St John's Wood magazine December 2016 by Runwild Media Group

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CONTENTS December 2016 18

Regulars 10 12 14 70

58 66 92 98

Editor’s letter Five minutes with... Sebastien Schwartz of Leonidas chocolates talks praline perfection The agenda A cultural round-up of what to read, see and do this December Winter wardrobe Champion the festive spirit with sparkling sequin-embellished capes and golden leopard print

Transfer window Exploring the lesser known work of artist Robert Rauschenberg The long run The founder of Stuart Weitzman discusses the the heights of his career The show must go on Hospitality veteran and thespian Laurence Isaacson on his latest endeavours On cloud nine Soar above the Val d’Isère skyline at Chalet Eagle’s Nest

Features 18 22

The line of beauty Designer Elie Saab opens his UK flagship Dancing with diamonds Backes & Strauss partners with the English National Ballet

30 92

26 30

A white Christmas The White Company’s founder Chrissie Rucker MBE shares her festive rituals For the love of leather Maria Sole Ferragamo’s sustainable leather jewellery collection

35 Collection

63 Fashion

83 Health & beauty

96 Travel

53 Art & antiques

79 Interiors

88 Food & drink

103 Property

editor’s letter

editor

From the D E C E M B E R 2 0 1 6 s iss u e 0 0 7

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

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“Be at war with your vices, at peace with your neighbours, and let every year find you a better man” Benjamin Franklin The season to eat, drink and be merry is upon us. But before we crack open the fizz, there’s the small matter of gifting to attend to. Thankfully, there are plenty of local boutiques to cater for even the fussiest of family members – not least the high street’s latest arrival, Maria Sole Ferragamo, which promises leather jewellery crafted with conscience (p.30). If only diamonds will do however, flick to page 22 to read about Backes & Strauss’ sparkling collaboration with the English National Ballet. Elsewhere, we talk to red carpet favourite Elie Saab about his latest resort collection (p.18), and for those dreaming of a white Christmas, we hit the slopes (and the sun deck) at Eagle’s Nest, an alpine retreat that is surely in contention for the best chalet in Val d’Isère (p.98). We can think of few better ways to ring in the New Year than with a glass of something chilled in its alfresco hot tub. Here’s to 2017!

Lauren Romano Acting Editor

On the

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

Regulars

5 minutes with...

The story of Leonidas started back in 1910, when our founder Leonidas Kestekides represented his home nation of Greece at the Brussels World Exhibition. Not only did he win a bronze medal for his confectionery, he met a Belgian girl and ended up getting married and staying put. Three years later he won gold at the International Exhibition in Ghent and his reputation as a chocolatier began to flourish.

It was an exciting era for confectionery in Belgium. Praline had just been invented and the nation became famous around the world for its confectionery. Leonidas started his business slowly, enlisting the help of his nephew Basilio, who later became maître chocolatier. In 1935 they rented a tiny shop in central Brussels on Boulevard Anspach. It was so small there was no door out onto the street, so they sold their chocolates from an open sash window. People were fascinated because they could walk by and see the chocolatiers at work.

Leonidas is still family owned. The fifth generation has upheld the founding philosophy of chocolate as an affordable luxury. Today we have more than 1,250 stores in 50 countries. All Leonidas chocolate is still made in our factory in Anderlecht using fresh ingredients and 100 per cent

cocoa butter. We source the best vanilla from Madagascar, oranges from Valencia and almonds from Turkey.

Sebastien Schwartz The UK sales manager for Leonidas talks about the chocolatier’s Belgian roots and the pralines tickling the taste buds of St John’s Wood residents

All images courtesy of LEONIDAS

“Leonidas is still family owned. The fifth generation has upheld the founding philosophy of chocolate as an affordable luxury”

There are more than 100 varieties of pralines to choose from. When we refurbished our St John’s Wood store three years ago we made our counter as big as possible to display all the options. The majority of customers like to pick their own chocolates rather than select a ready-made box.

Our manon chocolates are our bestsellers. The manon was developed by Basilio in the ’30s, and we believe it was the first white chocolate praline in the world. It’s filled with coffee butter cream and milk praline. There’s also a manon café version that has a whole hazelnut inside. We’re launching a new selection box dedicated solely to the manon this month, as well as advent calendars and chocolate figurines. The gianduja blend of milk chocolate and hazelnut (pictured above) is also very popular, especially with customers who visit our counter in Harrods.

One of the biggest mistakes people make is putting chocolate in the fridge. It impairs the flavour and the variation in temperature encourages crystals to form in the cocoa butter. Obviously if it’s 30 degrees you have no choice, but as it’s set to be the coldest Christmas in years I don’t think that will be a problem!

Leonidas, 132 St John’s Wood High Street, NW8, leonidas.com

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THE JOY OF GIVING Treat someone special to an ELEMIS experience with our luxury Gift Card at The House of ELEMIS, Mayfair

The House of ELEMIS 2 Lancashire Court, Mayfair, London, W1S 1EX, UK T: +44 (0)20 7499 4995

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Gift Cards available online ELEMIS.COM/houseofelemis timetospa.co.uk

06/10/2016 09:39

BELOW: Created Through Nature 4, 2016, Cibachrome print, 152.4 x 127 cm; Flavie Audi, Fluid Rock 20 AND Fluid Rock 9, 2016; ImageS © of the artist, courtesy of Tristan Hoare, PhotoS Todd-White art photography

Bordering the surreal After recently relocating to permanent premises in Fitzrovia, Tristan Hoare gallery has opened its new Cell-estial exhibition. It presents the work of French-born, Lebanese artist Flavie Audi, whose art is driven by the intersection of the real and virtual. Photography and film feature as mediums, but the coloured blown-glass sculptures are a highlight. Until 9 January 2017, 6 Fitzroy Square, W1T, tristanhoare.co.uk

The agenda Local news and events from in and around the area W O R D S : m e l i ss a e m e rso n

Break the mould Founded by Goldsmiths graduate Asako Mahara, Gallery Eclectic specialises in decorative and practical ceramics, and its latest exhibition is an opportunity to see a larger body of work from one of its best-selling artists, Japanese-born Makoto Kagoshima. His hand-made work is inspired by medieval Romanesque sculpture and architecture, as well as plants, animals and fairy tales. Until 19 December, 66 Marylebone High Street, W1U, eclectic66.co.uk

ceramic plates by makoto kagoshima, Images courtesy of gallery eclectic

A Casa Colonial, 2016, Mixed Media, 153 x 113 cm image courtesy of lazarides © Finok

EXHIBITIONS

Social street art São Paulo-born artist Raphael Sagarra began experimenting with graffiti as a teenager, tagging his work Finok, by which he is now more commonly known. A bright green palette became his secondary signature, as he mixed folk art and cartoon-like characters with contemporary urban culture in response to his environment. Finok later progressed to indoor paintings, sculpture, and site-specific installations, and his first UK exhibition Tropical Miscegenation is now open at Lazarides Gallery. Until 23 December, 11 Rathbone Place, W1T, lazinc.com

literary itinerary

art under the microscope Put yourself in the position of an art connoisseur with this detailed look at 100 significant artworks. Written by historian Susie Hodge, the book traverses art history to feature everything from a 14th-century fresco to a 21st century David Hockney painting. The book features close-ups of various sections of the works, looking in detail at brush strokes and technical tricks used by the artists to achieve the overall effect, hidden symbols and other minutiae. Hodge also gives consideration to other factors, including the socio-economic contexts that may have influenced the works and their creation, and the ambient temperature at the time that the pieces were created. Art in Detail: 100 Masterpieces by Susie Hodge, £24.95, published by Thames & Hudson, thamesandhudson.com

Regulars

OUT & ABOUT

Cultural comedy Complete with its own auditorium, cinema and dance studio, cultural community centre JW3 will host its third annual Jewish Comedy Festival this month. Events include a contest for the UK Jewish Comedian of the Year Award, a comedy writing workshop with Ivor Baddiel, and ‘An Imam, a Rabbi and a Priest Walk into a Comedy Club’ – a series of stand-up performances followed by a Q&A on the parallels between comedy and clergy. 1-4 December, 341-351 Finchley Road, NW3, jw3.org.uk/comedy image courtesy of st marylebone parish church

comedian dane baptiste

Christmas crafts For some festive decorative inspiration, Jamie Aston flower school is hosting two Christmasthemed workshops. Promising mulled wine and mince pies, the first session (10 December) will focus on wreath-making, while the second (17 December) will teach the art of crafting the perfect festive centrepiece. £140 per person, 19 George Street, W1U, jamieaston.com

Charity carols Lord’s Taverners, a charity which supports sporting opportunities for disadvanatged and disabled children, hosts its annual carol concert fundraiser at St Marylebone Parish Church this month. As well as the traditional singing, attendees can enjoy readings by guests including Lord’s Taverners’ president Sir Michael Parkinson. 12 December, doors 6pm, 17 Marylebone Road, NW1, £20 per person, lordstaverners.org

Flexibility in Fitzrovia After yoga helped her achieve a more balanced life, qualified dance teacher Jennifer Ellis founded The Yoga Wellness Company. Now making its home in Fitzrovia, it encourages anyone of any ability or age to join its regular and varied workshops. Another speciality is its yoga retreats abroad, and trips to Cambodia, South Africa and Corsica are set to go ahead in January, April and May respectively. 3-4 December: Finding True Balance; 29 January 2017: Yoga As A Means For Transformation Of The Body; 19 February 2017: Yoga As A Means For Transformation Of The Emotions, all held at Oui 2 Rooms, 89 Great Titchfield Street, W1W, theyogawellnesscompany.com

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Regulars

SPOTLIGHT Regent Street Cinema

The Regent Street Cinema first came to life as a theatre in 1848, purpose-built for the Royal Polytechnic Institution to share its technological developments (primarily its ‘optical exhibitions’) with the public. On Christmas Eve in 1862, a performance of Charles Dickens’ The Haunted Man marked the first time that Pepper’s Ghost – an illusory technique to create transparent ghostly images – had ever been demonstrated. After many years of such plays and demonstrations, 1896 saw the Lumière brothers’ Cinématographe machine bring the first early moving pictures to Britain. It led to screenings by film pioneers such as Alfred John West, whose Our Navy series of nautical and naval pictures were screened for over a decade at the site, and set a precedent

clockwise from above: REGENT STREET CINEMA interior; film still from It’s a Wonderful life; film still from the fencer; regent street cinema interior all images courtesy of regent street cinema

for the theatre to be converted into a permanent cinema in the 1920s. By 1980 however, the space was used as a lecture theatre, until a successful fundraising campaign saw it restored and re-opened as a cinema by the University of Westminster in May 2015. Today Regent Street Cinema’s programme continues to be experimental, featuring film festivals and double-bill screenings. Live theatre by satellite is also on the schedule, with No Man’s Land starring Sir Ian McKellen and Patrick Stewart showing on 15 December. Other special events this winter include a screening of Black Swan as part of the cinema’s Psychology at the Movies series (films followed by a discussion with a panel of psychologists) and a showing of 1973 British horror film The Legend of Hell House, followed by a director Q&A. Screenings for the Nordic-Baltic Film Festival include Mother and The Fencer, while the 1924 silent version of Peter Pan (the first adaption of the play) will be accompanied by a live organ soundtrack. Not forgetting the festive classics, It’s a Wonderful Life, A White Christmas, and A Miracle on 34th Street, which are also showing in December. 309 Regent St, W1B, regentstreetcinema.com

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ITALIAN TRAVEL BAGS SINCE 1952

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The line of beauty

Elie Saab, the designer who put Lebanon on the fashion map, is famed for his jaw-dropping red carpet gowns. He speaks to Katy Parker about Middle-Eastern influences and why he chose Bruton Street for his first UK flagship

“F

rom a very young age, I would spend my time watching people – the way they walk or dress. I wouldn’t see them as they were, but as they could be if they were dressed differently.” Elie Saab is reminiscing. And as he does so, it quickly becomes clear that here sits a man who was never in any doubt as to his calling in life. He continues: “I used to look at the world around me in a different way from other children. My perspective on women was different: I have always been surrounded by beautiful women who inspire me, and I wanted to underline their personalities.”

