eluded to as a very British problem. Hackett has sidestepped the outerwear dilemma faced during this transitional period with a slick new Mayfair Made in London capsule coat range created using Ventile, a high performance pure cotton fabric. Initially worn by wartime pilots, this material is resistant to practically all weathers – even the elusive Indian summer. From £750, hackett.com

Head to toe Endorsed for its superior fit and quirky designs, this season comes Oliver Sweeney’s first foray into ready-to-wear. Set to shake up the fashion world like its shagreen brogues did in the 1990s, expect classic and vintage designs crafted from Merino wool knitwear and selvedge denim. Head to its revamped Mayfair outpost for a closer look. From £99, 5 Conduit Street, W1S, oliversweeney.com s L U X U RY L O N D O N . C O. U K s

WHICH THREE ITEMS SHOULD A MODERN GENTLEMAN OWN? A Huntsman tweed jacket, a classic dinner suit and a navy blue onebutton suit.

WHAT IS NE NEW THIS SEASON? To mark this year’s opening of our New York premises (a couple of doors down from the Carnegie Hall), our exclusive house tweed range is inspired by the Carnegie Southesk Estate check. We asked three of our American clients at the top of their fields in art, architecture and design to select the colours. HOW WOULD YOU DESCRIBE THE HUNTSMAN GENTLEMAN? The Huntsman man comes from all corners of the globe. He is top of his game – or fast approaching it – and well informed, so expects the best. 11 Savile Row, W1S, huntsmansavilerow.com

SENSOWASHÂ® SLIM: THE COMPETITIVELY PRICED SHOWER TOILET WITH INCOMPARABLE COMFORT. Hygienic, gentle cleansing. Excellent design and great value. Manufactured from high-quality material, the non-porous, scratch resistant seat is robust and durable. Sophisticated technology allows for energy-saving shower comfort with adjustable water temperatures. For more information, please visit www.duravit.co.uk.

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IMAGE COURTESY OF SMALLBONE OF DEVIZES

INTERIORS

Hot desk Smallbone of Devizes is a renowned purveyor of unusual, bespoke and superbly fashioned interior suites and one-off pieces. Creative director Andrew Hays’s latest work takes inspiration from Georgian architecture. This desk, a new walnut creation, is carved in a quoin style, resembling many of London’s historic street corners. Desk, from £60,000, smallbone.co.uk

Interiors news WORDS: MARIANNE DICK

Polo in the park Inspired by the heritage décor in Ralph Lauren’s Polo Bar in New York, the Kipton mixologist box – made from saddle leather and Wexton tartan wool – unfurls to reveal a selection of gleaming cocktail accessories, and a particularly stunning crystal decanter centrepiece. Perfectly portable, it’s an essential accompaniment on crisp days out in the countryside. £3,995, 1 New Bond Street, W1S, ralphlauren.co.uk

Two-faced BREAKING NEW GROUND This autumn sees the merging of two exceptional flooring companies, as Victorian Woodworks becomes Woodworks by Ted Todd. Its Mayfair showroom offers gorgeous antique and reclaimed floors alongside elegant new designs, crafted using high-quality and responsibly sourced wood. We adore this circular arrangement in aged oak, which has been single fumed to emphasise its unusual pattern. Sapphire panel flooring, £269.50 per m², 4 Farm Street, W1J, tedtodd.co.uk

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Fornasetti’s new candle design, L’Eclaireuse, offers another surreal representation of the brand’s favourite face – that of Italian muse Lina Cavalieri. On one side her visage is decorated with regal jewellery, and an eye patch on the other. The wax is scented with a recently developed aroma named Mistero: a cosy blend of warm wood and spices, which we can’t wait to see lit as the nights begin to draw in. From £125, fornasetti.com 75

HOME IS WHERE

THE ART IS Frida Kahlo’s striking cobalt Blue House in Mexico City was more than just a place to sleep – it was where she was born, painted, taught and died. Jack Watkins reads Kahlo’s introspective paintings in a new light, thanks to a new book by Suzanne Barbezat

ew people who encounter the paintings of Frida Kahlo express a neutral opinion. Her work is the sort that provokes an immediate response. Detractors condemn her art as purely parochial; others admire the vibrant colour and Kahlo’s ability to transform images of her own suffering into symbolic portraits of physical and psychological wounds. Some people thought she was narcissistic. Of her 143 paintings, over a third are self-portraits – a fact that has been taken to indicate a tedious

self-obsession. But Kahlo had her reasons. “I’ll paint myself,” she said, “because I am so often alone, because I am the subject I know best.” And so that monobrowed face, solemn of expression and with hair combed severely back has become one of the most recognisable, endlessly reproduced images of an artist. Kahlo’s tempestuous marriage to Mexican painter Diego Riviera and her affairs with both men and women have inspired a raft of publications. However the latest book on Kahlo, by Mexican-based travel writer Suzanne Barbezat, explores the influence of her native land and culture on her art, as well as the significance of her home – the Blue House in Coyoacán, back then on the outskirts of Mexico City.

Kahlo decorated the house with folk art, traditional Mexican furniture and pre-Hispanic artefacts Kahlo was born in the house in 1907, and while she would live in other places at times, this would always be home during her short but troubled life. A painting of 1936, My Grandparents, My Parents and I reflects the importance of her immediate family and her home. The blue-walled house and its courtyard is at the bottom centre, and while her parents and grandparents float above the landscape, Kahlo depicts herself as a young child with her feet rooted in a typically sparse and rocky Mexican landscape. Kahlo’s identification with her country was so strong that she even claimed her birth date was in 1910 so others would instinctively connect her

INTERIORS

with the start of the Mexican Revolution. She later adopted the traditional dress styles that became part of her trademark look. Painting had been a way of coping with the injuries Kahlo sustained in a bus accident while still at school in the mid-1920s, when she was impaled on a handrail. She would suffer agonising pain for the rest of her life. Self-Portrait in a Red Velvet Dress was one of her works from this period, her expression serene, although she was still often bedridden. Throughout all this, the Blue House remained a focal point. The artist returned there following her divorce from Riviera, and after they reunited it remained their base – and her sanctuary. When Kahlo took up a post as an art instructor in the early 1940s, she was frequently too ill to travel and had to give classes at home. One pupil described encountering the house for the first time: “I had never entered such a beautiful house. The flowerpots, the corridor around the patio, the

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CLOCKWISE FROM TOP: BLUE HOUSE GARDEN, ALAMY/JOHN WARBURTON LEE PHOTOGRAPHY; BLUE HOUSE KITCHEN, ALAMY/ PAUL GORDON; FRIDA KAHLO AT HOME; BLUE HOUSE COURTYARD, ALAMY/JOHN MITCHELL OPPOSITE PAGE: KAHLO IN NEW YORK, 1933, ALMAY/ GRANGER, NYC

sculptures… the pyramid in the garden, exotic plants, cacti, orchids hanging from the trees, the small fountain with fish in it.” Kahlo decorated the house with folk art, traditional Mexican furniture and pre-Hispanic artefacts. The implements of a typical Mexican country kitchen were prominently displayed. The garden was a leafy green haven with a trickling fountain and numerous inhabitants, including spider monkeys, a fawn, an eagle, a parrot and several breeds of dog. Photographers beat a path to the gate to capture Kahlo in this enchanting setting. Kahlo’s last years make for poignant reading. In 1954 she died in her bed at the Blue House, aged 47. The cause of death was recorded as a pulmonary embolism, but many have speculated that she committed suicide. The artist’s enigma still intrigues over 60 years later, and is why visitors still trek to the Blue House. “It seems to contain part of her spirit,” reflects Barbezat. “She left an imprint on the space that is still felt today.” Frida Kahlo at Home by Suzanne Barbezat, £25, published by Frances Lincoln

Our heavyweight champion

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PROMOTION

Caught on camera Nominated for international photography awards and awarded a doctorate for his academic research into the lives of refugees, John Nassari is no ordinary wedding photographer, as we find out

hen John Nassari was 13, his stepfather gave him a camera and it was love at first click. “I really responded to it and understood the mechanisms of the aperture and shutter,” Nassari explains. “Once I got the hang of that bit, I experimented with shapes, colours and textures.” His mother let him transform a spare bedroom into a darkroom when he was 15. “But if people came to stay, I would have to take it all down,” he laughs. It wasn’t long before Nassari’s passion for photography progressed into more than just a hobby. He went on to study advertising photography at Medway College (now the University for the Creative Arts), which led to an extensive career producing still life shots for commercial brands. Set on expanding his horizons, Nassari completed a Masters in Visual Culture and then a PhD in Refugee Studies, for which he documented the displacement of Greek and Turkish Cypriot refugees on the island. A Greek Cypriot himself, he spoke to them about their livelihoods, belongings and sense of home before taking their portraits. “It’s not a question of me taking a photo,” Nassari explains. “It’s about us making it together – the photo acts as evidence to what happens in that moment.” Nassari is one of only three Olympus Visionaries in the UK. In 2015, he documented life behind the scenes at the Mandarin Oriental Hyde Park with 80 pictures to mark its 80th anniversary, which culminated in a book launch and

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show. His photos have also been accepted into the Taylor Wessing Portrait prize in 2000, 2006 and 2013. Nassari’s documentary-style approach came in handy when, in 2007, a friend asked for his help when he was missing a second photographer for a wedding. Nassari was dubious about the whole process, expecting kitsch, staged photos, but soon realised it was similar to what he had done before. “Having spent so long doing serious projects, it was refreshing to have a single-day narrative that was so celebratory.” The atmosphere at the event was novel for him too: “At a wedding, everyone is happy to trust this stranger with an intimate experience. I was used to visiting someone’s house or a refugee camp, where the atmosphere is quite different.” Now with his own wedding photography company, Nassari produces luxury photo albums and videos. He begins the journey with the couple at a pre-wedding shoot, followed by meetings at the venue, walk-throughs and, of course, the big day. During the event, a crew of up to six people, who are equipped with microphones so they can communicate, inconspicuously capture those special moments. From a Russian-Jewish wedding in Monaco with winged horses and John Legend on the piano, to intimate, private ceremonies in country churches, there is nothing Nassari and his team are not prepared for. johnnassari.co.uk

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HEALTH & BEAUTY

Bold and bright YSL doesn’t shy away from experimentation and its latest lip creation, Vernis À Lèvres Vinyl Cream, is a combined lip stick, stain and gloss. Packed with bold pigments, all 12 shades – from Nude Pulse and Rhythm Red to Orange Electro and Burgundy Vibes – have a bright, translucent sheen. Meanwhile, the formula’s undercoat is loaded with soothing ingredients to ensure lips are smooth and well-hydrated. £26 each, yslbeauty.co.uk

Beauty news WORDS: MELISSA EMERSON

A little lift

HEAD HELD HIGH Your neck may attract attention when showcasing a statement scarf or necklace, but our guess is that more often than not, it is forgotten about during your daily anti-ageing routine. Sisley has been refining its neck cream formula ever since its first release in 1981 to ensure this doesn’t happen again. Its latest variant boasts defined contouring action, with red algae extract to slow down fat storage and horse chestnut to stimulate the neck to better hold its shape. £101, sisley-paris.co.uk

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Shiseido’s new Bio-Performance LiftDynamic range activates the movement of stem cells to pockets of the skin where they can best get to work on rebuilding the dermis. Restoring structure helps give skin a firmer, more supple appearance, while the wild thyme in each product aims to reduce roughness. Combine the cream, serum and eye cream for top results. From £60, houseoffraser.co.uk

A classic reborn

LILY-ROSE DEPP FOR THE N°5 L’EAU AD CAMPAIGN ©CHANEL

Perfumer Olivier Polge has been given the delicate task of reimagining Chanel’s iconic founding fragrance, N°5. Launched in September, Polge strove to inject a new freshness into his version by toning down the original’s more powdery notes. The focus is instead on young green scents, jasmine and ylang ylang, mixed with lemon and mandarin for a burst of vitality on the skin. A modern update for a classic. From £68 for 50ml, chanel.com 81

HEALTH & BEAUTY

SALON REVIEW

HAIR TODAY gone tomorrow Hannah Lemon pops into the world-renowned Nicky Clarke hair salon to see what the stylist to the stars’ empire has to offer

efore a holiday, it is my ritual to do some pampering. All the busy hours I spend at work leave little time for sorting chipped nail varnish and removing split ends, but looking good next to fellow sunbathers is a priority. With this at the top of my to-do list, I potter down Carlos Place to the Nicky Clarke salon to have my tresses prepped by the experts. The boutique is quietly tucked away from the road, looking more like a charming residential building than a business. As I waltz in, I am welcomed by the receptionist who peeps out from a tall desk to take my coat and escort me to my seat. Waiting for my stylist, I take in the light that filters through the spacious windows and the large mirrors, which give the illusion of extra space. I am seen by an excitable and ostentatious stylist who has me giggling with his blow-by-blow account of the busy day and the back-to-back sessions he

has had to work through – this place is certainly popular. While we chat, I barely notice that my long bob is being precisely clipped and layered. We are in the depths of discussing the revamp due to take place in the coming months, when I realise that my appointment has come to an end. Without the fear and panic that I usually have waiting to see the result of a haircut (often alarmingly severe and which I usually have to spend the next three months growing out), I smile at my reflection. I am ready to embark on my holiday with a sleek, subtly layered trim, made all the more glossy with a spritz of Shine Spray. Before I am out the door, I can’t help but pocket the Nicky Clarke Moisture Shampoo and Conditioner – perfect for dry follicles after too much sun and sea exposure. I have a feeling I’ll be back here for more than just holiday prep. 11 Carlos Place, W1K, nickyclarke.com

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THINK PINK… It could make all the difference To mark this year’s Breast Cancer Awareness Month, Miss Joana Franks, a Consultant Breast & Oncoplastic Surgeon at The Wellington Hospital, discusses the importance of being breast aware

very day, 150 women in the UK are diagnosed with breast cancer. That’s one person every ten minutes. It is therefore not surprising that most people are likely to have been touched by this disease through a friend, relative or even personally. The pink ribbon has been the symbol of breast cancer awareness for 20 years. Raising awareness is as important now as it was more than two decades ago. Survival from breast cancer continues to improve and early diagnosis is a big part of this. Some women may feel concerned about examining themselves or unsure of what they are looking for. Many say they don’t like to selfexamine as they think they have lumpy breasts and might not know what to look out for. Breast tissue is hormonally sensitive and it does change over time. To spot an early change in the breast it helps to have a ‘road map’ of your own breasts. It is best to examine your breasts monthly. For women who are menstruating regularly a good

PROMOTION

As well as checking for lumps or changes in the breast tissue, you should keep an eye out for the following: • Discharge from the nipple • Skin puckering or dimpling • Pulled-in nipple • Redness, rashes or sores • Changes in skin colouration If you notice any of these, a lump or anything else that concerns you when checking your breasts, you should seek the advice of a specialist.

time is two to three days after your period. If not, stick to the same date every month to jog your memory. If you have any concerns it is best to get an expert opinion. If you are referred to a breast specialist you should expect to be seen in a diagnostic one-stop clinic. In these clinics, every patient will undergo a triple assessment, which includes a detailed history of any symptoms, an examination of the breasts and armpits and appropriate imaging (a mammogram and/or an ultrasound). Some patients may also need a needle test. The majority of women who undergo assessment will be told they do not have cancer. For any patient diagnosed with breast cancer, it is important to avoid the temptation to rush into treatment. Treatment is tailored to each woman, consisting of surgery and other medical options including hormone therapy, biological therapy, radiotherapy, chemotherapy or a combination of them all. Using a multidisciplinary approach ensures that all the appropriate options for treatment are considered to enable the best

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To spot an early change in the breast it helps to have a ‘road map’ of your own breasts possible outcome for the patient. Breast cancer surgery has improved significantly and effective treatment can be combined with excellent cosmetic outcomes. An oncoplastic breast surgeon will never compromise your cancer management, but will consider the aesthetics of the proposed surgery. For women who have a mastectomy, reconstruction at the same time is an option. As treatment becomes more and more successful there needs to be a greater emphasis on survivorship. Patients live for decades with the results of their surgery and the side effects of their treatments. Choosing the right path to achieve both good cancer management and maintain body image has never been more important. If you have any concerns and would like to speak to a specialist, The Wellington Hospital runs a one-stop breast clinic. For more information about our services or to book an appointment, please call 020 7483 5004.

He’s scented everything from laundry detergents to fountains, but fragrance genie Francis Kurkdjian brings his focus back to the bottle as his latest two perfumes launch this autumn. Melissa Emerson reports

PHOTOGRAPHY: NATHALIE BAETENS

fter deciding that he wanted to be a perfumer at the age of 15, Francis Kurkdjian did just that. Throughout his career he has created numerous fragrances for household names such as Burberry, Dior, and Jean Paul Gaultier, all the while gaining recognition for his wild, magical olfactory installations. Using aromas in unusual and interactive ways, he has scented the fountain in Paris’s Grand Palais and released playful bubbles in the gardens of the Château de Versailles, smelling of strawberry, pear and melon to honour what were said to be Louis XIV’s favourite fruits. This great creativity also earned Kurkdjian the prestigious Prix François Coty industry award in 2001. Then, in 2009, he launched his own house – Maison Francis Kurkdjian. “We started out with Cologne Pour le Soir and Cologne Pour le Matin. The idea behind beginning the house with two colognes was to pay homage to tradition. It’s a mark of quality,” says Kurkdjian with charming self-confidence. It’s clear that finally being in charge is something he relishes. “Colognes are not what the market expects because they are not long-lasting, but I wanted them. It’s my house and I’m the boss, so I do whatever I want. I’m very happy about that,” he

HEALTH & BEAUTY

The house celebrated its seventh anniversary this year, and Kurkdjian is well on his way to leaving a legacy

laughs, adding more seriously: “I hope it’s going to last for a long time.” The house celebrated its seventh anniversary in September and with two releases this autumn, it seems that Kurkdjian is well on his way to leaving a legacy. The new scents, Grand Soir and Petit Matin, joining the fragrance “wardrobe” – as Kurkdjian likes to refer to it – were inspired by his favourite times of the day. “In the morning and at night, I work, I am by myself and these are my moments. In between it’s like I’m not there, or not myself.” Early mornings also mean market shopping for Kurkdjian. “Usually it’s my routine to go to the street markets on Saturday or Sunday. On one side street I have Turkish and Kurdish food, vegetables, and there’s the exotic foods market. “And if you are ever in need of a butcher in Paris, I have him,” he adds proudly. “Although right now in the streets of Paris we have a garbage strike,” he remarks, joking about the timeliness of the fragrances’ launch. As well as the scent of the herbs he buys from the market, like tarragon and basil, which he crushes and freezes at home, it is the morning atmosphere that he wanted to capture in Petit Matin. “My main focus was the light and how I could translate that, so it has lavandin from Provence and citruses from Italy.” From the lemony freshness and romanticism of dawn in Paris, Grand Soir moves onto the glamour and warmth of the lights on an evening in the city. “Here I decided to use benzoin. It’s not as dirty as vanilla, which is very leathery.

Instead, it’s sweet, yummy, a little spicy, but it also has cherry notes, like brandy or cognac.” It’s a nightcap in a scent. We soon digress on the nature of using synthetic ingredients, something that took the perfume industry a while to accept. “At the end of the 19th century a company started to create vanillin, the molecule that is in vanilla, but the perfumers were totally reluctant to use chemicals in their products. They thought it was a mistake and that they were going against their vision – and against the industry in a way.” Kurkdjian believes there is a time and a place for using the real deal. “With musk for example, you kill the animal, so there’s no reason [to use it]. You can do without.” As well as ethics, there are also practicalities to consider, like having a steady supply. “It’s like rose de Grasse – the field is only about as big as a room. Do you know how many petals you need for 100ml? One tonne. It doesn’t make sense. If you have a craft you have to move forward and be able to change.” For a man who has so many ideas, releasing things two-by-two seems the right way to go about it. £140 for 70ml, selfridges.com

PHOTOGRAPHY: NATHALIE BAETENS

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2016

here are many new things in Mayfair this year, and as a relative newcomer myself, I have loved getting to know the area and its stunning boutiques, restaurants, art galleries and public spaces. The postcode has welcomed exciting young designers, plush renovations, contemporary exhibitions, charitable initiatives, and communal events for residents and business owners to enjoy in equal measure. Alongside this, the area’s rich heritage is thriving through the tailors of Savile Row, family-run jewellers and hordes of talented craftspeople.