The eldest son of a wood merchant, the self-taught fashion designer is one of the most illustrious talents to come out of Lebanon, and became the first Lebanese designer to dress an Oscar winner in 2002, when Halle Berry wore one of his burgundy gowns to collect her Academy Award for Best Actress. Raised in Beirut, Saab started sewing as a child and by the age of eight had already turned his attention to fashion and design. His tools were anything that came to hand; he raided his mother’s wardrobe for lace, cut patterns out of newspapers and used his sister as a model. The preparation paid off. In 1981 Saab moved to Paris to study fashion, before returning to his hometown to launch his eponymous

interview

label a year later, when he was just 18 years old. “I was only a teenager when I began my career, he says, “but I knew where I was headed. Working in fashion was more my destiny than anything else.” Women the world over owe much to the young Saab’s steadfastness. His exquisite designs have been seen on numerous brides, Oscar-nominated actresses, Grammy award-winning singers, and royal family members – Queen Rania of Jordan wore one of his dresses for her coronation in 1999. Scroll through the ‘best dressed’ image gallery of any star-studded event, and you will be greeted by a dazzling array of glamorous figures wearing Saab’s creations. I ask the designer if it was always his desire to carve out a niche in show-stopping eveningwear. “I started my business more than 30 years ago by creating evening gowns and wedding dresses because that was what I wanted to do and what inspired me. I always found that my inspiration was limitless when creating haute couture.” While nowadays he is in demand by the likes of Rihanna, Helen Mirren, and everyone in between, it took time – almost 20 years in fact – for Hollywood to sit up and pay attention to the dressmaker from Beirut. In an industry dominated by French and Italian designers, Saab was something of a pioneer.

elie saab image © Oleg Covian

“I always found that my inspiration was limitless when creating haute couture” “The industry was non-existent in the region when I started as a teenager, so I’m proud of having created a profession that didn’t exist in my country before.” In this sense, Saab feels a certain sense of responsibility to emerging Lebanese talent, prompting him to launch a fashion degree in collaboration with both the London College of Fashion and the Lebanese American University. “I want to help and encourage talented young generations to pursue a career in fashion design,” he tells me. Saab’s original clients were the well-heeled women of Beirut, who were drawn to his feminine yet

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structured silhouettes, delicate attention to detail and use of rich fabrics, lace, detailed embroidery, pearls, crystals and silk threads. Today, his fans are drawn to much the same aspects, but it is his unique fusion of Eastern and Western cultures that really sets Saab apart. He describes how much he is inspired by the Middle East – its “culture and richness” – while “living in Beirut has been a great source of creativity”, particularly “in the luxurious fabrics and intricate embroideries that I choose”. Saab’s S/S17 collection, however, displayed a lighter, more playful side. Showcased in Paris, Saab tells me it was inspired by 1970s disco and the golden era of Studio 54: “in an effusive mix of pattern, colour, texture and tailoring of bold sensuality”. Heralding a new era of “easy glamour”, the collection was a triumphant blend of “the lightness of summer and the extravagance of eveningwear”. It has been a busy year for Saab, who alongside the seasonal shows, announced both a return to

bridal wear and unveiled a new four-storey flagship on Bruton Street, with another to come on New York’s Madison Avenue. I ask why Mayfair was the chosen spot for his European store. “We spent three years looking for the right space, as we were looking for a location that could encompass haute couture, ready-towear, accessories and bridal. Mayfair was always top of my mind, as its elegance and flair very much reflects our brand DNA.” When I visit the premises on Bruton Street, there is an obvious emphasis on customer experience: the need for shoppers to take their time, to feel the fabrics, to immerse themselves in the splendour of couture. With this in mind, I wonder how Saab views the world of e-commerce, and whether he thinks digital has a place in the rarified world of luxury fashion. He seems wary. “I appreciate the role online has played in globalisation,” he says, “however, the digital sphere is a double-edged weapon, which can have a positive or negative impact on the brand. “For me, it’s important to stay true to the brand DNA – at the same time maintaining a common ground between the online and offline portrayal of the Elie Saab universe.” And what of the designer’s personal universe – does he ever find a quiet moment to relax? “My day revolves around my work,” he describes, “but when I find the time, I like to visit art galleries and exhibitions that might be a source of inspiration for a future collection. I try to relax in the evenings by spending time with my family and friends.” For Saab, the focus for the future is maintaining the quality that the brand is renowned for. He assures me that, while it is expanding – the brand launches an eyewear line in January – it will never be mainstream. “It should, and always will, remain high-end and highly desirable.” Well, Mr Saab, you had me at hello. 24 Bruton Street, W1J, eliesaab.com

this page and previous: Bridal Fall 2017 Inset: both Resort 2017

interview

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with As Backes & Strauss partners with the English National Ballet for the fourth year, Hannah Lemon speaks to ambassador for the campaign and principal ballerina Laurretta Summerscales about sore toes and eating too much chocolate

aurretta Summerscales is not how I pictured a ballet dancer. Neither snooty nor standing en pointe, she wanders in with her feet cushioned in Mongolian slippers (a souvenir from one of her travels with the English National Ballet), dressed in a black hoodie and tracksuit. The same can be said for the other dancers who lounge around the reception area of the company’s headquarters, eating lunch from Tupperware (yes, they have an appetite, shocking, I know). I’m almost a little dejected by the banality of it all – until I see them move. Up two flights of stairs, I peek into a rehearsal

room. A pianist (not unlike the gruff musician in Billy Elliot) plays a tune in the corner, while a muscly dancer, clad in tights and a leotard, stands centre stage. In one swift movement, he raises a ballerina above his head with one hand. The waif-like creatures are mesmerising and I’m in awe at every tightened calf and pointed metatarsal. It’s the same when Summerscales answers my questions after we find a space in an empty office. She sits regally, like a swan, back straight, legs crossed and delicate fingers floating around her like feathers. At 24, she has flown straight to the top. She started dancing aged three. In 2007 she joined the English National Ballet School and two years later, the

OPPOSITE: backes & Strauss Piccadilly Renaissance Ballerina collection THIS PAge: Laurretta summerscales wearing the Piccadilly Renaissance Diamond Heart

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INTERVIEW

English National Ballet. “It’s not been as easy as everyone thinks,” Summerscales says. “There have been peaks and troughs.” At “normal school” she says the other kids saw her as “a bit weird”. “I wasn’t very quick. I was bright, but I’m not very good at essays or having debates.” However, her mother, who runs the Karen Clarke Theatre School in Surrey, encouraged and nurtured her talent. “I started off doing modern, tap, singing and dancing. I just loved dancing. I was a huge fan of Gene Kelly and Fred Astaire.” Soon realising that the back row wasn’t for her, Summerscales quit singing and applied for a scholarship at ballet school. They were quick to say yes, and with hard work, determination and a healthy competitive spirit, she soon soared. “I loved every second of it,” she says. “I worked a lot. I didn’t party or go out with people. I just went to bed and went to school.” How did it feel, then, to become principal – her ultimate goal – in January? Her face lights up and she throws her head back in a smile. “It was so… Wow!” It turns out the pace doesn’t slow down with a promotion. Summerscales is rehearsing for and performing in Mary Skeaping’s Giselle, Akram Khan’s Giselle as well as seasonal favourite, Nutcracker. “I don’t just do the principal roles, I do other roles too. This way, I get more chances to dance on stage.” Does she still get nervous before a performance? “Yes, I have to put on my make-up and do my hair just before the show starts. If I do it too soon, then, that’s it, my brain starts over-thinking.” There are always rumours of people eating tissues to feel full and being caged in by corseted tutus. Is this a reality? “It is a lot of pressure on the body but you get used to pushing through it. You have to, otherwise there’ll be a girl who wants it more than you.” For the part of Myrtha in Giselle, Summerscales is on her toes for the whole of the second act. “It’s more painful than any other ballet. I bandage my toes up before, but it still hurts and throbs so much. You just have to work through it. As soon as you finish, the pain goes.” She looks at my horrified face and laughs, “You get used to it.”

This image: Laurretta summerscales wearing pieces from the Piccadilly Renaissance Ballerina collection Inset: backes & Strauss Regent Renaissance with Diamond Bracelet

What about food? Is she allowed any? “For me, it’s my weakness. My downfall is chocolate. Anything with a big flavour.” Like crisps, I venture? “My mum got me off those. For me, it’s fizzy drinks mainly. Once I have one, I get into a habit.” As she speaks I glance at the bling looped around her dainty wrist and remember the reason I’ve come here today. Summerscales and fellow dancers Shiori Kase and Jinhao Zhang have been selected as ambassadors for Backes & Strauss’s partnership with the English National Ballet, now in its fourth year. For the occasion, the diamond company has crafted a collection of watches with diamond-set bracelets recalling the graceful movement of ballerinas. Summerscales fashions the Regent 2DR Renaissance, a mother-of-pearl dial set with 209 ideal cut diamonds. “It’s really nice to see another art form of such high quality,” explains Summerscales. “We aim for high quality too. It’s great to see how much we have in common.” On Tuesdays and Saturdays, Summerscales still visits her mum’s school, but now as a teacher. “She’s given me so much that I feel like I should return it.” I ask her what advice she would give her teenage self. “Always be grounded, always listen to other people and always be respectful.” Somehow, I think the young Laurretta Summerscales has it covered. Nutcracker, until 2 December; Skeaping’s Giselle, 11-22 January, ballet.org.uk; backesandstrauss.com

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A white

Christmas

Nowhere does high thread count pillowcases or cashmere bed socks quite like The White Company. As a new flagship store opens on Marylebone High Street, its founder Chrissie Rucker MBE shares her festive rituals with Lauren Romano

interview

t all started with a 12-page mail order catalogue, which became a lifestyle empire with more than 50 high street shops and concessions and an annual turnover in excess of £180m. Not bad for a business plan launched off the back of furnishing your boyfriend’s flat. Back then Chrissie Rucker MBE had no idea that her quest for good quality but affordable white cotton bedlinen and towels would pan out quite like this. “My love of the colour white began when my boyfriend [Charles Tyrwhitt founder Nick Wheeler, now her husband] bought his first house and wasn’t interested in trying to kit it out. I often joke it was because I was trying to show him what excellent wife material I was!” Rucker laughs. “I went shopping, but because I wasn’t very confident, I decided to keep it simple. I chose to buy all white: white towels and robes, white bed linen, white china and napkins. At the time, it was quite difficult. There was either the high street, where the offerings were usually cheaply manufactured, or designer wares, which promised quality but were so expensive. I also found that the sales assistants weren’t very helpful. So I set out to bridge the gap, to supply simple yet beautiful white items for the home and offer fantastic quality combined with great service.” Over the past 22 years, Rucker’s successful company has evolved with her home life; incorporating everything from kid’s clothing to champagne coupes to meet her needs as a busy mother of four. The first collection offered a small range of essentials for the home, from bed linen and duvets to luxury towels, bathrobes, china and table linen – all in simple, classic white. Today the range has grown enormously to

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encompass home accessories, fragrance, bath and body, furniture, clothing and nightwear lines, as well as The Little White Company, launched after the birth of her son, Tom, now 20. Christmas is the season when The White Company really comes into its own. Its fluffy white robes, cashmere loungewear and diffusers bursting with spicy notes of cinnamon, clove and orange are a festive antidote to cold, dark winter evenings. Given the abundance of robes, cashmere and candles, it’s also the perfect place to tackle Christmas shopping. For local residents, The White Company’s new flagship store on Marylebone High Street is a good place to start. Opened last month, it showcases all of the brand’s homeware and clothing collections, as well as The Little White Company, under one roof. To coincide with the launch, Rucker shares her guide to doing Christmas the white way (sorry), including keeping your in-laws happy with some thoughtful guest room decorations. Light a Winter Botanical Pillar Candle and read on…

It’s become an annual Christmas tradition to spend 24 hours in London, time permitting, with my children and godchildren. We try and fit in a trip to the theatre or ice skating and a lovely good old-fashioned tea at somewhere like Fortnum & Mason. Christmas Day is always busy but great fun. We start early with stockings, followed by mucking out the horses, a trip to church, far too much eating and drinking and then we all collapse in front of the TV.

Our tree is always placed in the hall and I like to keep things simple – so white fairy lights and baubles in antiqued silver, glass and white – the result is so twinkly and magical. I add a little touch of Christmas to each room in the house, not forgetting the guest rooms, where it’s always a nice idea to fill the windowsills with miniature spruces and add Christmas decorations to cupboard doors. I love to decorate our mantlepieces and large windowsills with lots of greenery, fairy lights and candles in glass storm lanterns. I burn scented candles throughout the house – my current favourites are our new Mistletoe, Mulled Wine and Sloe Gin votives.

I want our home to feel natural, warm and peaceful. The walls throughout the house are painted either a warm white or very pale grey. We have sisal or textured rugs on the floors, combined with some stone and wooden floors. I always try to find a way to bring the outside in with either lots of greenery and fresh flowers or indoor fig trees, which I have in the kitchen, hall and office. Soft scents from diffusers or candles also feature a lot. Somehow a home with a gentle scent feels instantly more welcoming and cosy.