It is this mix of old and new that we are celebrating for the fifth year at The Ritz, with an evening to showcase the best exhibitions, best initiatives and best boutiques. A panel of knowledgeable figureheads, including our headline sponsor Pastor Real Estate, has selected a shortlist of six in each category. Now you, our readers, can have your say on who should win these coveted awards. We look forward to announcing the winners on 25 October.

Hannah Lemon

Acting Editor, The Mayfair Magazine

The judging panel

ANDREW LOVE

DAVID LEE

LORD BRUCE DUNDAS

KEITH BAILEY

Chairman of The Ritz Club and Deputy Chairman of The Ritz London

Head of Sales at Pastor Real Estate

Chairman of The Bond Street Association and Managing Director of Buccellati

Location Director for Mayfair at Grosvenor Britain & Ireland

MARK HENDERSON

JENN Y PACKHAM

HÉLÈNE DARROZE

DR AMIN JAFFER

Chairman and Co-founder of The New Craftsmen, and Chairman of Gieves & Hawkes

Fashion Designer at Jenny Packham

Cuisinière at Hélène Darroze at The Connaught

International Director of Asian Art at Christie’s

HEADLINE SPONSOR

VENUE SPONSOR

ASSOCIATE SPONSOR

The 17 categories Best exhibition at an art gallery Yayoi Kusama at Victoria Miro Gallery David Hockney RA: 82 Portraits and 1 Still-life at The Royal Academy of Arts Miró’s Studio at Mayoral Edouard Martinet at Sladmore Contemporary Horses, Rulers, and Victory at Kallos Gallery Hiro at Hamiltons

Best interiors boutique The Mayfair Design Studio The New Craftsmen Colefax and Fowler Baxter at Anna Casa Holly Hunt Christian Liaigre

Best PERFUMER Ormonde Jayne Creed Roja Parfums Penhaligon’s Avery Frederic Malle

Best independent fashion boutique Wolf & Badger Amanda Wakeley Mr Hare Jenny Packham Chalayan Temperley London

Best HOTEL SUITE Royal Suite at Claridge’s The Apartment at The Connaught Gormley’s ROOM at The Beaumont The Green Park Suite at The Ritz The Kipling Suite at Brown’s Hotel Schiaparelli Suite at The May Fair Hotel

Best independent jewellers Buccellati Jessica McCormack David Morris David Marshall Hancocks Stephen Webster

BEST SHOWROOM DESIGN Dior Bulgari de Grisogono Chanel Watch and Fine Jewellery Victoria Beckham Holland & Holland

BEST COCKTAIL bar Mr Fogg’s Coburg Bar at The Connaught The Fumoir at Claridge’s The Donovan Bar at Brown’s Hotel The Arts Club The Luggage Room

BEST PUBLIC SPACE Mount Street Gardens Grosvenor Square Garden Brown Hart Gardens Berkeley Square Shepherd Market St James’s Square

Best restaurant experience Sexy Fish Scott’s Bellamy’s Bonhams Restaurant Park Chinois The Ritz London Restaurant

best display of craftsmanship Kathryn Sargent William & Son Asprey S J Phillips Smythson Mount Street Printers

Best LOCAL EVENT Mount Street Garden Party St Mark’s Liz West Installation Grosvenor Film Festival Brown’s London Art Weekend Mount Street Christmas Lights The Grosvenor Series for London Craft Week

Best CHARITABLE INITIATIVE Staff at Dukes London charity run for Hospitality Action Emma Willis’s work with Style for Soldiers Vanessa Gounden’s Artivism for Breast Cancer Octavia Foundation Tea Dance Party at Summer in the Square The Chesterfield Mayfair’s work with The Starlight Foundation and Great Ormond Street Hospital Belgravia Gallery’s art sales for The Sebastian Hunter Memorial Trust

BEST NEW OPENING Manolo Blahnik Gormley & Gamble Sophia Webster Jérôme Dreyfuss Chalayan Aquazzura

vote online for: Best Sustainability Initiative

Associate Sponsor

Local Hero Award

Associate Sponsor

Outstanding Contribution to Mayfair Award

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champagne Sponsor

It’s no secret If bowler hats, polka dots and mini skirts, are your thing, throw yourself head first into Mayfair’s ’60s-inspired dining space Blades at Hush (named after the private members’ club James Bond’s M belonged to). Specialising in steak, lobster and whisky, the menu offers Cornish lobster, 300g rib-eyes and bourbons from an array of forgotten distilleries. Finish with a scoop of club stilton and a glass of port for the ultimate indulgence. 8 Lancashire Court, Brook Street, W1S, hush.co.uk

Food & drink news WORDS: HANNAH LEMON

The brothers are back

OUT OF THE ASHES

The Wolseley, The Ritz, The Savoy – between them Jeff and Chris Galvin have worked in most of London’s elite establishments. Now Mayfair is once again the lucky recipient of their Michellin-starred talents. The renovated five-star Athenaeum Hotel & Residences has welcomed the siblings into the fold and the pair have been busy creating classic British menus for breakfast, lunch, afternoon tea, room service and dinner. For the latter, we recommend the belly of Dingley Dell pork. Galvin at The Athenaeum, 116 Piccadilly, W1J, athenaeumhotel.com

The Irish whiskey maker Tullamore D.E.W., famed for its triple blend, has launched the Phoenix single batch to celebrate the opening of its new distillery – the first to be built in Ireland on a greenfield site in more than 100 years. The tipple also commemorates the courage of the Tullamore people, who rebuilt their town in 1785 after many of the properties burnt to the ground in a fire. Available in limited release, £54.95, harrods.com

Under the sea A little revamp goes a long way as Assunta Madre has found out. The seafood restaurant has built extra seating so more guests can enjoy traditional Italian dishes, crafted under new management. Take a trip to the seaside with dishes of tuna tartare, fried squid and grilled fish from Terracina. Pasta plates range from lobster noodles and dumplings with red shrimp, cherry tomatoes and pecorino cheese, to paccheri with sea bass, olive leaf and lemon. Mention The Mayfair Magazine and you will receive a complimentary amuse bouche. You’re welcome. 8-10 Blenheim Street, W1S, assuntamadre.com

FOOD & DRINK

REVIEW

The sweetest thing Sitting shoulder to shoulder with the glamourous clientele of Osteria 60 at the Baglioni Hotel, Hannah Lemon indulges in the dessert menu

here are so many things that the Italians excel at: romance, opera, pizza, pasta, and – best of all – desserts. Gelato is one of my favourites, as is tiramisu, panna cotta, cannoli... the list goes on, although I’m not here to write about my diet downfalls. Luckily for me, Osteria 60 at the Baglioni Hotel, like any sensible Italian establishment, has perfected the pudding. But before I skip straight to the end, the starters and mains are pretty impressive too. The restaurant is designed with clean, strong lines courtesy of Arth Group and the Milanese interior design firm Rebosio + Spagnulo. The dark umber-coloured bar and gold fixtures ooze sleek sophistication and have me wishing I was wearing Gucci sunglasses and carrying a pet pooch in a Dolce & Gabbana handbag. Glamour is certainly the buzzword here, as couples dine al fresco at the front, pecking daintily at bar snacks. My companion and I are dining early, which might excuse the lack of pert derrières on seats, and we are simply charmed by the waiters who give us a swift rundown of the menu and matching wines. We start with a glass of prosecco (my favourite type of crisp fizz), to wash down a comforting buttermilk and smoked cucumber gazpacho, and a plate of calamari. The latter is delicately presented with bright circles of tomato pappa and mozzarella – there is no chewy rubber texture,

Osteria 60 at the Baglioni Hotel, like any sensible Italian establishment, has perfected the pudding instead a subtle taste of the sea with a punch of ripe fruit from the land. For the main course, I opt for the Osteria 60 Parmigiana. Usually sliced and layered, here a whole aubergine is stuffed with cheese and tomato, resulting in a decadently rich flavour. My partner chooses the Welsh wagyu beef with tropea onion and sour carrots, a fresh and flavoursome nod to British ingredients. Then comes the pièce de résistance – not the Chocolate Mondrian, which my dinner date finds pleasantly satisfying, but the strawberries and yoghurt. It may sound simple, but head chef Ivan Simeoli has masterminded a vibrant hedgehog of a dessert. Sticking out of fluffy white yoghurt are bright strawberry-flavoured crimson spikes, which taste how I imagine Fruit Roll-Ups would do if prepared by a Michelin-star chef. My sweet tooth is well and truly satisfied. Osteria 60, Hyde Park Gate, SW7, osteria60.com

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The Picasso

of pastry Pierre Hermé, recently crowned The World’s Best Pastry Chef, talks to Chris Allsop about global domination, artistry and, of course, macarons

ierre Hermé – the man Vogue named the ‘Picasso of Pastry’ – is not short of honours. Not only was he the youngest ever recipient of France’s Pastry Chef of the Year award in 1997, but he also has the Chevalier de la Légion d’Honneur (France’s highest civic recognition) swinging from his pinny. Not to mention the singular honour of being the only pastry chef awarded the Ordre des Arts et des Lettres, bestowed for “significant contribution to the enrichment of the French cultural inheritance”. But it would be reductive to suggest that Hermé, a fourth generation pastry chef who began his career at 14 as an apprentice to the legendary Gaston Lenôtre, has been showered with plaudits on the strength of an inventive macaron alone. Hermé – who looks exactly as you’d expect a master French pâtissier to look – has built an international empire in the mould of

Lenôtre, but with an irresistible personal stamp (for one thing, his company doesn’t adapt its flavours to the idiosyncrasies of different markets). Founded in 1997, the Maison Pierre Hermé Paris brand has spread, nearly 20 years on, to 12 countries worldwide – including, fortunately, two pâtisseries in London. One lies just south (13 Lowndes Street) and the other just east of Mayfair on 38 Monmouth Street. As if any further proof were required of his global appeal, in June Hermé was named The World’s Best Pastry Chef at The World’s 50 Best Restaurants ceremony in New York. This award, voted for by a 1,000-strong group of restaurant industry leaders hailing from five continents, is also usually bestowed on a pastry chef attached to a restaurant. The last two winners were Albert Adrià of Tickets in Barcelona, and Jordi Roca of Girona’s El Celler de Can Roca. Once again breaking the mould, the Frenchman graciously called the latest award an “honour and great pleasure” before going on to thank the pastry chefs “preparing my recipes every day, around the world”. These recipes will, undoubtedly, involve many millions of macarons, the vibrant pastry that forms the foundation of his empire.