Before Christmas we try really hard to inspire and come up with lots of ideas and tips that will help our customers make it all happen. Everything from our festive decorations and dining accessories, through to our clothing ranges, nightwear and accessories all make great gifts. Our customers tell us that our magical Winter Signature Candle is the scent of Christmas.

We have always loved Marylebone High Street. Many of our customers live or work locally and enjoy the great mix of brands on offer in this calmer area of the West End. We had been looking for a larger store for the last few years, so were delighted when this one on Marylebone High Street came up. Our two former stores on the road totalled 3,000 sq ft and it was becoming very challenging to show the brand off effectively. The new store has 75 per cent more space, which means we can happily join The White Company and The Little White Company together again.

We wanted the store to have more of a home feel to it with dedicated areas to really show off the different collections. A bespoke fragrance room at the front allows us to showcase the complete home and bath and body collections with more of an apothecary feel. On the ground floor, there is a lovely new living area that can now display more of our furniture; there’s also a larger clothing area with bigger changing rooms, a gift and accessories area, plus a dedicated The Little White Company store. The lower ground floor boasts a linen cupboard to help customers discover the secret to a perfect night’s sleep.

interview

I didn’t set out to be a businesswoman. I left school with six O-Levels and headed to fashion college at 16. I later became a journalist for several years, which I loved and worked for titles such as GQ, Brides and Harpers & Queen. I also did a year in the PR department of Clarins. I learnt a huge amount from each experience, which helped arm me with some of the skills I needed when I started the business.

Ruthless diary planning is key to achieving a work-life balance, and learning not to be a total control freak is essential! The children’s dates go in my diary first and everything has to work around that. It’s vital when you grow a business to really empower your team and I’m lucky to work with some great people who always inspire me.

We spend most weekends riding. Our three girls all compete, so there are lots of very early starts and time spent in the horse box. I rode competitively as a child and I think it really taught me about resilience. There are always plenty of days when it doesn’t go to plan or you fall off, but you just have to stay calm, get back on, try and understand where you went wrong and have another go. We always make sure we spend time together as a family; this seems to be getting harder as the children grow older and become more independent. We love them to bring friends home and we try to have at least two holidays a year when we’re all together.

Next year, I want to start riding again and perhaps eat a bit less chocolate. As for the business, we will be launching our first ever skincare range. We have partnered with DECIEM who has been shaking up the beauty industry with its truly next-generation technologies. We’ll also be launching our first store in the States, following the successful launch of our US website in 2014.

In another life I would have loved to have been a doctor. I enjoy fixing things – if only I had got a few more exam results… 112-114 Marylebone High Street, W1U, thewhitecompany.com

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this image: courtesy of Andrea De Fusco opposite: maria sole ferragamo, image courtesy of emma cowdray

interview

Maria Sole Ferragamo – the granddaughter of the late designer Salvatore Ferragamo – tells us about crafting leather jewellery with a conscience, the meaning of luxury and her St John’s Wood pop-up W o r d s : m e l i ss a e m e r s o n

erragamo – it’s a big name to follow in the world of fashion, but Maria Sole Ferragamo, the granddaughter of the late designer Salvatore Ferragamo, is taking the family’s love for leather in a new direction with her versatile jewellery. Her work also carries an important environmental message, thanks to her focus on repurposing some of the fashion industry’s countless leather remnants. Today we’re meeting at her new pop-up shop on St John’s Wood High Street, where she excitedly gives me a tour. “I think it’s one of the few areas

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in London that still has this rustic village identity. It’s a very authentic place,” she begins, as she talks about the appeal of the area where she has chosen to introduce her work to a London audience. Open until Christmas, the shop showcases Ferragamo’s upcycled designs and has a part-gallery, part-retail space feel. The collection on display ranges from surprisingly light spiral-shaped earrings (modelled artfully by Ferragamo) and flexible cuffs, to a one-off cage crinoline-inspired piece worn like a skirt that was originally created for international design competition Craft the Leather.

Necklaces adorn the walls like pieces of art, but are in fact one of the most versatile items. Created from one long strip of leather and reinforced so they can be bent and twisted in many shapes, each piece can be transformed into something new every time it’s worn. It’s possible to order pieces online, but the advantage of being in the store is having Ferragamo herself on hand for her advice on the different ways each of her creations can be styled. As for where this enthusiasm for design came from, growing up in Florence with its architectural beauty and talented craftsmen, as well as being in a family with fashion at its heart, had a big impact. “Ever since I was eight years old, I loved to make things with my hands. I grew up with a family who is passionate about making beautiful things, so my design influences came from all around me. Although I never met my grandfather, I think of him every day as an incredible example.”

“I think that what designers do, or they should do, is see opportunities where others don’t” After opening his first boot shop in 1919, Salvatore Ferragamo created his own company in Florence by 1927, and its illustrious history – it created designs for the likes of Marilyn Monroe, Judy Garland and Audrey Hepburn – has seen it grow into a successful fashion house today, known for its shoes, handbags, ready-to-wear clothes and accessories. It was also in the family factory that Ferragamo found the inspiration for her own leather creations. “I was 15 when I first discovered how many leather remnants are left over in the fashion process. I had visited the factory and was shocked by the amount of excess, and it stayed in my mind.” Although she first studied architecture, Ferragamo then progressed to an MA in Jewellery at London’s Central Saint Martins. Here she saw the potential in the remnants of high-quality leather and decided to incorporate them into her designs. “Where there is manufacturing there are always leftovers, but I think that what designers do, or they should do, is see opportunities where others don’t,” she says. “During the war, my grandfather clockwise from above: leather necklace and earrings by maria sole ferragamo, images courtesy of John Mc Grath; leather neck piece by maria sole ferragamo, image courtesy of Andrea De Fusco; interior of maria sole ferragamo pop-up shop on st john’s wood high street, image courtesy of Emma Cowdray

interview

couldn’t work with leather so he found a way of using cellophane chocolate wrappers to make shoes. Even in a tough situation, he showed you can use your creativity to see things from a different perspective, and see opportunities where other people see threats, or negatives.” The fact that jewellery is not something traditionally made out of leather, and is also not usually designed to be worn in many different ways was – in the spirit of her grandfather – an obstacle she was happy to confront. “I was obsessed with challenging the different aesthetics of leather, and I wanted to use the material in an intelligent way,” says Ferragamo, who didn’t let the difficulties she faced in using upcycled leather phase her either. “When I started my MA two years ago, researching sustainable fashion was really hard. It was seen as a limit to creativity, but now things are changing. There’s a rise of the conscious consumer who asks more questions like: ‘where has this come from?’, ‘who made it?’, and ‘what is the impact of this piece?’, which I think is really positive.” Celebrity advocates are often a way to raise awareness of issues such as those surrounding the environment, and Ferragamo has a few people in mind to wear her jewellery. “I would most love to see my pieces on Queen Rania of Jordan. She’s so elegant, and I think these pieces are for women that are self-determined and have a strong character. Otherwise, I would love to see them on Tilda Swinton, or Emma Watson – for her commitment to sustainable fashion.” People aren’t always receptive to the idea of repurposed materials. “Change is hard for

everybody. Going out of your comfort zone in general is always hard, and each of us has his or her own perception of luxury,” she admits. “I just believe that if I’m putting something new into this world, it has to be something that spreads a good message, that we cannot do things without considering the environment. I’m motivated by something much deeper and more profound than business or success. I would have done something else otherwise.” Ferragamo believes that the true luxury of jewellery lies in its connection with its wearer. “I think that you create a sort of intimate relationship with jewellery. It’s not about the price, the preciousness of the material or the sparkle.” The relationship with the wearer is enhanced in the way that Ferragamo’s pieces can be manipulated and wrapped around the body, and she frequently refers to her designs as ‘body architecture’. She says her work has undoubtedly been influenced by her former studies. “Studying architecture also taught me to be a very careful observer, so I never underestimate details,” she says. As for these finer points, being involved in the production of the pieces also allows her to ensure that everything is done correctly, with skills she picked up interning at the Salvatore Ferragamo factory. “I was making shoes and bags, and learning all of the processes. I think it’s super important as a designer that – even when you get to the point when you have other people doing things for you – you must know how things are made and know what is doable and what is not.” Although Ferragamo admits that she’s not sure what’s next – “I try to live in the moment” – she does harbour some long-term goals. “I believe in the transversality of design, so I would like to collaborate with designers in other fields, for example furniture, in order to build my own identity as a designer, rather than as a brand. My dream would be to collaborate with different brands and create capsule collections using their leather remnants.” Bringing such a project to fruition is a brave endeavour, in a world where the purchase of sustainable fashion is frequently seen as an act of charity, but with intelligent design at its heart, Maria Sole Ferragamo’s work is on track to succeed. Open until Christmas at 41 St John’s Wood High Street, NW8, mariasoleferragamo.it

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creedfragrances.co.uk

27053 Creed Aventus Xmas Ad_Runwild_210x297.indd 1

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CLOCKWISE FROM TOP LEFT: SARPANEVA/BLACK BADGER NORTHERN LIGHTS COLLECTION; ORBIS TERRARUM SPECIAL EDITION GREAT BRITAIN, MONTBLANC; THE C1 GREAT MALVERN POWER RESERVE, CHRISTOPHER WARD; GENÈVE TEMPUS TERRAE 25TH ANNIVERSARY EDITION, ANDERSEN; PETITE HEURE MINUTE THOUSAND YEAR LIGHTS, JAQUET DROZ; SARPANEVA/BLACK BADGER NORTHERN LIGHTS COLLECTION; L.U.C GMT ONE IN 18-KARAT ROSE GOLD, CHOPARD; OVERSEAS WORLD TIME, VACHERON CONSTANTIN; SARPANEVA/BLACK BADGER NORTHERN LIGHTS COLLECTION; MEISTER DRIVER CHRONOSCOPE, JUNGHANS

SALONQP 2016

ontblanc and Chopard celebrated SalonQP with the launch of new timepieces in November. Montblanc used the UK’s largest premium watch show to unveil the Orbis Terrarum Special Edition Great Britain, a world-time wristwatch with a dial adorned with a Union Jack; Chopard debuted an 18-karat rose gold version of its L.U.C GMT One. Elsewhere, Girard-Perregaux marked its 225th year by exhibiting a collection of 225 unique timepieces that are usually housed in its Swiss HQ. Curated shows educated guests on the history of the diving watch, the emergence of ‘travel time’ pieces, and a range of rare skills that the watch industry is almost single-handedly responsible for keeping alive. Established in 2009, SalonQP has been hosted at the Saatchi Gallery for the last six years and now has more than 70 exhibitors. salonqp.com

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211 REGENT STREET • WESTFIELD SHEPHERDS BUSH • LONDON CITY AIRPORT CASE • HARRODS • SELFRIDGES • TUMI.COM/19DEGREE

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19/10/2016 15:03

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Watch news WORDS: RICHARD BROWN

f you’re familiar with MB&F, you’ll know that the brand’s creations seldom sit within one product category. While they do indeed tell the time, MB&F watches display the hours, minutes and seconds of the day in such inventive and intricate ways that to categorise them merely as timepieces would be to do a disservice to the company’s founder, Max Büsser. Büsser doesn’t create watches; he conceives machines. Büsser’s latest, the Horological Machine N°8 (HM8, pictured below right), is inspired by a Can-Am race car. It inverts a Girard-Perregaux base movement so that a battle-axe-shaped winding rotor faces upward, positioned between two ‘roll bars’ and visible through anti-reflective sapphire-crystal glass. Dual optical prisms vertically display bi-directional jumping hours and trailing minutes. As you can see, it’s not your typical piece of wrist wear. Then again, there’s rarely anything conventional about MB&F’s works of art, watch-wise or other. Having previously worked with high-end clockmaker L’Epée 1839 to co-create a table clock, and with music box specialist Reuge to launch a mechanical mini-space-ship, Büsser recently branched even further away

from traditional watchmaking. His latest partnership with Caran d’Ache, the coveted pen and crayon maker, is the Astrograph – a fountain pen designed to resemble a space rocket. Available in high-gloss rhodium, sandblasted matt rhodium or anthracite ruthenium, an ‘entry door’ to the rocket, concealed in the ring of the pen, activates the lowering of three stabiliser legs, on which the Astrograph can stand. Comprising 99 components, the pen comes with a miniature magnetic astronaut figurine and a presentation box in the form of a launch pad. What to get the man who already has everything this Christmas? Max Büsser has just provided the answer. Horological Machine N°8, £66,900; Astrograph pen, £19,995, mbandf.com

Joyeux anniversaire All year the watch world has been waiting to discover just how Patek Philippe would honour the 40th anniversary of its most famous timepiece, the Nautilus. The answer arrived in October in the shape of the platinum, time-only 5711/1P (44mm, £82,310, far left), and the enormous (49.25mm) white gold chronograph 5976/1G (left, £69,960). Both watches arrive with blue dials bearing anniversary inscriptions, and feature baguette-cut diamond hour markers. patek.com

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RED-HANDED Maurice Lacroix has made a limited-edition version of its Masterpiece Skeleton Chronograph for Harrods. The 45mm timepiece was unveiled at SalonQP and incorporates a new automatic chronograph movement, produced exclusively for Maurice Lacroix by calibre creators Concepto. The hour and minute hands are diamond-cut and lined with luminescent coating. The Harrods edition comes with a red seconds hand and a red 30-minute chronograph disk at three o’clock. Masterpiece Skeleton Chronograph Harrods Edition, £5,350, mauricelacroix.com

JUNGHANS’ RETRO RACING LINES In a year characterised by nostalgic reinterpretations of a great swathe of halo timepieces – five of the most notable being Patek Philippe’s Nautilus, Audemars Piguet’s Royal Oak, Vacheron Constantin’s Overseas, Girard-Perregaux’s Laureato and Piaget’s Polo – Junghans has presented a vintage-inspired showstopper of a stopwatch. Inspiration for the Meister Driver Chronoscope came from the dashboard instruments of 1930s Maybachs and 1950s Mercedes models. With colour-contrast sub-dials and large minute markers, which take precedence over smaller hour numerals, the Chronoscope is a tool watch designed with time measurement in mind. The selfwinding, stainless steel, 40.8mm chronograph comes in at £1,790. The mid-century German automobile you need to complete the look might set you back a little bit more. junghans.co.uk

Reaching for the moon Your closest Glashütte Original boutique is now just a two-hour Eurostar journey away. October saw the German watchmaker open a new flagship store on Paris’s Rue de la Paix. It now operates 21 boutiques across the world, though, sadly, London still remains lacking. To mark the occasion, the brand bolstered its Senator Excellence line with the launch of the Panorama Date (steel, £7,100; red gold, £14,100) and the Panorama Date Moon Phase (above; steel, £7,900; red gold £14,900). Both models are equipped with Glashütte’s Calibre 36, which provides a 100-hour power reserve from a single spring barrel. This impressive

feat – power reserves of more than 48 hours typically require more than one spring barrel – was achieved by compacting the case in which the movement’s silicon balance spring sits. The Panorama Date mounts two concentric display discs on the same level, eradicating the need for a bar in its date window. Elsewhere, once properly set, the Panorama Date Moon Phase needs correcting just once every 122 years. Glashütte Original was founded in 1994, following the privatisation of Germany’s Glashütter Uhrenbetriebe, a collection of watch, clock and instrument companies that had been nationalised in 1951. glashuette-original.com

Chain of command When Apple was looking for a way of elevating its first smartwatch from the realms of geeky gadget to executive accessory, it was telling that it chose a collaboration with Hermès. The Apple Watch Series 2 dropped in September; and Hermès will continue making leather straps for a special edition of the timepiece, which incorporates faces based on its own Clipper, Espace and Cape Cod – the last of which is currently celebrating its 25th birthday. Several new iterations have launched this year: a men’s version with a cuff-style wristband; dial options that include onyx and lapis lazuli; and new gem-set editions. From £1,750, uk.hermes.com s L U X U RY L O N D O N . C O. U K s

COURVOISIER.COM

CLOCKWISE FROM TOP LEFT: Oro Rosso gold watch, £17,800, Luminor Panerai, panerai.com; Oyster Perpetual Datejust 41 steel and yellow gold watch, £9,350, Rolex, rolex.com; Historiques Cornes de vache 1955 watch with brown strap, £45,000, Vacheron Constantin, vacheron-constantin.com; G-Timeless silver watch with blue dial, £660, Gucci, gucci.com; Globemaster Annual Calendar with leather strap, £5,925, Omega, omegawatches.com; DRIVE De Cartier 18-karat pink gold watch, £15,500, Cartier, cartier.co.uk; Mechanical Perpetual Calendar Watch, £119,350, Patek Philippe, patek.com

Ice age P h o t o g r a p h y: e m m a t o d d S t y l i n g : n ata l i e r e a d

The

REAL DEAL Once one of Switzerland’s largest watch companies, Oris navigated its way out of the quartz crisis to reclaim a spot at the top table of watchmaking. Ulrich W. Herzog, its long-serving CEO, explains how the independent brand earned its seat alongside the industry’s heavyweights, writes Richard Brown

ULRICH W. HERZOG

ris’s slogan is ‘Real watches for real people’. Everton Football Club is known as ‘The People’s Club’. This provides a pithy comparison with which to kick off this piece: Oris is the Everton FC of the watch world. It’s true. Let me explain. As we know, watches, like football, are big business. The most successful brands, like the most successful clubs, are typically those propped up by the most powerful backers. (This isn’t always the case; the two most lusted-after brands, Rolex and Patek Philippe, are both independently owned, but this doesn’t help our argument, so we’ll be discounting these and moving swiftly on.) Cartier, IWC, Jaeger-LeCoultre, Montblanc, Panerai and Vacheron Constantin all belong to Richemont. Breguet, Blancpain, Omega and Longines coexist within Swatch Group. Hublot, TAG Heuer and Zenith form part of LVMH. These brands benefit from collective resource, huge spending power and large economies of scale – important in an industry where your end product is reliant on a snaking chain of suppliers and hundreds of components that typically can only be ordered in the thousands. In this big-money arena, independent Oris punches above its weight. Like Everton, Oris has secured its position within the Premier League of watchmaking through performance alone. The brand has been churning out solid watches, away from the limelight, for several seasons now. David Moyes managed Everton for 11 years. Ulrich W. Herzog has helmed Oris for the past 34. The son of ex-general manager Oscar Herzog – a man who himself notched up 43 years at the company – Ulrich was already serving Oris when, in 1970, it became part of the ASUAG group (later to transmute into Swatch Group).

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Unlike the arrival of the Apple Watch, the advent of the quartz wristwatch really did devastate Switzerland’s mechanical watch industry. Seiko’s Astron landed in 1969. At that time, Oris was producing around 1.2 million units a year. In the decade that followed, the company slashed its staff from 900 to just a few dozen. During the 1970s, to combat what became known as the ‘Quartz crisis’, Switzerland’s banks united a number of watchmakers under the holding company Swatch Group. Oris regained its independence in 1982, when Ulrich led a management buyout. He subsequently abandoned Quartz in favour of producing solely mechanical timepieces. It was a punchy move. The industry was being undercut and out-sold by vastly more affordable, more accurate battery-powered pieces from Japan. Few had the gumption to bet on the industry’s reawakening. Yet Herzog believed that if Japan was responsible for derailing Switzerland’s

traditional watch industry, then ultimately, it would be Japan that helped with its revival. Travelling the country during the mid-1980s, Herzog felt a tangible shift in the way people were appreciating mechanical wristwatches. “The Japanese were the first ones to see the potential of these things,” he explains. Aware of Japan’s influence over global trends, Herzog predicted that this rediscovered appetite for watches made of gears, cogs and springs would spread. It did. “The guy you should be really proud of in [the UK] is Paul Smith,” says Herzog. “He was the first guy to take our watches and sell them in his shops. He had a vision. At that time, no jeweller wanted mechanical watches, they all wanted quartz watches. Paul Smith said ‘no, I want these ones.’” Fast forward three decades, and an Oris timepiece will now almost invariably appear within the annual ‘Best of Baselworld’ round-ups that appear across the internet in the days that follow the world’s largest watch jamboree.

AQUIS DEPTH GAUGE, £2,100

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In 2012, the attention-grabber was the Artix GT Chronograph, a watch with a retrograde small seconds display that ingeniously mirrored the rev counter of a racing car. A year later, the Aquis Depth Gauge set watch websites alight when it became the first timepiece to indicate depth by allowing water to enter its case via a small hole at 12 o’clock. “It’s really cool,” says Herzog. “It uses Boyle’s law [which states that the pressure of a given mass of an ideal gas is inversely proportional to its volume at a constant temperature] to measure depth accurately to 40 metres.” Still, it was only in 2014 that unassuming Oris really cemented its position alongside horology’s heavyweights. The Calibre 110 that debuted that year was the company’s first in-house movement for 35 years.

“Independence is a huge advantage. We can innovate the way we want; we can move very quickly... we don’t want to sell £100,000 watches; that’s not our way of doing business” While the brand was in the business of manufacturing its own calibres prior to the 1982 buyout – archives suggest Oris made around 275 variants – its modern watches had been reliant on base movements from other manufacturers. “We’d add functions like world timers or regulator alarms to movements from ETA,” says Herzog. The 110 was the first to be designed by Oris itself since the company regained its independence. Spectacularly, for Oris’s 110th anniversary, the Calibre 110 delivered a

Calibre 111, £3,600

Calibre 110, £3,750

Calibre 112, £4,200

Divers Sixty-Five Carl Brashear Limited Edition, £1,900

previously-unheard of ten days of power from a single mainspring barrel. (Typically, watches that offer more than a three-day power reserve will have to incorporate a second mainspring.) A patented, non-linear power reserve indicator illustrated how much power was left in greater detail the further the watch ticked towards empty. “That really was a breakthrough for us. We didn’t manufacture the calibre completely – we have the parts made for us, according to our specifications – but as a movement, it was designed completely by Oris.” Remarkably, for an in-house, industry-beating, patentboasting timepiece, the Calibre 110 was available for £3,750. In 2015, Oris added a date window to the same base movement to present the equally elegant Calibre 111. This, in turn, mutated into the Calibre 112, when it was upgraded by way of a GMT function earlier this year. Both watches commanded considerable buzz during their respective Baselworld debuts. Both watches were priced, again, astonishingly, for under £4,200. You can see a theme emerging. Herzog believes that the respect Oris now enjoys among watch journalists is the direct consequence of three decades of autonomy. “Independence is a huge advantage,” he explains. “We can innovate the way we want; we can move very quickly. There’s not a big company in the shadows saying ‘you’ve got to make this and move within this price bracket.’ We don’t want to sell watches for £100,000; that’s not our way of doing business.” Independence means that when the market moves, so can Oris. The previous 18 months have seen a range of brands attempt to combat – or capitalise on – the emergence of the smartwatch. Recent figures may suggest that smartwatch sales are on the slide (down 48 per cent from Q4 2015 to Q1 2016, according to Strategy Analytics;

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AQUIS DEPTH GAUGE, £2,100

down 32 per cent year-on-year in Q2 2016, according to the International Data Corporation), but TAG Heuer, Breitling, Frédérique Constant and Alpina have all invested heavily in the connected sector. As unimaginative as it has become for watch interviewers to provoke their subjects on the point of smartwatches, it seemed pertinent with Herzog. Apple had just unveiled its second crack at getting us hooked on the miniaturised computers it’s invented for our wrists. At the launch, the company claimed that it has become the world’s second largest watch brand, trailing only Rolex. That’s massive. “For guys like Apple, of course smartwatches make sense,” says Herzog. “But I said from the beginning, I don’t see any future in this for Oris. There’s no long-term value with a smartwatch. Yes, I like to know how many steps I’ve done during the day – but tomorrow that function is outdated. “There’s always a newer smartwatch around the corner. You have to throw away this one and buy the next one. If

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you look at an Oris watch, you have something that after ten years you’ll still like to look at, you’ll love to see it on your wrist. You don’t have the same emotion with a smartwatch.” The truth, of course, is that no one really knows the extent to which the smartwatch sector will grow, not even the CEOs of watch companies. It would be naïve to dismiss the smartwatch movement as a fad; it would be equally naïve to overplay the threat smartwatches pose to the mechanical watch industry at large. Thirty-five years ago, Herzog wagered that traditional timepieces would always win over the hearts and minds of the style-conscious. So far, history has proven him right. Oris can thank its recent success on a run of solid watches delivered at sensible prices. While the brand stays committed to that formula, its winning streak looks set to continue. Up the Toffees! oris.ch

Birds of a

feather P h o t o g r a p h y: e m m a t o d d S t y l i n g : n ata l i e r e a d