FOOD & DRINK

“My creativity is driven by my curiosity, so the possibilities are infinite”

It was his injection, in the 1980s, of new and experimental flavours into the traditional macaron that took France by storm. However, that is not to say that any and all experimentation is good – the concept of the savoury macaron is, for Hermé, “completely inept! The proportion of sugar in a macaron is very high and therefore, in my opinion, it is absurd to create a savoury version.” Despite the endless accolades, the Frenchman isn’t one to rest on his laurels. His creativity is married to a restless energy. “I am always working on new creations,” he says. “Sometimes it can take a few weeks, sometimes months and sometimes years. At the moment, I am finalising the Christmas macarons collection called ‘Les Adorables’. This year there are two

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new creations: the Infiniment Citron Noir made with black lemon, and the Noisette et Foie Gras with hazelnut and foie gras.” Besides delivering kaleidoscopic deliciousness in not only macarons but also chocolates, ice cream, pound cakes and more, Hermé is launching two new books this winter – a pop-up recipe book, and an art book on chocolate in collaboration with the Brazilian photographer Sergio Coimbra. There’s the distinct sense that Hermé is something of a Renaissance man, a creative talent unleashed on the culinary arts, but who could have just as well succeeded in any number of disciplines. Indeed, he claims that the “universe of perfume, like the universe of wine, has always interested me” – which is why Hermé has past collaborations with a number of different perfumers, most notably Jean-Michel Duriez (the nose behind many Rochas scents). Is the 56-year-old not tempted to drop the macarons and channel his considerable energies in a new direction? “Whether it is macarons, chocolates or any other creations, experimenting and creativity is endless,” he replies. “My creativity is driven by my curiosity, so the possibilities are infinite. Pastry for me is a passion, and passion never gets old.” Picasso couldn’t have said it better. pierreherme.com

PROMOTION

Liquid gold Discover the secret to finding the perfect whisky for your palate

he Macallan’s new Double Cask takes its place effortlessly alongside the brand’s other 12-year-old expressions: Fine Oak and Sherry Oak. Double Cask’s savoir faire lies in its marriage of European and American oak and has resulted in beautifully balanced flavours. The Macallan’s head of education Daryl Haldane explains what all the fuss is about and how we can be a part of this exciting single malt movement.

A unique characteristic of our whisky is that it is massively varied in taste and texture. You have a very light and flowery whisky with the Fine Oak, a much more intense, complex and balanced whisky in the Double Cask and when you get to the Sherry Oak you get a very rich and sweet style of The Macallan.

For a whisky novice I would suggest The Macallan 12 Years Old Fine Oak. If you like spirits and already enjoy rum or blended whiskies, The Macallan Double Cask is another great way for you to begin your journey.

To find the right whisky for your palate you have to explore and be willing to try, in a similar way to coffee. When you start drinking coffee you make allowances: you add sugar or have a mocha and then two years later you’re drinking espresso. You have to find out what your first great experience of whisky is going to be – perhaps a cocktail, a food pairing or something as simple as a whisky and soda – and then you can start enjoying and experimenting with different ways of drinking it.

“You have to find out what your first great experience of whisky is going to be and then you can start enjoying and experimenting with different ways of drinking it” I was in a Hong Kong hotel yesterday and the bartender created a drink using mustard. The spicy, savoury and almost umami flavours worked brilliantly.

As we come into autumn I really enjoy The Macallan on ice. Sometimes – on colder evenings especially – I like a neat whisky with coffee, and every now and then I like an Old Fashioned.

I recommend people share some food while they enjoy the whisky. The Macallan Double Cask is quite an intense

We have a new distillery coming in 2018 which is incredibly exciting. It shows that we are very confident

flavour; I always find lots of beautiful vanillas and brioche notes in it that work well with seafood such as scallops and tapas dishes like salted meat, ham and olives. The whisky is able to compete with those kinds of flavours but also brings a balance as well.

about what will happen in the future and we want to continue to make brilliant whisky for another 200 or 300 years. themacallan.com

TRAVEL

Perfect bliss A dreamy exhibition, aptly named The Happy World, is waiting to be discovered at the Amanjiwo resort in Java. Nature, culture and societal rituals are depicted in a series of joyful paintings by local artist Pak Yogi, whose nostalgic brush strokes bring the bold Javanese scenery to life (with elephants abound, too). Until January 2017, aman.com

Travel news W O R D S : J A C I N TA R U S C I L L O

Miami nights In preparation for Art Basel Miami Beach, the city’s Mandarin Oriental will hold a three-day – and stay – course for guests, led by the Royal Academy of Arts’ Dr. Anna Dempster, covering the history and evolution of contemporary art. Guests will enjoy VIP access to the fair’s launch reception and a year-long Academicians’ Room membership at the Royal Academy in London. £4,505, mandarinoriental.com

SEREN STYLE

Unlock La Paz Tour operator Aracari has launched a three-day package that takes in both the artistic and traditional sights of Bolivia’s La Paz. It includes a trip to architect Freddy Mamani’s Cholets, a visit to the ‘Witches’ Market’ and a cable car ride over the city. Two nights will be spent at Bolivia’s first five-star hotel, Atix, a new construction with a striking parallelogramshaped glass façade. From $1,197, aracari.com s L U X U RY L O N D O N . C O. U K s

Dedicated to chic bohemian jumpsuits, Seren London’s silk one-pieces are the very embodiment of artistic style. The new British label’s streamlined, online-only collection is full of simple silhouettes and richly patterned fabrics, with each of its three prints inspired by different cultures around the world. The Iznik (pictured) takes influence from designs found on traditional Turkish tiles; the red Empress borrows from Indian fabrics; and the dark Lotus draws on Thai symbolism. Find casual yet elegant expression in an outfit that will take you from day to night. From £650, seren-london.com

Sides of

sydney The capital of New South Wales may be renowned for its glamour and modern landmarks, but Gabrielle Lane also discovers character and adventure in abundance

THIS PAGE AND OPPOSITE: PARK HYATT SYDNEY

TRAVEL

f you’ve ever become ill once you’ve slowed down from travelling, you’re not alone. It’s called a ‘healing crisis’, when your body starts to dispel all the toxins from your cells. At the start of a three-month sabbatical, I landed in Sydney during its autumnal April heatwave and was soon struck down with a shivering cold. The downside? Obvious. I was virtually bed-bound for a week. The upside? A frank take on the city’s best hotels. I kicked off my stay at the Park Hyatt Sydney, which happens to have the best view of the Harbour in the whole city, built directly on the curve of the waterfront and opposite the Opera House. The unobstructed view from the terrace might even hurt your eyes – especially if feeling under the weather – as the sun bounces off the water, bathing everything in gold and blue. But it does mean you can pick out the postcard-worthy

landmarks without leaving your king size bed. The view is all the more spectacular by night, as the coloured lights from the skyscrapers and fireworks, combined with the hum of the occasional boat, make the city feel alive. The hotel has a very discreet spa, but its showpiece is a rooftop pool: small, with brilliant turquoise water and big white parasols that have attracted the reclining great and the good of show business. It was at the Park Hyatt that Elton John once holidayed – complete with a baby grand piano airlifted into his lounge. Suites are smart, cosy and neutrally decorated: fluffy duvets, deep bathtubs and curiously heated toilet seats. And what really helps when you’re unwell is the butler service. Mine not only brought me chocolate-dipped strawberries (nutrients, of course) and homemade treats from the chef, but pots of hot water and lemon after I had phoned to cancel a morning meeting, in between coughs.

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In keeping with the old adage “feed a cold, starve a fever”, The Dining Room is a gorgeous glass-walled lounge, well-suited to business breakfasts as well as smart dinners. In a country renowned for local provenance, the meat is tender, the fish feather-light and the vegetables succulent and crunchy wherever you go. At Park Hyatt, choose the lightly-seared bay scallops with celeriac, hazelnuts and apple buerre blanc, followed by the culinary equivalent of a hug: slow-cooked pork cheeks with mandarin, Jerusalem artichoke and red cabbage. The rich saltiness that characterises the dish was certainly present, with layers of flavour that were so good they challenged the gradual deadening of my flu-stricken taste-buds. Thankfully, I had recovered by the time I checked in to QT Sydney – not least because this boutique hotel has an entirely different character. There is no butler service: this is the kind of place

where you shake your own cocktails on the rocks direct from the mini-bar, and staff are surly if only to add to its rebellious tone. QT is a fun and a proud member of the Design Hotels franchise, and its rooms are dramatic. I’m not sure I’ve ever seen so many black sheepskin rugs or got dressed in such moody darkness before, but shocks of fuchsia, 1980s dance music and lots of theatre props make this an entertaining destination for those dreaming of theatreland. The hotel’s Gowings Bar & Grill is something of a rarity. It’s a draw for the young and glamorous, but mature enough to serve wine in glasses rather than jam jars. Based on the idea of a European brasserie, an on-site rotisserie and wood-fired oven means plates groan with flavour. There’s a dedicated fish menu incorporating everything from tuna to a seafood pie of scallops and red snapper, and grill suggestions including hearty portions of Australian sirloin served with golden chips and boats full to the brim with various sauces. Service is friendly and the atmosphere will make a social butterfly of even the shyest guest; upstairs is a cocktail bar that welcomes a well-heeled crowd.

The Gowings Bar & Grill’s atmosphere will make a social butterfly of even the shyest guest The other hotel that you’ll hear a lot about in Sydney is The Old Clare. Set in a converted brewery administration building, its exposed brickwork, modernist furniture and brilliant cuisine – its Kensington Street Social restaurant is headed up by Jason Atherton – make it a hotspot that draws everyone for drinks on a Friday evening. Don’t leave before trying out the rooftop pool, and choose a suite to make the most of staying

here. The Abercrombie Room has a free-standing bathtub, the Chippendale Loft has floor-to-ceiling glass windows and the Showroom Suite is fitted out with a super king-sized bed, antique furniture and original bar. Out in the city itself, the Bridge Climb is a rite of passage. Groups are harnessed to the inner walkways of the 134-metre steel landmark and tackle a relatively shallow ascent to admire the views of the Harbour, Opera House and beyond. The climb feels very safe, with the most daring part being the early ladders and stairways. A less high-octane way to see the cityscape is a drive to the heath-covered clifftops of North Head, where the city centre looms across the blue water like an island, framed by jutting green land masses. It’s a lesser-known spot, and a quiet one – you’ll never be able to capture the beauty of it in a photograph. Sydney is also a great base for a trip to the Royal National Park to its south. Unmarked hiking trails take in forests, rookeries, lakes and beaches as well as native flora and the odd pelican. The more challenging routes include the five-hour Curra

TRAVEL

Moors loop track, which passes waterfalls and heath, as well allowing seasonal whale-watching where the track progresses south along the coast. Brace yourself to re-evaluate life while you’re scrambling across the rocks in such a wild and beautiful place. Back in the city’s embraces, Centennial Park offers its own dose of greenery – and history. The site of the inauguration of the Australian Federation in 1901, the 189-hectare site has since been transformed into Victorian-inspired parkland. If it’s Sydney’s beach culture you’re seeking, skip Bondi in favour of Balmoral. At first glance it’s a sleepy and picturesque bay, but it’s here that small boats are moored alongside the smartest of holiday homes and restaurants that come to life. On the way to creating a little black book in every city, seek out a great restaurant with great wine. Those in the know recommend Chiswick – a conservatory-style restaurant and bar in the upmarket suburb of Woollahra, where locallyreared lamb shoulder with pine nuts or steak tartare with quail’s egg and quinoa is served in a garden-like environment set back from the road. Sydney is a city for eating and drinking, for walking and sailing, for admiring its stunning seaside panoramas and cityscape alike. And it’s a fabulous one at that. CLOCKWISE FROM TOP LEFT: THE GOWINGS BAR AND GRILL; ROYAL NATIONAL PARK, ©BENNY MARTY/ SHUTTERSTOCK; THE OLD CLARE BEDROOM AND STAIRWELL; A BEDROOM AT THE QT SYDNEY

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Bridge Climb from AUD$158, bridgeclimb.com; chiswickrestaurant.com.au; Park Hyatt Sydney, from £652, sydney.park.hyatt.com; QT Sydney, from AUD$240; The Old Clare, from AUD$279, designhotels.com

Suite dreams Room, The Beaumont WORDS: CAMILLA APCAR

ntony Gormley is a master of transforming spaces with larger-than-life sculptures. His Angel of the North brought fresh interest to a motor-side hill in Tyne and Wear; Quantum Cloud swarms 30 metres into the

influence guests to strip back and wind down by cutting off contact with the outside world, preparing for sleep outside the bedroom itself and ultimately leading, like a cul-de-sac, to rest one’s head. Getting there means first encountering the living area, where a chic sofa set and select creative tomes await, all in line with The Beaumont’s Art Deco aesthetic. Next, a shockingly white marble bathroom acts almost as a connecting passageway,

Antony Gormley has created the ultimate bedchamber: completely dedicated sky alongside the Millennium Dome. And then there’s Room, which juts out from The Beaumont hotel’s façade and welcomes guests to spend the night sleeping inside it. Restaurateurs Corbin & King commissioned the Turner Prize winner to create Room for the hotel’s opening in 2014, and its exterior is classic Gormley: a huge, bright white seated figure of carefully stacked cuboids, like an oversized toy robot. The space within, however, is slightly different. Every stay in a hotel suite is an experience. But this suite is experiential. Its layout is designed to

laid out laterally with bathtub on the right and shower on the left (its glass door quite unforgiving), flanking nine equally brilliant white steps that lead up to the bedroom. To enter involves pulling aside a set of heavy black curtains, and once inside guests are entirely undisturbed by anything but their own thoughts. Cavernous and tomb-like, the bedroom is clad completely in dark polished wood with only a few tiny dimmed spotlights at the sides, and is filled up to its vast 9.5m ceiling by the same boxy forms as outside. So what really strikes in this dark 12m sq

TRAVEL

space (not sombre or oppressive, rather inky and contemplative), is the presence of a crisply made white bed – and little else at all. There are benches set into either side wall (only good, in reality, for admiring Gormley’s space from different angles, and you’d be hard pressed to attempt bedtime reading there), and a cubby hole at the head of the bed to place one’s watch, phone, glass of water… so small that the room seems to bemoan bringing anything superfluous inside only if you really must. The word ‘bedchamber’ is apt to describe Room. This is a space dedicated to the act of sleeping, and very much a chamber at that. But before dropping off, cling to the land of the living. As my eyes struggle to adjust to the darkness, the cubes above come to life – I thought I saw a sphinx and a rotary telephone, but much like gazing at clouds, it is all a question of imagination. In the morning, the shutters of a large window above the bed can be opened wide (casting light from somewhere between the giant figure’s legs outside), although feel no shame if your first reaction to natural light is something quite vampire-like. Staying for more than one night in this suite would be a challenge, and certainly unadvisable for the claustrophobic. The novelty of such total darkness and being confined to the living area might soon wear thin on travellers seeking a straightforward welcome. But the Beaumont’s other, more conventional suites can provide just that; as can The Colony

to sleep, cavernous and tomb-like

THE COLONY GRILL ROOM

Grill Room, where no-frills transatlantic-style dining – think clamato juice, steaks and baked vanilla cheesecake with blueberries, all excellent – serves more than a dash of 1920s pizzazz in smart red leather booths. Yet those looking for a memorable tale to tell will find it in Room. Gormley’s ambition for this special suite was “sculpting darkness”. Perhaps unsurprisingly, he has quite succeeded. From £1,130, 8 Balderton Street, Brown Hart Gardens, W1K, thebeaumont.com

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[CITY BREAK ]

ape Town is affectionately nicknamed ‘The Mother City’. The origin of this moniker is often debated, but one certain fact is that the city is a melting pot of rich history, culture and resplendent scenery. Located in a lush region on the southern tip of South Africa, it is an ecological hotspot filled with natural wonders including a sparkling coastline and the fabled Table Mountain – ascending it via cablecar is an experience not to be missed. A major draw for visitors to this part of the world is the Cape Winelands, about an hour’s drive outside the city. It’s an area of the western Cape with an impressive 18 official wine routes, two brandy routes and a host of historic wine estates. Exploring this territory isn’t restricted to those who enjoy a tipple though; there are plenty of fine dining hotspots and activities for thrillseekers such as horseback riding, paragliding and skydiving. Back in Cape Town itself, the 123-hectare V&A waterfront is practically unavoidable (it’s worth noting, however, that it is named after the queen and her second son Alfred, rather than husband Albert). Overlooking the harbour, this arts and entertainment-led development is a hub for retail, restaurants, leisure facilities and haute accommodation. Another major development is the construction of the Zeitz Museum of Contemporary Art Africa, which will hold its first exhibition in November. It will include an atrium twice the size of the Louvre pyramid in Paris, a dramatic addition to a cityscape that offers an already thriving art scene with a fantastic mixture of western and traditional African influences. An annual art fair rolls in during February, and the number of contemporary galleries remain on the rise (don’t miss paying a visit to Goodman Gallery or Stevenson). Cape Town has a relatively steady Mediterranean climate that means it is enjoyable to visit all year round. It is currently mid-spring and still within the whale-watching season, when the Southern Right whale can often be spotted frolicking along the Cape’s south coast.

CAPE TOWN Home to magnificent scenery and a bustling art scene, Marianne Dick shines a light on the visual splendours of Cape Town

CLIFTON & CAMPS BAY

THE SHORTMARKET CLUB IMAGE CREDIT: MICHAEL LE GRANGE

ELLERMAN HOUSE

HOUSE

TRAVEL

Where to stay Cape Town is a paradise for art lovers and oenophiles, and Ellerman House has catered for both such clientele – many of whom return year after year – for more than two decades. Its breathtaking sea views are just a ten-minute drive from the city centre and all its riches. The hotel itself boasts an extensive wine gallery and an in-house art collection that includes works by South African artist William Kentridge. The hotel can also arrange private city tours with its resident art guide, whether one’s interest lies in Old Masters or contemporary creations. ellerman.co.za

SUITCASE E S S E N T I A L S #1 Hat, £215, Lock & Co. Hatters, mrporter.com

#2 Sunglasses, £222, Prada, harrods.com

Where to eat

IMAGE COURTESY OF CAPE TOWN TOURISM

Luke Dale-Roberts, the award-winning chef behind two popular restaurants in the city – The Test Kitchen and The Pot Luck Club – opened a new venture this year called The Shortmarket Club. Expect the usual interior quirks, including a wall of framed butterflies created by South African artist Mark Rautenbach, as well as an indulgent menu that puts a thoroughly modern twist on classic dishes (think egg and soldiers with artichoke brioche for breakfast, and lamp rump with fennel fondant at dinner time). theshortmarketclub.co.za

#3 Shirt, £135, AMI, amiparis.com

#4 Shoes, £445, Harrys of London, harrysoflondon.com

Mayfair recommends

V&A WATERFRONT, ©LISA BURNELL

A trip to one of the world’s most prolific diamond-producing countries – mining is a key contributor to the country’s economy – would not be complete without at least a glance at something sparkly. While there are plenty of glittering shop windows to ogle at, jeweller Christopher Reid’s showroom is full of colourful and unusual modern designs. For something really special, make an appointment to discuss a custom piece made with a truly personal touch. christopherreid.co.za

#5 Travel bag, £1,595, Smythson, smythson.com

ELLERMAN HOUSE

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103

REGULARS

Remembering

MAYFAIR

COLNAGHI’S NEW PREMISES IN ST JAMES’S BELOW: COLNAGHI’S FORMER OLD BOND STREET GALLERY

Colnaghi W O R D S : J A C I N TA R U S C I L L O

t was amid the insurgent spirit of pre-revolutionary Paris that Paul Colnaghi and Anthony Torre established themselves as art dealers. Initially specialising in English barometer sales, the business partners ran their trade on the ostentatious Rue du Faubourg Saint-Honoré. With the outbreak of the French Revolution in the late 18th century and Torre’s resignation, Colnaghi moved to London, where the gallery remained for more than 250 years. During the 18th century and its Age of Enlightenment, the development of arts, humanities and science coursed through Paris and London. As a result of the Revolution, the Parisian art market collapsed, causing an influx of works onto the London market. The wealthy aristocracy flocked to Mayfair and the West End, a new hub for art and social gatherings. Colnaghi was quick to respond to the zeitgeist, particularly during the Napoleonic wars that followed. With the news of Admiral Lord Nelson’s death, Colnaghi dealt prints of portraits of the naval hero by John Hoppner, a sailing success. Print-selling became the backbone of the business until Colnaghi’s son Dominic took over around 1810 and added a contemporary avenue with the advent of photography. Perhaps the main turning point in Colnaghi’s history, however, was when auctioneer Otto Gutekunst re-energised it in 1894. This kicked off notable sales of works by the likes of Raphael, Botticelli and van Eyck into a market of new money in London, and selling to the American elite.