Clockwise from top left: Hortensia white gold, sapphire and diamond Voie Lactée earrings, £24,770, Chaumet, chaumet.com; Oceana 18-karat white gold, diamond and sapphire cuff, POA, Vanleles Diamonds, vanleles.com; Swallow emerald and diamond earrings, POA, Jessica McCormack, jessicamccormack.com; 18-karat white gold and diamond Serpent Bohème necklace, POA, Boucheron, boucheron.com; Marquis diamond necklace, £90,000, Yeprem, yepremjewellery.com; Rose cocktail ring, £7,800, Piaget, piaget.com; double finger amethyst, emerald and black diamond cocktail ring, £28,524, Ara Vartanian, aravartanian.com; 18-karat white gold Thorn bracelet, £20,950, Stephen Webster, stephenwebster.com; 18-karat white gold and diamond Angel bangle, £22,000, Messika, messika.com; 18-carat white gold and emerald drop earrings, £39,000, James Ganh, jamesganh.com; Secret Combination platinum and diamond hoop earrings, POA, Harry Winston, harrywinston.com; white gold and diamond Flower Chain, £23,000, Chanel, chanel.com

CONNECT FOUR

Strictly come dancing The sizzling Spanish flamenco was the inspiration for Annoushka Ducas’ latest collection. The undulating folds of a fan – a traditional prop used by dancers to send coded messages to their suitors – have been captured in smoothly-carved pink mother-of-pearl, cleverly offset with black rhodium and baguette diamonds and a distinctly Art Deco feel of true vintage glamour. The limited edition range was recently extended to include pale green jade pieces. Flamenco 18-karat white gold with diamond and mother-of-pearl cuff, £39,000; jade and diamond earrings, £16,500, Annoushka, 1 South Molton Street, W1K, annoushka.com

Jewellery news

WORDS: OLIVIA SHARPE

Be Boodles Boodles invites us all to be more like the jeweller with its latest collection, launching just in time for Christmas. Available from 1 December, it sees Boodles’ signature letter ‘B’ woven into a delicate lace openwork motif, and set into feminine jewellery pieces including a bracelet, pendant, earrings and two rings. Each comes in 18-karat rose gold and platinum, featuring a dazzling combination of diamond pavé and round brilliant-cut diamonds. From £6,850, 178 New Bond Street, W1S, boodles.com

Boucheron has always been ahead of the curve when it comes to mixing metals in fine jewellery, as illustrated by its Quatre collection. The bold yet strikingly simple four-stacked ring design has become a signature style, and since its launch in 2004 has been reinterpreted around the four iconic motifs: the Double Godron, Ligne Diamants, Grosgrain and Clou de Paris. This year, the jeweller has deconstructed two layers (the Grosgrain and Clou de Paris motifs), which can now be worn alone or together. The former’s ribbed, vertical lines reference Frederic Boucheron’s family of drapers; the latter’s 3D design traces the cobblestones on Place Vendôme, where Boucheron famously set up shop in 1893. From £5,100, boucheron.com

WRITTEN IN STONE While diamonds may be a girl’s best friend, they are often our bank balance’s worst enemy. And that is why Steven Stone – a family-owned jewellery company founded in 1937 – prides itself on offering its clients only the highest quality, GIA-certified diamonds and fine jewellery at competitive prices. Its Marylebone showroom houses a stunning selection of diamond and gem-set jewellery, as well as samples of its wedding and diamond ring collections to try before buying. Visit the store for expert advice on the best gifts, especially if you’re looking to propose to that special someone this Christmas. 24 St Christopher’s Place, W1U, stevenstone.co.uk

MAGIE BLANCHE BRACELET, POA, MAGICIEN, T. DESCHAMPS & J.CLAESSENS, ©CARTIER

COLLECTION

DRIVING SEAT Laurent Feniou, managing director of Cartier UK, looks back on this year’s highlights and speaks to Olivia Sharpe about the jeweller’s plans for 2017

his year has certainly been a busy one for Cartier. Kicking off with SIHH in January, the prestigious annual watch fair in Geneva, the French jeweller launched the men’s DRIVE de Cartier collection. Next came Magicien: a collection of one-off jewels first glimpsed this summer in the French Riviera, which have since been making a tour around the globe. This was followed by Cactus, its cooler, more contemporary offering. And as the year closes, Cartier plans to extend its signature Love range with new pieces in time for Christmas.

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The man behind the wheel of Cartier’s UK operations is Laurent Feniou. Formerly at Rothschild, last year he took over when executive chairman Arnaud Bamberger stepped down after 23 years at the helm. Moving from the corporate world to the luxury realm of fine jewellery, watches and accessories might not seem the most obvious career step, but sitting opposite him in his London office, I couldn’t imagine a man more suitable for the job. Feniou evidently hasn’t forgotten his former banking roots, being smartly suited up in formal business attire for our meeting, but one flash of the Frenchman’s own DRIVE watch tells me that

he is Cartier through and through. Indeed, the French brand couldn’t have hoped for a better ambassador for its latest and most masculine model to date. Despite the sporty connotations, DRIVE hasn’t been designed for the action man, but rather for the modern day gentleman in need of a watch for all occasions. “I believed from day one that DRIVE de Cartier would be a success in the UK market – and it was,” he comments. “It’s very elegant, timeless and English. Men are becoming more educated about watches, and they like to have a collection with different models depending on how they dress and what they do.” While not exactly a departure from Cartier’s collections to date, it is true that DRIVE is a new direction for the brand, having steered away from its traditionally unisex timepieces. As Feniou notes, the clean, crisp aesthetic of the Cartier Tank or the elegant curves of the Ballon Bleu sit well on both male and female wrists, but DRIVE’s strong lines, defined proportions and masculine guilloche dial could only really work on a man. Cartier’s fresh take on its watch offering is hardly surprising, given the house’s long-standing reputation for innovation. This summer’s Cactus de Cartier collection immediately spiked interest thanks to its daring aesthetic. Drawing on one of the hottest trends of the season (cacti have cropped up everywhere, from Paul Smith and Gufram’s psychedelic coat stand collaboration to Prada’s plant-based fashion collection), the range is a far cry from Cartier’s more traditional blooms. Pieces are bold and sculptural, featuring spiky and curved shapes in vivid shades of green chrysoprase, emerald and warm yellow gold, perfectly capturing the arid desert landscape.

“When you think about Cartier over the years, and the many collections we’ve launched, you can see how we’re constantly trying to create something that’s daring and different”

CLOCKWISE FROM TOP LEFT: Illumination bracelet/ ring, POA, Magicien, Vincent, Wulveryck ©Cartier; Drive de Cartier, £18,200; Luminance necklace, POA, Magicien, Vincent Wulveryck ©Cartier; Quetzal ear cuffs, POA, Magicien, Vincent Wulveryck ©Cartier; Cactus de Cartier bracelet in 18-karat yellow gold, lapis lazuli, brilliantcut diamonds, £62,000; Cactus de Cartier ring in 18-karat yellow gold with diamonds, £12,000; Quetzal necklace with 68.85-carat rubellite cabochon and diamonds, POA, T. Deschamps & J. Claessens ©Cartier, Magicien

collection

“Cactus de Cartier is the great novelty of 2016,” confirms Feniou. Unlike classic collections such as the Paris Nouvelle Vague or the Juste un Clou – “the key pillars of Cartier”, he says – Cactus is not immediately identifiable as Cartier. It presents an edgier, more contemporary image, with chunky cocktail rings, well-proportioned cuffs and statement earrings. Cartier has never been afraid to explore new ground when it comes to unusual stones: this collection experiments with different and more unusual gemstones, mixing emeralds with lapis lazuli and carnelian beads. “In the past, we’ve worked with fossilised stones for instance, which aren’t as precious as diamonds, but are extremely rare,” argues Feniou. “So what we’re looking at is the rarity and the interest from a design perspective.” And if you know anything about Cartier’s history, you’ll know this isn’t the first time the jeweller has been avant-garde – the now iconic panther design caused quite a stir when it was first unleashed in 1914. “When you think about Cartier over the years, and the many collections we’ve launched, you can see how we’re constantly trying to create something that’s daring and different,” he adds. Every year, Cartier unveils a new high jewellery offering and 2016’s Magicien is arguably its most spellbinding to date. The collection aims to highlight the magic of transforming a precious stone into a priceless piece of jewellery, an act performed by its dedicated team of craftsmen. Feniou explains how the design process always begins with the stone. In reverence for its skilled artisans – many of whom have been with the maison for years – each was given the choice of which stone they’d like to work with.

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The later stage of the process involved the finished creations being presented in front of a committee to ensure that they reflected Cartier’s DNA. The managing director’s favourite piece is the Illumination bracelet, featuring brilliant-cut diamonds, carved rock crystal and one central 31.16-carat D IF emeraldcut diamond, which can be transformed into a ring. “There are some pieces that one can imagine ending up in the Cartier Collection one day – and this is it,” he says. “It’s a true masterpiece and requires the know-how of people who have been working as craftsmen for generations.” Feniou is well-placed to give advice on the best gifts for Christmas. The Frenchman, who unsurprisingly has a taste for the finer things in life, says you cannot go wrong with a bottle of Château Lafite or a holiday abroad. He has already given his two sons, aged 11 and 13, two Cartier watches each in the hope that they will continue to build their collections for years to come, and to his wife, a beautiful Ballon Bleu. While Feniou cannot predict which will be Cartier’s most popular products this Christmas, he notes that the internet is an increasingly essential source of sales; and something the company is investing in for the future. “It is an extremely important element in the luxury world. It’s not just buying, it’s the whole experience. Before entering our boutique, clients spend lots of time on the website, educating themselves on products, style and price so that they come to the store fully prepared.” Plans for 2017 don’t suggest that Cartier is slowing down, as the director reveals that the team is in the midst of planning an exciting exhibition in London. And while he refuses to go into too much detail, he hints that it will be of international weight. “London is an extremely interesting, international hub. People from all over the world visit and live here – so it will always remain a very important place for Cartier.” 175-177 New Bond Street, cartier.co.uk

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ART

Lovingly Lalanne

t was, really, not until an auction at Christie’s in 2009 that the sculptures and furniture by Les Lalanne – 92-year old Claude and her late husband FrançoisXavier – were appreciated on a truly international scale. From her studio near Fontainebleau, Claude has continued to create natural yet fantastical works, some of which are on view at Ben Brown Fine Arts. As Choupatte Géante, a larger-than-life edition of her bronze cabbage that stands on the legs of a chicken (so tall that it dwarfs the sculptor herself), and the 1994 Vache Fleurie (pictured) demonstrate, this is a special and ever-playful show of sculpture, old and new. Until 26 January, Ben Brown Fine Arts, 12 Brook’s Mews, W1K, benbrownfinearts.com

FRANÇOIS-XAVIER LALANNE, VACHE FLEURIE, 1994, PATINATED GILT-BRONZE WITH COPPER LINER 30 X 55 X 22CM, COURTESY OF BEN BROWN FINE ARTS

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H.CLAUDE PISSARRO (b.1935) Vallée de la Vère, Matin d’Hiver, oil on canvas, 46 × 38 cm (18 × 15 inches)

Impressionist | Modern | Contemporary | Camille Pissarro and his Descendants Stern Pissarro Gallery 66 ST. JAMES’S STREET, LONDON SW1A 1NE 020 7629 6662 STERN@PISSARRO.COM

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ART

with Brook Street gallerist KAMEL MENNOUR

Art news

CLOCKWISE FROM TOP RIGHT: KAMEL MENNOUR ON BROOK STREET, ©ADAGP CLAUDE LÉVÊQUE, COURTESY KAMEL MENNOUR; BRYAN ELLERY, BERTRAM WEATHERALL, 2010, BRONZE; ED RUSCHA, GALAXY — U.S.A. — DOT, 2016, ACRYLIC ON CANVAS, 182.9 × 315CM; ED RUSCHA, BIO, BIOLOGY, 2016, ACRYLIC ON CANVAS, 182.9 X 315CM; ED RUSCHA, INCH MILE, 2016, ACRYLIC ON CANVAS, 182.9 × 315CM, ALL ©ED RUSCHA, COURTESY OF GAGOSIAN

WORDS: CAMILLA APCAR

Loud and clear Ed Ruscha’s latest body of work takes a neutral and often monochrome tone that reflects on our place in the cosmos, and its future – over which the 78-year-old has long despaired. His canvases are super-sized as ever (and so right at home at Gagosian on Grosvenor Hill), and the message writ large, in every way. Ed Ruscha Extremes and In-betweens, until 17 December, gagosian.com