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Having moved around Mayfair a few times – the gallery previously occupied the site that is now Canada House, and a residence on Old Bond Street – fast forward to 2016, and Colnaghi has just relocated to new premises on Bury Street, St James’s. The custom-built gallery’s interior design brings a modern twist, but its traditions and relationship with Old Master paintings is set to continue far into the future. From 6 October to 4 November, Colnaghi will stage its first exhibition in the new space, a collection of Vanitas paintings and sculptures – contemporary proof of Colnaghi’s commitment to nurturing tradition while embracing the artistic palates of today. 26 Bury Street, SW1Y, colnaghi.com

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SHOWCASING THE

finest HOMES & PROPERTY FROM THE BEST ESTATE AGENTS

The winds of change Mayfairâ&#x20AC;&#x2122;s experts look forward to an autumnal uptick

IMAGE COURTESY OF JOHN TAYLOR

[ HOT PROPERTY]

North Audley Street, W1

umber 25 North Audley Street is a Grade II-listed property, distinguished by its carved terracotta faĂ§ade as well as by a wealth of original interior features. Following the recent restoration of the third- and fourthfloor duplex apartment, these characteristic traits have been retained and enhanced in this period property flooded by natural light, quietly set high above street level. Elegant family and living space featuring original oak panelling, working fireplaces and detailed Jacobean

cornicing can be found on the third floor. The drawing roomâ&#x20AC;&#x2122;s four large sash windows allow for views over bustling North Audley Street. This room opens onto a long traditional dining room with high ceilings, creating the perfect place to entertain guests. Its airy Smallbone of Devizes kitchen is a touch more modern, but still retains a period feel. Natural creams and greens are offset by a stylish black and white floor, and Sub-Zero & Wolf appliances are fitted throughout.

PROPERTY

The fourth floor comprises the master suite, in addition to three further ensuite bedrooms. The master bedroom benefits from a private front-facing balcony as well as sleek, bespoke built-in wardrobe space, a working wood burning fireplace and exposed brickwork. In contrast to the more elaborate décor that peppers the family area, the bedrooms have been dressed in a subtle and cool neutral palette. Each room has adjustable underfloor heating and air conditioning. The property is accessed by a

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newly fitted lift, and sits alone on the third floor – a highly private residence. Located just a few steps away from Grosvenor Square, Hyde Park, Mount Street and all of Mayfair’s treasured haunts, this apartment provides a traditional home in the centre of the city – giving buyers the best of both worlds. Price on application (leasehold), Knight Frank, 120a Mount Street, W1K, 020 7499 1012, knightfrank.co.uk

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MOVE. Faster. Sell with Knight Frank. Our understanding of the everchanging market enables us to price your property accurately, so you can rely on Knight Frank to get you moving.

Guide price: £3,450,000

Green Street, Mayfair W1K A bright and spacious two bedroom duplex apartment located on the architecturally beautiful Green Street. Master bedroom suite, bedroom 2, bathroom, open plan kitchen/reception room, guest WC, lift. EPC: D. Approximately 131 sq m (1,410 sq ft). mayfair@knightfrank.com Office: 020 8166 7484

Call us today to arrange your free market appraisal. KnightFrank.co.uk/mayfair mayfair@knightfrank.com 020 8166 7484

@KnightFrank KnightFrank.co.uk

Guide price: £4,950,000

Brick Street, Mayfair W1J An exceptional, newly refurbished lateral apartment in one of Mayfair’s most iconic buildings, benefiting from breathtaking 180 degree views. 2 bedroom suites, bedroom 3, shower room, reception/dining room, kitchen, lift, porter. EPC: C. Approximately 180 sq m (1,938 sq ft). mayfair@knightfrank.com Office: 020 8166 7484

MM Oct park towers & Green st

13/09/2016 13:17:36

MOVE. Faster. Sell with Knight Frank. Our understanding of the everchanging market enables us to price your property accurately, so you can rely on Knight Frank to get you moving.

Guide price: £2,600,000

Whitehall Court, St James's SW1 A generous two bedroom apartment within an imposing Victorian building, benefiting from views over Horse Guards Parade and with 24 hour concierge. 2 bedrooms, 2 bathrooms, reception room, kitchen/breakfast room, lift, concierge. EPC: C. Approximately 120 sq m (1,296 sq ft). mayfair@knightfrank.com Office: 020 8166 7484

Call us today to arrange your free market appraisal. KnightFrank.co.uk/mayfair mayfair@knightfrank.com 020 8166 7484

@KnightFrank KnightFrank.co.uk

Guide price: £13,950,000

St Martins Lofts, Covent Garden WC2 An immense four bedroom apartment with an adjoining one bedroom annex above the iconic Foyles bookshop. 3 bedroom suites, reception room, kitchen, cinema room/bedroom 4, 1 bedroom annex, 4 terraces, lift, porter. EPC: B. Approximately 611 sq m (6,575 sq ft). mayfair@knightfrank.com Office: 020 8166 7484

MM Oct park towers & Green st

13/09/2016 13:17:36

King Street, St James's SW1 A rare three bedroom duplex apartment with private roof terrace A beautifully refurbished three bedroom duplex apartment, benefiting from close proximity to prestigious St James's Square, private roof terrace, concierge and a long lease. Master bedroom suite, 2 guest bedroom suites, 2 reception rooms, kitchen, study, guest WC, sun room, terrace, concierge. EPC: E. Approximately 343 sq m (3,695 sq ft). Leasehold: approximately 980 years remaining

Guide price: £10,500,000 KnightFrank.co.uk/WER160093

Mayfair Magazine Oct - King ST

KnightFrank.co.uk/mayfair mayfair@knightfrank.com 020 8166 7484

@KnightFrank KnightFrank.co.uk

13/09/2016 12:46:39

Hyde Park Square, Hyde Park W2 Stylish lateral apartment with access to a delightful garden square Situated on the second floor of a magnificent south facing stucco fronted building with lift access, this spacious property has been finished to an exquisite standard and offers high ceilings and generously proportioned rooms throughout. 3 bedrooms (2 en suite), shower room, reception room, dining room, kitchen, utility room, private communal gardens, lift access, resident porter. EPC:C. Approximately 180 sq m (1,944 sq ft). Leasehold: approximately 157 years remaining

Guide price: £5,950,000

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

@KnightFrank KnightFrank.co.uk

KnightFrank.co.uk/HPE160115

Mayfair Mag- 9, 10 Hyde Park Square- October Issue 2016

13/09/2016 12:10:36

FOUND Your perfect tenant. Let with Knight Frank. Our local expertise and global network mean that we can find a reliable tenant for your property; and with an average tenancy of nearly two years, Knight Frank not only helps you find them – but keep them as well. To arrange a free market appraisal, call +44 20 8166 7799 or visit KnightFrank.co.uk/mayfair Guide price: £15,000 per week

Park Street, Mayfair W1K

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A spectacular mansion house which has been redecorated and refurbished to the highest specification whilst maintaining its traditional features. 9 bedrooms, 9 bathrooms, 5 reception rooms, dining room, kitchen, garden, staff accommodation, utility room, gym/ playroom, lift, under floor heating, air conditioning. EPC: E. Approximately 911 sq m (9,805 sq ft). mayfairlettings@knightfrank.com Office: 020 8166 7799

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: £1,500 per week

Mount Street, Mayfair W1K Situated on the first floor of a sought after street in Mayfair, this one bedroom apartment is finished to the highest specification throughout. Bedroom, bathroom, reception room, fully fitted kitchen. EPC: D. Approximately 61 sq m (656 sq ft). Available furnished. mayfairlettings@knightfrank.com Office: 020 8166 7799

Mayfair Magazine - Septenber - Lettings

13/09/2016 15:28:24

FOUND. Your perfect tenant. Let with Knight Frank. Our local expertise and global network mean that we can find a reliable tenant for your property; and with an average tenancy of nearly two years, Knight Frank not only helps you find them – but keep them as well. 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 7941 Guide price: £1,850 per week

Queen Anne Street, Marylebone W1

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A luxury duplex three bedroom apartment located in the heart of Marylebone. 3 bedrooms, 2 bathrooms, open plan fully fitted kitchen/dining area, spacious reception room, separate WC and large private terrace. EPC: D. Approximately 146 sq m (1,576 sq ft). marylebonelettings@knightfrank.com Office: 020 3641 5853

All potential tenants should be advised that, as well as rent, an administration fee of £276 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: £1,450 per week

Kendal Street, Hyde Park W2 Impressive three bedroom Grade II listed mid terraced house arranged over five floors, located in the heart of Connaught Village. 3 bedrooms, 3 bathrooms, reception room, dining room, kitchen, patio, balcony, 2 external storage vaults. Approximately 153 sq m (1,647 sq ft). hydeparklettings@knightfrank.com Office: 020 3641 7941

Mayfair Mag October 2016

13/09/2016 12:24:47

PROPERTY

MARKET

INSIGHT Analysing the aftermath Partner and head of Knight Frank Mayfair, Harvey Cyzer, reports on the highs and lows of the global property market

esidential sales activity in prime central London was stronger this August than last year, although remained relatively subdued due in part to the seasonal lull. However, there are grounds for cautious optimism that activity will intensify over the next few months, as recent stamp duty increases and â&#x20AC;&#x201C; to a lesser extent â&#x20AC;&#x201C; the vote to leave the European Union continue to act as catalysts for overdue price adjustments. While there remains a high level of speculation over the potential impact of Brexit on the prime London property market, it remains too early to discern its likely long-term impact. As with the broader economy, any profound change in performance will only become clearer over the next year or two, depending on the outcome of a protracted period of negotiations with the EU. The vote also acted as an incentive for action in the following two months. Those buying with overseas currencies are benefitting from an effective discount of more than ten per cent since the start of the year, due to the depreciation of sterling. Meanwhile, the voteâ&#x20AC;&#x2122;s outcome has been the trigger for some asking prices to be reduced to

levels that take stamp duty and the new economic and political climates into consideration. Prices in prime central London fell by 1.8 per cent in the year to August, the steepest decline since October 2009. There remain differences across the region, with the largest annual decline of 8.9 per cent in Chelsea, compared to positive growth of 0.7 per cent in Mayfair. Recent declines in Knightsbridge appear to be bottoming out as asking prices align with higher expectations. Despite the summer lull, in the eight weeks following the referendum, the number of new prospective buyers rose 22.1 per cent compared with the same period in 2015. The number of properties under offer rose 19 per cent, while viewing levels increased by almost half. It is still early for firm conclusions of future market moves, but the worst of the initial forecasts appear to have been avoided so far. The tentative improvement in some demand indicators provides grounds to believe the prime central market is set for at least a modest recovery in trading volumes, yet whether this translates into an uptick in pricing is less clear.

The Brexit vote acted as an incentive for action: those buying with overseas currencies are benefitting from an effective discount of more than ten per cent since the start of the year

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

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savills.co.uk

1 EXQUISITELY REFURBISHED LATERAL PENTHOUSE hyde park gardens, w2 Entrance hall ø open plan reception room/dining room ø kitchen ø master bedroom suite with dressing room ø 2 further bedroom suites ø roof terrace ø lift ø 197 sq m (2,120 sq ft) ø EPC=E

Kay & Co

Savills Mayfair & St James's

Joe Le Beau j.lebeau@kayandco.com

Charles Lloyd clloyd@savills.com

020 7908 2663

020 7578 5100

Guide £7.25 million Share of Freehold, Leasehold approximately 995 years remaining

The future is bright The changing face of Mayfair makes it an exciting time for new buyers to discover this world-famous patch, says Charles Lloyd, head of Savills’ Mayfair office

harles Lloyd knows Mayfair inside out. He has been an estate agent for almost 30 years, has worked in Mayfair for 24 years and has just celebrated his ten-year anniversary with Savills. He opened the company’s Mayfair office six years ago. “We’ve seen our market share go from strength to strength, holding the record for the most expensive Mayfair house ever sold,” he says. The nine-strong Mayfair office covers sales as well as lettings, from W2 on the Hyde Park Estate, through Mayfair and St James’s, across Soho and into Covent Garden. The team sells everything from studio flats for £700,000, up to large mansions for £90 to £100m – and everything in between, to a broad client base from all over the world. Over the past few years, 60 to 70 per cent of the office’s buyers have been international: primarily from India, the Middle East, Commonwealth of Independent States and China. Savills boasts strong Indian, Chinese and Russian desks, all three of which have done deals this year. “Something that differentiates us is that Savills doesn’t have borders: a single agent can show a property in Knightsbridge or Mayfair, rather than the client being passed around from office to office.” The company’s agents make sure they are familiar with the stock at other Savills offices. International buyers are often looking for a pied-à-terre or an investment, rather than as a property to be used as their primary home. “They like the ‘lock up and leave’ type of property, so security is really important to them,” says Lloyd. “I think that’s why there has been a sort of disconnect between house prices and flat prices in the past six or seven years. “Flat prices have increased year-on-year, particularly in rates per square foot. That’s because of this vogue for lateral living with security. All the new developments are now offering 24-hour concierge and spa and leisure facilities – you’re almost buying an apartment in a hotel.”

PHOTOGRAPHY: SAREL JANSEN

PROPERTY

House prices have been starting to creep up, however, Lloyd reports. “As developers begin to address the needs of these buyers, they’ve started to design houses in a slightly different way, to make them more user friendly, with larger lifts, swimming pools, the best lighting and state of the art kitchens and air conditioning.” Before Savills Mayfair office first opened, the search for a site went on for a while before settling on North Audley Street. “We knew this was the right place to be at that time,” says Lloyd. “Grosvenor had great plans to renovate the north part of Mayfair, and we knew 20 Grosvenor Square would be redeveloped. Much of the public realm works have taken place now, and 20 Grosvenor Square will really put this road on the map. “A lot of retailers have changed, and it’ll be a really smart road. Grosvenor did some research on the busiest streets in Mayfair, and North Audley Street had some of the highest footfall in the area.” While Mayfair has had little redevelopment work in the past, this recent wave is attracting a new profile of buyer who might not have considered the area in the past. “When I started working in Mayfair, it was really sleepy and quiet, and a cheaper place to buy than Knightsbridge, Chelsea or Belgravia,” describes Lloyd. “It started to turn in the 1990s and has now caught up to, or even overtaken, those areas. In Mayfair today you have world-class restaurants, the best hotels and clubs. Everybody wants to socialise here. We sell homes to those who have other properties in London itself, but want to be here because it’s where they socialise and can have everything within walking distance.” Lloyd believes that the last peak in the market was in 2014. “Last year everyone was blaming the slowdown on the election and talk of mansion tax, but really there are other underlying issues due to stamp duty and price. A lot of overseas buyers were concerned that prices were becoming overinflated. Many buy for long-term capital growth.” Yet deals have been done since the referendum – “and quite a lot of them,” says

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9 GREEN STREET, W1, GUIDE PRICE £5.95M

AS ABOVE

Lloyd. “Since the end of the summer holidays, there’s more confidence. Buyers that are looking are more committed and have more choice. We’re confident for the autumn market. Some buyers may see a window of opportunity before the end of the year to take advantage of any currency fluctuations.” Savills has seen buyers who have agreed terms over the past few weeks and want to get on with the deal, to take advantage of currency. “The future for Mayfair is very bright,” Lloyd smiles. “It is the chicest and most happening place to be.” 36 North Audley Street, W1K, 020 7578 5100, savills.co.uk

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Bricks & More 020 0207221 72211117 1117 www.crayson.com www.crayson.com

1010Lambton LambtonPlace Place London LondonW11 W112SH 2SH

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020 0207221 72211117 1117 www.crayson.com www.crayson.com

1010Lambton LambtonPlace Place London LondonW11 W112SH 2SH

Upper Grosvenor Street

London W1K

leasehold

This beautifully redecorated apartment boasts an oversized double reception with 5 large floor to ceiling windows giving you views on to Grosvenor Square. The apartment benefits from a modern kitchen, 3 double bedrooms, 2 of which have en-suite, all finished with Italian marble. The property has access to a communal garden that can be accessed through the building & further benefits include a porter & lift. EPC rating D

chestertons.com

ÂŁ6,750,000

Mayfair

020 7269 4513 sales.mayfair@chestertons.com

North Audley Street

Mayfair W1K

£1,850 per week /

A truly impressive recently refurbished & interior designed lateral apartment of c. 1,518 sq ft on the 1st floor of this red brick Victorian conversion in Mayfair, within close proximity of all the amenities of the West End & Bond Street tube.

£8,016.67 per month

EPC rating C

Mayfair

020 7288 8301 lettings.mayfair@chestertons.com

Additional tenant charges apply: Tenancy agreement fee: £222 (inc. VAT) References per tenant including credit check: £60 (inc. VAT) References per guarantor including credit check: £60 (inc. VAT) Inventory check (approx. £100 – £250 inc. VAT dependent on property size) chestertons.com/property-to-rent/applicable-fees

Portland Place, Marylebone W1

ÂŁ20,000,000

A sensational Penthouse apartment with spectacular proportions, direct lift access and fabulous panoramic views across London. The apartment benefits from an abundance of natural light and space, providing exceptional living throughout and has a wonderful reception room and spacious kitchen/ breakfast room, perfect for entertaining. EPC rating C. Approximately 7,355 sq ft (683 sq m). Master bedroom with dressing room and en suite bathroom | Four further bedroom suites | Reception room with dining area | Kitchen/breakfast room | Family room Media room | Swimming pool | Separate staff accommodation | Roof terrace | Lift | Porter | Underground parking

Leasehold approximately 90 years

JSA Ian Green Residential +44 20 7586 1000

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

sothebysrealty.co.uk

Conduit Street, Mayfair W1

£4,100,000

A beautifully appointed and designed penthouse apartment which occupies the fifth and sixth floors of the newly finished development at 55 Conduit Street. With direct lift access which opens to an internal hallway, the apartment truly offers luxurious living in one of London’s most sought after locations. EPC rating C. Approximately 1,242 sq ft (115 sq m). Master bedroom with en suite shower room | Two further bedrooms | Shower room | Reception room | Kitchen | Utility room | Terrace | Air conditioning

Leasehold approximately 248 years

© 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.

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

Chesterfield Hill, W1J ÂŁ11,950,000

An exceptional six bedroom new build townhouse set behind an original Grade ll Listed Georgian faĂ§ade, in the heart of Mayfair. This elegant family house has fabulous entertaining space, a games room, cinema room, separate staff accommodation and a lift. Dexters Mayfair 66 Grosvenor Street, London, W1K 3JL T: 020 7590 9590 E: mayfairsales@dexters.co.uk

dexters.co.uk

Hill Street, W1J ÂŁ3,500 pw

A fabulous opportunity to rent this six bedroom Mayfair town house of approximately 6000 sq.ft occupying six floors with three reception rooms and two private terraces. All within easy reach of the world famous restaurants and shops that Mayfair has to offer, energy rating e. Dexters Mayfair 66 Grosvenor Street, London, W1K 3JL T: 020 7590 9595 E: mayfairlettings@dexters.co.uk

dexters.co.uk

FOR SALE HYDE PARK STREET, LONDON W2

£7,850,000

This magnificent property is specifically designed for entertaining on a grand scale and can host 100 guests, whilst retaining the charm of a family residence. Featuring 6 bedrooms, the property benefits from a secure walled garden as well as a double height conservatory and boasts a magnificent 22 rooms of about 500 sq m. These include a gentlemen’s panelled bar and billiard room, sauna, study, drawing room, as well as self-contained staff quarters. Situated in the very heart of Central London, all the amenities of this exciting city are within a few minutes’ walk, including Hyde Park. Theatres, restaurants, embassies, schools, universities, hospitals, art galleries and museums are all close at hand. Freehold.