Face values From English aristocrats in their stately homes to Chinese shipbuilders in their downtown Shanghai offices, sculptor Bryan Ellery has portrayed an array of personalities the world over – always insisting his work should be done in the sitter’s own home, where “they tend to be more themselves”. After many years working on portrait commissions abroad, Ellery has decided to concentrate on clients closer to home in central London. “As I get older, I find one does not necessarily need to travel so far to discover exciting and beautiful people to portray,” he says. “London has them in abundance.” Having recently depicted an Asian head of state as well as a set of identical twins, Ellery feels ready for any challenge that the “varied and always beautiful faces of humanity” present him. bryanellery.com

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What inspired you to open your first gallery in Mayfair this autumn? I have always been close to London and come here regularly to see several of our artists, meet with collectors or visit exhibitions. We opened our third space in Paris in May, but London is one of the great capitals of contemporary art, and Mayfair is a historical and lively neighbourhood. What role does its interior design play? The gallery was designed by Pierre Yovanovitch as a soft, luxurious and intimate space to showcase poetic gestures and allow the privileged discovery of artworks. He showed me how it can also work as a white space for our artists to invest in. What unites your roster of artists? It is eclectic: we have young, exciting artists like Latifa Echakhch as well as more well-known names such as Anish Kapoor, Lee Ufan, Daniel Buren, and Huang Yong Ping, who was the latest artist invited to fill the nave at the Grand Palais with his Monumenta sculpture. Who was the first artist you took on? One of the first to join us was Zineb Sedira, an Algerian artist based in London. You can see her work in different Victoria line stations, where she was commissioned by Transport for London’s Art on the Underground programme to create a series of films and large-scale photographs. Most recently we welcomed Jake and Dinos Chapman, who just had a solo show at two of our Parisian galleries. With humour and horror, their work changes the way we look at universal symbols. 51 Brook Street, W1K, kamelmennour.com

ART

Prize lots SOLD: £221,000 SECOND HIGHEST LOT IN SALE ACHIEVED £45,000

An ivory netsuke of a shaggy dog and pup, Gechu

SOLD: £236,750 E S T I M AT E : £ 4 0 , 0 0 0 - £ 6 0 , 0 0 0

Prototype Surface Table, Terence Woodgate and John Barnard, 2008 “In our London design sale we saw contemporary work truly step into the spotlight, with a particular demand for limited edition and unique pieces. This is the only existing prototype of the highly sought-after Surface Table by industrial designer Terence Woodgate and design engineer John Barnard – a fusion of innovative technology, perfect craftsmanship and aesthetic beauty. It sparked fierce bidding that ended in a remarkable result.” – Laetitia ContatDesfontaines, head of 20th-century design sales at Sotheby’s London

UPCOMING

The Tales of Beedle the Bard translated from the original runes, J.K. Rowling, 2007 After writing the final novel in the Harry Potter series, Harry Potter and the Deathly Hallows, J. K. Rowling handwrote and illustrated six uniquely embellished copies of The Tales of Beedle the Bard for those who had played a significant part in the previous 17 years of her career. This copy is the only one of the six gifted books to be sold so far (Rowling produced a seventh manuscript specifically for auction and raised a record £1.95m for her charity, Lumos). It belonged to Barry Cunningham, Rowling’s first UK publisher. This precious piece of memorabilia will be sold alongside a first edition of Harry Potter and the Philosopher’s Stone, which is estimated to sell for £20,000 to £30,000. Estimate £300,000-£500,000, English Literature, History, Children’s Books and Illustrations at Sotheby’s, 13 December, sothebys.com 56

“This piece is particularly famous and significant in the output of its carver, Gechu, not only due to its outstanding craftsmanship but also because it is one of the key source works for attributing other netsuke (small Japanese sculptures) to the artist. It had been in another, equally famous, collection before being bought by Arlette Katchen in 1969 in memory of her husband, Julius, a leading concert pianist who died tragically at the age of 42 and whose final wish was to add this piece – his favourite netsuke – to their collection.” – Suzannah Yip, director of Japanese art at Bonhams

SOLD, FROM LEFT: TERENCE WOODGATE AND JOHN BARNARD, PROTOTYPE ‘SURFACE TABLE’, 2008, PROTOTYPE 2 OF 2, LACQUERED UNIDIRECTIONAL CARBON FIBRE AND STEEL, 73 X 600 X 140.5CM, PRODUCED BY ESTABLISHED AND SONS. THE DESIGN SALE AT SOTHEBY’S, 15 NOVEMBER, SOTHEBYS.COM, IMAGE COURTESY OF SOTHEBY’S GECHU, AN IVORY NETSUKE OF A SHAGGY DOG AND PUP, LATE 18TH/ EARLY 19TH CENTURY, SIGNED GECHU, 6.5CM HIGH. THE JULIUS AND ARLETTE KATCHEN COLLECTION OF FINE NETSUKE, PART I AT BONHAMS, 8 NOVEMBER, BONHAMS.COM, IMAGE COURTESY OF BONHAMS UPCOMING, FROM LEFT: THE TALES OF BEEDLE THE BARD TRANSLATED FROM THE ORIGINAL RUNES, 2007, J.K. ROWLING, INDIVIDUALLY HANDWRITTEN AND ILLUSTRATED BY THE AUTHOR, 155 PAGES CONTAINING C.6000 WORDS AND 17 VIGNETTE ILLUSTRATIONS, SMALL 8VO (17.5 BY 12CM), IMAGE COURTESY OF SOTHEBY’S EDWARD LEAR, THE FOREST OF BAVELLA, C.1878-1888, OIL ON CANVAS, 146 X 240CM, IMAGE ©CHRISTIE’S IMAGES LIMITED 2016

UPCOMING

The Forest of Bavella, Edward Lear, c. 1878-1888 In July, Christie’s Classic Week saw Rubens’ Lot and His Daughters sell for a staggering £44.9 million. The event returns in December with sales on a range of subjects including decorative arts, European sculpture, antiquities and classical Japanese art. This oil painting of the Corsican forest of Bavella by the multi-talented Edward Lear – which is said to have been left on the artist’s easel when he died – will appear in the Old Master & British Paintings sale alongside pieces by Francisco Goya and John Constable. Estimate £600,000-£800,000, Old Master & British Paintings Evening Sale at Christie’s, 8 December; December Classic Week, 6-15 December, christies.com s L U X U RY L O N D O N . C O. U K s

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A new exhibition at Offer Waterman explores Robert Rauschenberg’s first experiments with images from the mass media. Camilla Apcar discovers the power of his transfer drawings

n another era when the United States – and the world – was caught between a whirlwind of overachievement and a climate of political and social turmoil, American artist Robert Rauschenberg wrangled it all into his work, in an ever-changing array of mediums and styles. A five-month retrospective on the paintersculptor-printmaker-photographer opens at the Tate Modern on 1 December, the first since his death in 2008, but from 2 December an exhibition at Offer Waterman will focus on one lesser known strand of his work. Rauschenberg began experimenting with transfer drawings in 1952 on a trip to Cuba. These large sheets anticipate the multimedia Combines and silkscreen paintings for which he is perhaps best known (pictured overleaf), and are some of his first attempts at harnessing the power of mass media imagery. Offer Waterman will exhibit more than 30 examples from the 1950s and 1960s (a sizeable percentage of the total that Rauschenberg created), with almost half on loan from major private collections. Those for sale include a piece that was once in Andy Warhol’s personal collection, and none of the drawings have been exhibited publicly in London before. Despite the moniker, they cannot be considered as ‘drawings’ in the traditional sense. To create them, Rauschenberg cut out photographs and articles from newspapers and magazines, soaked them in solvent (turpentine or lighter fluid), then laid them onto white paper backgrounds. Next, he used a dry pen nib to rub or hatch the image – transferring it in reverse – onto the surface. According to Brice Marden, who worked as Rauschenberg’s studio assistant from 1965, the

ART

FROM TOP: APOLOGY, 1968, SOLVENT TRANSFER ON ARCHES PAPER WITH GOUACHE WASH, WATERCOLOUR AND PENCIL, 57.2 X 76.2CM, ©DACS; ORANGE BODY, 1969, SOLVENT TRANSFER ON ARCHES PAPER WITH GOUACHE AND PENCIL, 139.4 X 187.2CM, ©DACS

artist did most of his work at night: “For weeks there was a stack of Scientific American magazines sitting in the kitchen. Then, suddenly, they had been gone through overnight, and the images removed became Bob’s images.” The process is more precise than an actual drawing; removing any margin for interpretative error, since the photographs are true to life. And although the final visual effect is hazy (conjuring some idea of movement), both the artist’s message and choice of subject matter are quite deliberate. “One of the defining aspects of Rauschenberg’s work is its ability to challenge and push the boundaries of art and how we define it,” says Polly Checker, Offer Waterman’s exhibition director. “Like the Combines, which presented a hybrid between painting and sculpture, in these works Rauschenberg develops a technique that lies somewhere between monotype, collage, drawing and painting.”

“One of the defining aspects of Rauschenberg’s work is its ability to challenge and push the boundaries of art and how we define it” Rauschenberg continued to make transfer drawings after he had begun silkscreening, and even into the late 1960s. “For an artist whose work was marked by constant change, the fact that he worked with this process consistently from 1958 to 1968 reflects the potential for exploration and innovation that it offered,” says Checker. Having stuck with this form of visual art, Rauschenberg made more than 100 transfers in the 1960s. He created 75 in 1968 alone, a year of particular note in both American history and Offer Waterman’s exhibition. “1968 was one of the watershed years in post-war American culture,” says Checker. “Political Folly [pictured overleaf] was made for

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ART

CLOCKWISE FROM LEFT: POLITICAL FOLLY, 1968, SOLVENT TRANSFER ON ARCHES PAPER WITH WATERCOLOUR, 57.8 X 76.2CM, ©DACS; BED, 1955, COMBINE PAINTING: OIL AND PENCIL ON PILLOW, QUILT, AND SHEET ON WOOD SUPPORTS, 191.1 X 80 X 20.3CM, MUSEUM OF MODERN ART, NEW YORK, GIFT OF LEO CASTELLI IN HONOUR OF ALFRED H. BARR, JR., COURTESY OF THE MUSEUM OF MODERN ART, NEW YORK/ SCALA, FLORENCE; RETROACTIVE II, 1963, OIL, SILKSCREEN AND INK ON CANVAS, 203.2 X 152.4CM, COLLECTION MUSEUM OF CONTEMPORARY ART CHICAGO, PARTIAL GIFT OF STEFAN T. EDLIS AND H. GAEL NEESON, 1998.49, COURTESY OF NATHAN KEAY ©MCA CHICAGO

the one-day group show Response to Violence in Our Society, organised by ten Chicago art galleries in response to the violence between police and anti-Vietnam war protestors surrounding the Democratic Convention in August of that year.” Images of Senator Eugene McCarthy and Hubert Humphrey, as well as of protestors, were torn directly from various newspaper sources. Elsewhere, Rauschenberg wielded the power behind images of the Kennedys, the Olympics in Mexico City, and headlines about racial segregation and the space programme to capture the charged political and social issues – and emotions – of that eventful year. Popular and political culture come together time and again in the transfer drawings: Apology (pictured previous page) nods to Tommie Smith and John Carlos’ Black Power salute, while Ursula Andress rises from the sea in a still from Dr. No. The sources that Rauschenberg drew from were less sensational than those favoured by his contemporary, Andy Warhol, and more from what was then occupying the national interest. Rauschenberg used these images as signifiers that have only grown more potent over time, and allow his transfer drawings to be read – quite literally. More than 50 years on, these first experiments serve a timely reminder of just how influential mass media and its imagery are in the way that we view the world and its woes. Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, 2 December – 13 January, waterman.co.uk

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Pair of Russian icons: the Archangel Michael and Saint Stephen, 17th-18th Century AD, tempera on wood, 194 x 70 cm, Russia

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27/10/2016 12:30:12

FASHION

eter Marino has transformed the Ermenegildo Zegna New Bond Street flagship into a 6,500sq ft fashion emporium, finished with his signature clean lines and rich wooden features. To celebrate the re-opening and this year’s appointment of Alessandro Sartori as Zegna’s artistic director, a new bespoke footwear range handcrafted by Gaziano & Girling will be sold exclusively at the store. Based on nine of Sartori’s close friends, the collection includes a pair of lace-up loafers designed with his art dealer associate in mind, while ballet star Benjamin Millepied was the inspiration behind a pair of double monk strap shoes. The brand’s Su Misura tailoring service spans an entire floor of the townhouse – complete with a bar – for the most blissful of bespoke shopping experiences. 37-38 New Bond Street, W1S, zegna.co.uk