FURTHER DETAILS: Simon Green T +44 (0)20 3195 9595 E sales@pastor-realestate.com

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

www.pastor-realestate.com

FOR SALE CURZON STREET, MAYFAIR, LONDON W1J

£1,575,000

This 2 bedroom apartment with lift is ideally positioned to benefit from all that Mayfair has to offer being within easy walking distance to the open space of Green Park, the world class shopping of nearby Mount Street and Bond Street as well as many of London’s Michelin-starred restaurants. Extending to 739 sq ft (69 sq m) this ideal pied-a-terre, comprises: entrance hall, reception room with dining area, master bedroom with en-suite bathroom, second bedroom with separate shower room. Leasehold.

FURTHER DETAILS:

FOR SALE SHEPHERD MARKET, MAYFAIR, LONDON W1

£995,000

A stunning one bedroom apartment accessed via a private entrance at ground floor level and arranged over the first and second floors extending to approximately 460 sq ft (43 sq m). Perfectly positioned within the heart of Mayfair this bright accommodation comprises fully fitted open plan kitchen, double bedroom with fitted cupboards and fully tiled en-suite shower room. Leasehold.

FURTHER DETAILS:

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

TO LET HAYS MEWS, MAYFAIR, LONDON W1

£1,200 per week

Attractive 3 bedroom apartment in Mayfair Village moments from Berkeley Square. Quietly located with a private entrance: split level reception, fully fitted eat-in kitchen, private patio, double bedroom with marble en-suite bathroom, second double bedroom, single bedroom/study, bathroom and excellent storage throughout.

FURTHER DETAILS:

TO LET CURZON STREET, MAYFAIR, LONDON W1

£1,250 per week

Well presented interior designed 2 bedroom apartment behind a beautiful period facade in the heart of Mayfair. Entrance hall, reception/dining room, master bedroom with en-suite shower and dressing area, second double bedroom, bathroom with shower, fully fitted kitchen, solid wood flooring and lift.

FURTHER DETAILS:

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

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

www.pastor-realestate.com

TO LET NORTH AUDLEY STREET, MAYFAIR, LONDON W1

£1,100 per week

Modern 2 bedroom apartment in a traditional red brick period building overlooking the shops and cafés of North Audley Street. Entrance hall, large reception/dining room with feature fireplace, wood flooring and large bay window, fitted kitchen, master bedroom with en-suite shower, second double bedroom and bathroom.

FURTHER DETAILS:

TO LET SOUTH AUDLEY STREET, MAYFAIR, LONDON W1

£1,150 per week

Newly refurbished 2 bedroom duplex with direct lift access in a traditional building located between Mount Street and Grosvenor Square. Entrance hall, spacious reception room, new fully fitted kitchen, two double bedrooms both with new en-suite bathrooms, good storage and a guest cloakroom.

FURTHER DETAILS:

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

SALES LETTINGS PROPERTY MANAGEMENT CONSULTANCY INVESTMENT ARCHITECTURE COMMERCIAL PROJECT MANAGEMENT

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PASTOR REAL ESTATE 48 CURZON STREET, LONDON, W1J 7UL â&#x20AC;¢ T +44 (0)20 3195 9595 F +44 (0)20 3195 9596

PICTURE YOUR HOME P I C T U R E

M A R Y L E B O N E

If you can picture living in a luxurious, beautifully appointed apartment at

For more information about The Chilterns or

The Chilterns, on Chiltern Street in the heart of Marylebone Village, you’ll

to arrange a private appointment, please contact

understand why there are only three apartments remaining. After all,

Oksana d’Offay on +44 (0)20 3770 6278 or email oksana@thechilternsw1.com

you’re only moments from boutiques, galleries and world-class dining; in addition, you’re minutes from Mayfair and the Regent’s Park - and within The Chilterns itself, you have your own private art gallery, five-star concierge, spa, gym and cinema. So discover The Chilterns – and picture yourself living the perfect luxury life in Marylebone.

thechilternsw1.com

FOUNTAIN HOUSE, PARK STREET, W1K With panoramic views of Hyde Park, on Park Lane, a 6th floor lateral apartment of approx. 2353 sq.ft is situated within this prestigious building with 24 hour concierge services and lift. In need of refurbishment, the apartment has a large entrance hallway, formal sitting and dining rooms, fitted kitchen, family room, three double bedrooms, staff bedroom, three bathrooms and a guest cloakroom. EPC Rating C. JSA Savills, Mayfair.

£6,950,000

LEASEHOLD

WEST HALKIN STREET, SW1X An exceptionally well-presented two bedroom apartment on the raised ground floor of an impressive period building. Spacious entrance hall, large south facing reception room, study area, cloakroom, kitchen, utility area and two en suite bedrooms. Long leasehold of approx. 119 years. EPC Rating C. JSA with Henry & James, Belgravia.

W1K

FOUNTAIN HOUSE, MAYFAIR, W1K

th floor apartment in this prestigious building with 24on hour concierge services lift. in this prestigious building with 24 hour concierge services and lift. With panoramic views of Hyde Park, Park Lane, a 6th floor and apartment entrance hallway, formal sitting and dining rooms, fitted kitchen, family room, three In need of refurbishment, the apartment has a large entrance hallway, formal sitting and dining rooms, fitted kitchen, family room, three d a guest cloakroom. Long Leasehold. Rating C. JSAbathrooms Savills, Mayfair. double bedrooms, staffEPC bedroom, three and a guest cloakroom. Long Leasehold. EPC Rating C. JSA Savills, Mayfair.

£2,950,000 PRICE: £6,950,000 LEASEHOLD

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

LEASEHOLD John JohnTaylor TaylorUK UK 4848Berkeley BerkeleySquare, Square, London LondonW1J W1J5AX 5AX Tel: Tel:020 0203284 32841888 1888 Email: Email:london@john-taylor.com london@john-taylor.com

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A development by Ronson Capital Partners in association with Derwent London

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Available seven days a week

08/07/2016 12:27 PM

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

Claridge’s heads underground Plans go in for a five-storey mega-basement

laridge’s has lodged plans for a significant subterranean extension, just as Westminster steps up its long-running battle against basement projects. The Maybourne Group wants to add another five-storeys under the Art Deco wing of the world famous Grade IIlisted hotel, to make room for some ‘must-haves’ including a swimming pool, wine cellar, in-house chocolatier and back of house. The 1,800sq m addition would entail works on Brook Street, Davies Street and Brook’s Mews and 700 letters have been sent out to local residents.

PrimeQResi Journal of Luxury Property

Maybourne argues that the project would benefit locals by cutting down on the number of delivery vans needed by the hotel. The news came in the same week that Westminster Council announced plans to levy a charge on underground developments. “The noise, dust and traffic impacts of basement development have had a big effect on local residents,” said the council in a statement, “and they will now have a group of dedicated council officers to contact”. After receiving an average of 150 applications for such projects every year since 2011, tough new rules were

recently brought in to limit basements to a single storey and no more than 50 per cent of total garden land. This latest initiative – the first of its kind in the country – brought in the policing of subterranean projects across the borough from September. The service will be funded by a levy on those building new basements. The new charges will cover the cost of the service “based on hourly rates”: a residential basement scheme will cost around £8,000 on average and it is estimated that the largest of this sort of development will be charged “around £30,000”.

PROPERTY

A new lease of life

Careful construction

Harrods car park to make way for £200m luxury care home scheme

Intricate five-year project delivers brand new £19.5m Mayfair mansion

IMAGE COURTESY OF PDP LONDON

arrods’ car park on Knightsbridge’s Pavilion Road is set for a transformation into high-end extra care residential apartments, after RBKC gave the £200m project the green light in August. It’s fair to say the 1970s Brutalist affair won’t be missed by many, and the development is a continuation of the top-end care trend making its way across prime central London: Johnny Sandelson and Karen Mulville’s Auriens acquired a prominent site in Chelsea for a £200m ‘later lux life’ project earlier this year, and LifeCare Residences recently launched ‘London’s first luxury retirement village’ in Battersea. Working for Dartmouth Capital Advisors, architecture practice PDP London has designed 34 two-bed apartments with associated healthcare facilities, behind a countenance described as ‘a strong example of contemporary architecture’. The scheme, says the firm, will “lift the status of this island site and create a contextually refined landmark building in what is currently an unremarkable urban setting”. Hamiltons Architects will be in charge of designing the interiors.

fter five years in development, a remarkable new mansion has been completed on South Street in the heart of the Mayfair Conservation Area. Commissioned back in 2011, the architecture firm behind the project, Wolff Architects, describes it as “one of the most complex pieces of work it has ever undertaken”. The works involved a complete demolition of the existing building and construction of a grand single-unit replacement. Due to its location, some “particularly sensitive” construction methods were required for the rakishly handsome affair sporting Georgian-style façades to the front and rear, with four upper floors involving a chandelier-lit reception, a formal dining-cumreception area and a suite of seven bedrooms. A rooftop terrace has been created up top to give some sensational views over South Street and Mount Street Gardens, while a cavernous new basement has delivered an additional 1,000sq ft of space (housing a cinema room, steam room and gym). Mayfair-based Waterbridge carried out all the interior design and development work and the finished article was listed for sale in August with Knight Frank at £19.5m.

primeresi.com

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“

HOW FAIR IS A GARDEN AMID THE TRIALS AND PASSIONS OF EXISTENCE. BENJAMIN DISRAELI

” BALFOUR MEWS £27,500,000 JSA Knight Frank

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

wetherell.co.uk

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Weth

“

THE MAGIC OF PHOTOGRAPHY IS METAPHYSICAL. WHAT YOU SEE IN THE PHOTOGRAPH ISN’T WHAT YOU SAW AT THE TIME. TERENCE DONOVAN

”

BOURDON STREET £16,750,000 Sole Agent

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

wetherell.co.uk

10:50

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“

NEVER SPEAK DISRESPECTFULLY OF SOCIETY, ALGERNON. ONLY PEOPLE WHO CAN’T GET INTO IT DO THAT. LADY BRACKNELL (FROM ‘THE IMPORTANCE OF BEING EARNEST’)

” HALF MOON STREET £14,950,000 JSA Knight Frank

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

wetherell.co.uk

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Weth

“

ELEGANCE COMES FROM BEING AS BEAUTIFUL INSIDE AS OUTSIDE. COCO CHANEL

” CHARLES STREET £10,750,000 Sole Agent

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

wetherell.co.uk

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M ANUFACTUR E DE H AU TE H OR LOGER IE

TONDA CHRONOR ANNIVERSAIRE

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