Clean

CUT

IMAGE COURTESY OF ERMENEGILDO ZEGNA

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Rule, Britalia! Another Italian name has appeared in lights in the West End as designer Luisa Spagnoli has chosen a prime Piccadilly spot to open her London boutique. Spagnoli has embraced quintessential British style in her A/W16 collection, which features tartans, checks, tweeds, and a hint of glam rock – all set against a backdrop of bold red telephone boxes and underground station signs. From £55, Luisa Spagnoli, 171 Piccadilly, W1J, luisaspagnoli.com

Style update WORDS: MARIANNE DICK

RETURN OF THE MACANDREAS MACANDR

From Milan to Mount Street Milanese accessories label Valextra recently joined the Mount Street elite: founded in 1937, it is best known for its structural handbags and practical luggage. The minimal interior scheme, designed by Philippe Malouin of Post-Office studio, reflects Valextra’s architectural aesthetic, and the lighter tones of the walls and carpet particularly enhance the bright patterns in this season’s collection (from £295). Valextra, 129 Mount Street, W1K, valextra.com

We first saw Vivienne Westwood’s MacAndreas tartan back in her 1993 Gold Label collection Anglomania (the show in which Naomi Campbell stumbled in those staggering blue platforms). The tartan is in homage to Westwood’s husband Andreas Kronthaler, and has been resurrected in a range of orange and navy scarves and stoles by Johnstons of Elgin. Cashmere blue tartan scarf, £150, Vivienne Westwood x Johnstons of Elgin, viviennewestwood.com

FASHION

All I want for Christmas is Choo If decorating your home doesn’t evoke quite enough seasonal cheer, Jimmy Choo has just the thing to brighten up each day of advent. Its Cruise Collection, which drops in stores in December, allows you to adorn your shoes and handbags with Swarovski embellishments – and even buy more if you feel so inclined. The vintage-inspired pearl, diamanté and fur brooches fit neatly in your handbag, taking you straight from dinner to the dance floor without a second thought. Charms from £35, Jimmy Choo, 27 New Bond Street, W1S, jimmychoo.com

A very British fairy tale British retail institutions Burberry and Harrods have joined forces for a spectacular Christmas collection, with a host of exclusive items to please even the most awkward of loved ones. The partnership has extended to the Harrods Christmas windows, revealed by actress Lily James (pictured), who also stars in Burberry’s festive short film: The Tale of Thomas Burberry. Pieces such as the shearling collar trench she wears almost make us wish that winter lasted more than just a quarter of the year. Sandringham shearling collar trench coat, £1,895, Burberry, available exclusively at Harrods, harrods.com

IMAGE COURTESY OF BURBERRY

Shine on

WINTER HUNTERLAND

Beirut-born Racil Chalhoub’s modern tailoring brand was launched just last year, but it has already made quite an impression with pieces that can easily be dressed up or down. Selfridges has now curated an exclusive eight-piece collection of Racil party separates in a glittering array of fabrics: from the slinky 1990s style Beverly dress à la Kate Moss, to the disco-ball tuxedo jacket (pictured above) that will add a little groove to any outfit. Phoenix tuxedo jacket, £710, available exclusively at Selfridges, selfridges.com

The great British rain is inescapable, so why not make it enjoyable? Heritage brand Hunter Original always manages to make practical outerwear look and feel stylish. We’ve got our eye on this streamlined, rubberised cape and the shearling-lined leather lace-ups from its North Sea-inspired A/W16 collection. They’re ideal for frolicking in the erratic festive weather and – fingers crossed – building some snowmen. Cape, £225 and boots, £185, Hunter Original, hunterboots.com

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THE

A/W16 CAMPAIGN STARRING GIGI HADID. PHOTOGRAPHY BY MARIO TESTINO OPPOSITE: STUART WEITZMAN

FASHION

As Stuart Weitzman generates footfall with its first ever UK store on London’s Regent Street, Olivia Sharpe speaks to its eponymous founder about breaking into the shoe business and the many highs of his career

such as Harrods and Selfridges – it seems surprising that this is his solo British foray. “London is a city that scares you away because of the high rental costs,” Weitzman explains, “but our success in the big stores proved to me that we could tackle it.” After a site became available on Regent Street, and with the business on a secure footing, the designer saw an opportunity that he couldn’t miss. He refuses to go into too much detail about what the store will look like, but hints that it will have a cooler, “more downtown vibe” than his existing stores as the company strives to meet the demands of the modern day consumer. Following Weitzman’s decision to sell part of his company’s shares to Jones Apparel Group, his empire has grown rapidly, generating substantial annual revenue thanks largely to its wholesale business. Jones Apparel

LONG RUN “I just like to see a good game. I often enter the stadium hoping someone will win and then find myself rooting for the underdog because I like to see a long battle.” Stuart Weitzman is full of surprises. Had it not been for the shoe designer’s soft American twang as he speaks to me on the phone from his New York office, I would have believed he was a Brit, as we discuss his love of tennis and the temperamental English weather. Secondly, had I not known he was a septuagenarian, I would have felt sure he was in his mid-30s. At 74, he is so full of vitality that he no doubt puts far younger men than himself to shame. Weitzman’s thriving shoe empire continues to go from strength to strength, as November sees the opening of his first flagship boutique in London. With footwear sold in more than 70 countries and in more than 78 retail stores across the US and in Europe – as well as department stores

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Group bought the remaining shares in 2012 before the company was sold in its entirety to Coach in 2015. However, Weitzman only agreed to sell under the condition that he would maintain creative control of the company as head designer. Weitzman possesses a strong head for business, which is no doubt why his company is the success story it is today. Revenue figures at the end of 2014 were reportedly $300 million. The designer was born into the shoe industry, his father having started a factory in Haverhill, Massachusetts. Yet he was initially drawn to the world of finance and so studied business at the University of Pennsylvania in 1963, imagining he would end up on Wall Street. However, fate had other plans for him, and his father’s untimely death in 1965 instead led him to join his brother in the family business. It was then that he realised his calling. “As soon as I started selling shoes, it was so exciting. I had never experienced that feeling before and I hadn’t anticipated it,” he says.

After a few years running the business, Weitzman believed that there was potential in the European shoe industry and went to Spain to find a manufacturing partner. He eventually took full ownership of the company Stuart Weitzman in 1986. The designer notes how many businesses tend to shy away from investing in their own manufacturing facilities due to the strict EU regulations that often hinder the process. Stuart Weitzman operates several factories in Spain, enabling the luxury shoe brand to sell footwear at far more competitive prices than its peers. “Other designers are having to charge 50 to 100 per cent more for their collections because they are making them

on someone’s else plant – so it inevitably adds to the overall cost,” he says. Weitzman’s footwear currently retails from £295 for flat shoes to £735 for boots. Stuart Weitzman’s signature design, the Nudist sandal, was created in 2013. First favoured by Diane Kruger and now ubiquitous on the red carpet, the simple two-strap design and its four-inch heel broke with convention for combining comfort and style and has been dubbed ‘the giving sandal’. This year, Weitzman attended the Council of Fashion Designers of America Awards with singer Ciara, who wore an updated version of the Nudist. “Giuliana Rancic from Entertainment Tonight was interviewing us and Ciara was saying how much she loved her shoes, at which point

fashion

ABOVE: A/W16 campaign starring Gigi Hadid. Photography BY Mario Testino

Giuliana called out to the crowd, ‘Is there anyone here not wearing Stuart Weitzman?’ I think there were about 16 girls wearing them. If they’d all been wearing the same dress, it would have been World War Three!” Another of Weitzman’s best-loved pairs are the thigh-high Highland boots. The designer was largely responsible for changing perceptions of this provocative design into an elegant and sexy staple – but he makes no attempt to deny that Julia Roberts’ appearance as Vivian in Pretty Woman was his source of inspiration. “I love that movie. I wanted to turn it into a shoe that every girl would want. Not every hooker, but every woman.” Initially, not everyone shared Weitzman’s vision, and he had to trial about 19 different designs before he struck gold. He adapted the pointed toe into a softer, rounded version and made the stiletto heel stronger and thicker. Gone too was the tacky vinyl leather sported by Roberts; replaced with elegant velvet, soft suede and leather materials. The first person to wear the boots was Kate Moss. “I brought a pair to a shoot with Mario Testino and Kate, even though we had never planned on including them,” he explains. “But then I asked her to try them on and she walked over to the mirror and said, ‘wow’ and asked for a pair. I said I would give them to her on one condition – simply tell me why you want this boot and you know what she said? ‘Strong heel’. That was it.” Moss debuted the new style in the A/W13 Stuart Weitzman video campaign. A media frenzy ensued, and women of all ages were demanding their own pairs from Weitzman. Their ageless appeal has since seen them worn by everyone from Selena Gomez and Taylor Swift to Heidi Klum and Jennifer Aniston. The forward-thinking designer has always had a democratic approach to design, but only now have others caught up with him. “I’ve never acted as a dictator, but the industry definitely used to,” explains Weitzman. “If you’re a good designer you will make one cohesive collection with each style working with any kind of silhouette.” From round, peep toe, pointed and oval-shaped to high heels, platforms, pumps and trainers, there are endless choices of footwear on the market, and Weitzman believes that the internet is

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overwhelmingly responsible for women’s elevated confidence with regards to what choices to make. Weitzman has never ventured into men’s shoes, finding the opposite sex’s options far more exciting and diverse. His love affair with shoes seems to have gone hand in hand with his love affair with women: he first realised the power of shoes to transform the wearer when he was 16 years old and had fallen in love with a cheerleader.

Weitzman is largely responsible for changing perceptions of thigh-high boots “I had the serious hots for this girl, but whenever I asked her out she told me she was too busy. One day she finally agreed,” he narrates, smiling. “So I borrowed my brother’s car and picked her up in the suburbs of New York – and she was wearing these red leather high-heeled pumps. At that moment I got the message of how shoes can really tell you something about a woman and the message she wants to give off.” While Weitzman jokes how he considers ‘retirement’ to be a dirty word, he understands that he must consider the long-term future of his company, especially given that his children have all pursued different careers. His two-year goal is to put a strong team in place to continue his legacy. Earlier this year Coach announced Wendy Kahn, the former head of Valentino, as the new CEO of Stuart Weitzman. She has ambitious plans to expand the brand into further product categories. By taking a step back, Weitzman will have more time to focus on his organisation, the Weitzman Family Foundation, which strives to support the American Jewish community and to enrich the lives of Jewish youngsters through education, health and sport. For Weitzman, the symbolic importance of a person’s shoes can be summed up by fictional character Forrest Gump, who said: “My mama always said you can tell a lot about a person by their shoes, where they going, where they been.” And I’m sure if you were to look at Weitzman’s shoes, they would tell a very great story indeed. 200-206 Regent Street, W1B eu.stuartweitzman.com

HER Cape, £4,150, Andrew Gn, andrewgn.com; dress, POA, Dsquared2, dsquared2.com; gloves, £79, Karl Lagerfeld, karl.com; bag, £100, Edie Parker, edie-parker.com

HIM Waistcoat, £1,700, Julien Macdonald, julienmacdonald.com; shirt, £160, trousers, £195, both Brooks Brothers, brooksbrothers.com

Winter

wardobe

It’s time to deck the halls – and yourself – with as much sparkle as you can muster. From sequin-embellished capes to golden animal print blazers, discover the brands championing the festive spirit P h o t o g r a p h y : P H I L L I P W AT E R M A N S t y lin g : D E B ORAH L ATO U C H E

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FASHION

HER Jumpsuit, £10,200, Julien Macdonald, as before; bag, £1,815, Roberto Cavalli, robertocavalli.com; shoes, £895, Christian Louboutin, christianlouboutin.com; ring, £88, Kate Spade, katespade.co.uk

HIM Jacket, £885, trousers, £395, Casely Hayford, casely-hayford.com; shirt, £160, Brooks Brothers, as before; shoes, £505, J.M. Weston, jmweston.com; pocket square, £55, Richard James, richardjames.co.uk; bow tie, £45, Gieves & Hawkes, gievesandhawkes.com

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FASHION

HER Dress, £1,495, Preen by Thornton Bregazzi, preenbythorntonbregazzi.com; jacket, £978, Diane von Furstenberg, dvf.com; bag, £1,598, Philipp Plein, plein.com; ring, £300, Ternary London, ternarylondon.com

HIM Jacket, £900, Just Cavalli, justcavalli.robertocavalli.com; shirt, £435, Philipp Plein, as before; trousers, £195, Kenzo, kenzo.com; tie, vintage Yves Saint Laurent, stylist’s own

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CREDITS Models: Sally Jonsson at Milk Agency and Seb at Models 1 Make-up: Neusa Neves at Terri Manduca, using NARS Cosmetics and Zelens Nails: Amy Atkins at Terri Manduca, using Nails Inc Hair: Renda Attia, using Bumble and Bumble Stylistâ&#x20AC;&#x2122;s assistant: Julie Lee Hair assistant: Selasie Ackuaku Make-up assistant: Faith Eastwood Location: Quaglinoâ&#x20AC;&#x2122;s, quaglinos-restaurant.co.uk With special thanks to: The Macallan, themacallan.com

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FASHION

Dress to impress One of the most thrilling aspects of the festive season’s social calendar is the opportunity to peacock. The Gieves & Hawkes A/W16 collection is filled with structured casualwear for cosy country retreats, but our favourite pieces are the tailored dinner jackets – particularly the one with a foliage pattern jacquard in bronze (pictured, £2,195). The campaign is modelled by Andre van Noord who stars alongside his son Parker, testament to the brand’s cross-generational appeal. 1 Savile Row, W1S, gievesandhawkes.com

Style spy WORDS: MARIANNE DICK

Blue velvet Fresh from a glistening refurbishment, member’s club Annabel’s on Berkeley Square has collaborated with father-and-son tailors Joe and Charlie Casely-Hayford to create a suave smoking jacket. The velvet limited edition is singlebreasted with a wide shawl lapel, in an inky hue that arouses nostalgia for 1950s glamour, while its camouflage lining is a nod to Casely-Hayford’s A/W16 collection, Irregimental Youth. £675, available at Harvey Nichols, harveynichols.com

Sole of a man TAKE A BOW Bow Tie by Design is a new e-store that works closely with designers of one rather divisive formalwear accessory: the bow tie. The brand is currently championing Matilda Flynn, Pascal Dino and Zarazz, who have created a range of tied and self-tied options. It’s worth a look, whether you’re ready to whip one out during party season or continue channelling your inner Bond or Blahnik. From £125, bowtiebydesign.com

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Tramezza translates literally from Italian to ‘something in-between’, which hints at the secret behind the unrivalled comfort and sturdiness of the shoe range of the same name from Salvatore Ferragamo. The defining feature of its 260-stage handcrafted process is a thick piece of buttery leather – elsewhere, cork is often used – placed between the sole and in-sole. A new made-to-order service allows customers to build their own Oxford brogue or monk strap shoe or boot, with options including ostrich and crocodile skin and engraving on the sole. From £590, 24 Old Bond Street, W1S, ferragamo.com 77

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INTERIORS

Ted’s

threads

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ed Baker adds another string to his suave bow this winter with an opulent new rug collection in collaboration with Dutch carpet craftsmen Brink & Campman. The enigmatic and elusive Mr Baker supposedly hatched the plan after he tripped over at the summit of a Siberian mountain and inadvertently discovered a piece of ancient tapestry beneath the snow. Many of the prints are recognisable from his ready-to-wear lines: glossy jewel-hued paisleys, futuristic florals and liquescent marble patterns are handcrafted to order using the softest woollen yarns. The brand’s quintessentially British style with a healthy dose of drama makes for a striking feature floor. From £545, tedbaker.com

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All brand names, product names, and trademarks are the property of their respective owners. Certain trademarks, registered trademarks, and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. Crestron disclaims any proprietary interest in the marks and names of others. Crestron is not responsible for errors in typography or photography. ÂŠ 2016 Crestron, Ltd.

INTERIORS

Paisley power The paisley pattern has always had a prominent and familiar place in British fashion. In the 19th century, the botanical motif was woven into shawls in its namesake Scottish town, before it swirled into the kaleidoscopic limelight of 1960s pop culture. Fascinated by the print, Gerolamo ‘Gimmo’ Etro introduced his own vibrant interpretation when he founded his textile brand in 1968. The arnica paisley remains symbolic of Etro, and adorns much of the regal and lavish A/W16 home collection. From £109, harrods.com

Interiors news WORDS: MARIANNE DICK

CHECKMATE As part of the department store’s shiny new accessories expansion, Selfridges is hosting a Swarovski Atelier pop-up until January. Our favourite piece is this mixed material chess set designed by architect Daniel Libeskind, using concrete, aluminium, marble, crystal and silver. The board shows maps of Milan and New York where Libeskind has spent the majority of his life, while the pieces represent some of his most prominent structures. It’s the perfect gift, but perhaps keep it out of reach once the champagne starts flowing. Architecture and the City chess set by Daniel Libeskind, POA, Atelier Swarovski, selfridges.com

A study in green In his biographical essay Pen, Pencil, and Poison: A Study in Green, Oscar Wilde describes the corrupt art critic at the centre of the piece as having: “that IMAGES COURTESY OF ACHILLE SALVAGNI ATELIER curious love of green, which in individuals is always the sign of a subtle artistic temperament”, before going onto describe his library, which features a “‘pomona-green’ chair”. For his latest collection, all for the study, Achille Salvagni has also taken inspiration from this curious colour. Expect his signature use of onyx, bronze and walnut alongside angular celestial light fittings and a curved, moss-hued sofa. A Study in Green, until 17 February, Achille Salvagni Atelier, 12 Grafton Street, W1S, achillesalvagni.com

Silver service There’s no other occasion quite like Christmas dinner, so it’s only right that the most precious tableware is reserved for such a feast. Alchimie’s shimmering selection of dining plates, bowls, beakers and even lanterns comes in a colour palette that will suit every yuletide scheme – whether it’s minimal and monochrome, a frosty silver grotto or simply dripping with gold. From £30, Alchimie, l-objet.com

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All she wants for Christmas...

LUXURY BATH & BODY AND HOME FRAGRANCE COLLECTIONS

www.lilouetloic.com

IMAGE CREDIT: ©CHRISTIAN DIOR PARFUMS

health & beauty

All that glitters Dior’s latest collection, Splendor, has raised the bar for party season. Eyeshadow palettes in white, black and smoky silver, or pink, mauve and violet feature an embossed sequin motif that pays homage to the artistry of its couture atelier; while pearlescent nail shades include pink and gold-specked garnet red. The two-in-one Diorific Matte Fluid – suitable for colouring both lips and cheeks – will serve unfailingly on any special winter’s night. From £20.50, dior.com

Beauty news W O R D S : me l i ss a emerso n

Aesop’s adventures

gold digger

A beautifully-presented gift set is always a winner, and Aesop’s new Pursuits of Passion theme leads the pack this Christmas. Six editions celebrate the work of naturalists including German-born Maria Sibylla Merian, who travelled – on what was said to be the world’s first purely scientific expedition – to the Dutch colony of Surinam in 1699 to study indigenous flora and fauna. Named in her honour, The Avid Explorer is a quartet of body products (think balms, cleanser and hand wash), while other sets focus on skin, hair or male grooming (in the aptly-named The Intrepid Gent). Sweet illustrations by Norwegian artist Bendik Kaltenborn lend a stylish finishing touch. From £50, aesop.com

Burberry’s festive collection is all about one precious metal in particular: from its limited edition metallic packaging to glittery Shimmer Dust. Gold flakes turn My Burberry Eau De Parfum into a sparkling snow globe, and for a unique extra touch, the bottle itself can also be monogrammed on request. From £15, uk.burberry.com

A bed of roses Diptyque’s 34 Collection – named after its first boutique at 34 Boulevard SaintGermain – sees new editions launched each year depending on the best harvest from its fields in Grasse. For 2016 comes Essences Insensées, a delicate May rose fragrance with honey hidden in its floral notes. Revel in the scent’s full intensity courtesy of this elegantly cased and handbag-ready solid format. £40, diptyqueparis.co.uk s l u x u ry l o n d o n . c o. u k s

Spot the signs:

Coeliac disease

Coeliac disease is a common condition, where the body reacts to gluten; but what do you do if you suspect your child may have it? Dr Mark Furman, consultant paediatric gastroenterologist at The Wellington Diagnostics and Outpatients Centre explainsâ&#x20AC;Ś

oeliac disease is a common genetic condition that affects an estimated one in 100 (one per cent) of the UK population. It can occur at any age after gluten is introduced into the diet. gluten causes an immune reaction that damages the absorption surface of the small bowel, usually leading to malabsorption of food and essential nutrients. Once diagnosis is confirmed a lifelong gluten free diet is implied, and maintaining a strict gluten-free diet allows the damaged tissue to return to normal. Symptoms can vary between people and may include abdominal pain, bloating, nausea, vomiting, diarrhoea or constipation. Some more subtle signs of coeliac disease include iron deficiency anaemia, tiredness and dental enamel defects. Some children may have reduced appetite, often associated with pain or discomfort around meals. Weight and height measurements are a particularly important part of the assessment in children, as poor growth or weight gain may be a warning sign. It is important that any testing done for coeliac disease is performed while the child is on a gluten containing diet, and no patient should stop gluten (unless advised to by their doctor) before the diagnostic tests have been completed. Once results are known, it may seem instinctive to remove gluten from the diet, however this intervention may in fact potentially hamper the process of making an accurate diagnosis. Being a lifelong condition, it is crucial to get it correct at the beginning, to ensure that the right treatment and dietary advice can be initiated. In addition, a child with confirmed coeliac disease may be eligible for

PROMOTION

It is important that any testing done for coeliac disease is performed while the child is on a gluten containing diet

Meet the specialist Dr Mark Furman, MB ChB, DCH, An important consideration for some gluten-free food prescriptions MRCP, FRCPCH is a consultant paediatric families is what happens outside from their NHS GP, which many gastroenterologist at The Wellington the home, at childrenâ&#x20AC;&#x2122;s parties and families may find helpful. Diagnostics and Outpatients Centre. of course at school. If school Serological blood tests are very His special interests include gastrodinners are to be continued, the reliable, with excellent sensitivity and oesophageal reflux, constipation and families need to speak to the school specificity. Once the results have been coeliac disease in children. to ensure that they are able to provide confirmed, a referral to a paediatric strictly gluten free food, without gastroenterologist is the next step. An contamination in the cooking or serving endoscopy with duodenal biopsy may be process. If this is not possible, then some indicated. This is a quick and safe diagnostic parents may opt for packed lunches instead. test, performed under general anaesthetic to check As it is a genetic condition, siblings should be for any signs of the typical coeliac disease pattern offered testing, according to current guidelines, of inflammation. In some special circumstances, at the appropriate age. I recommend joining the endoscopy may be avoided. Coeliac UK to all my patients and their families. It Paediatric dietetic input is mandatory for is an excellent resource for both information and newly diagnosed patients. It is important for support, and also for updated guidance on both the child and the parents to be present at gluten-free products (coeliac.org.uk). this appointment, so that the child feels involved from the outset. It is important to discuss not only what needs to be avoided, but also what can To book an appointment with Dr Mark Furman or for be eaten. Any contamination with gluten can more information about paediatrics at The Wellington cause treatment failure, with ongoing Diagnostics and Outpatients Centre, please contact our inflammation and symptoms. enquiry helpline on 020 3504 3159

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health & beauty

REVIEW

The long and

short of it With the lob set to be the haircut of the season, Lauren Romano decides to take the chop at Daniel Galvin at Selfridges

very couple of years barnet boredom kicks in and desperate to make my long, fine, poker-straight hair more interesting, I resort to a bob. Before I can talk myself out of it, I head straight to the nearest salon armed with pages hastily torn from glossy magazines. The results are mixed, usually because the perfectly quaffed, gamine styles sported by the celebrities and models pictured require cheekbones decidely more chiselled than mine. Looking to the genetically blessed for hair inspiration is not without its downfalls. “You won’t look like her just because I cut your hair like that,” once warned Antonio, the outspoken Spanish hairdresser whose salon I frequented in 2007, brandishing a picture of Alexa Chung. The warning failed to deter me. But I’m adamant not to repeat past mistakes this time around. The lob, or long-bob, is currently top of the tresses, and to figure out a version that works for me, I’ve headed to Daniel Galvin at Selfridges. Occupying a light-filled space on the third floor, the salon joined the department store’s Body Studio over the summer.

After months of being swept up in a top knot, my hair is moisture-starved, knotty and lacklustre. Luckily principle stylist Rikki doesn’t seem the type to pass judgement like some other hairdressers do. Given my lack of dexterity with curling tongs and straighteners, he suggests a more manageable version of what I had in mind: a collarbone-length look, with a strong, straight baseline and sparing long layers. To give my hair a boost before central heating blasts it this winter, I’m prescribed the Oribe Signature Moisture Masque. Created by Versace, the Oribe range of haircare products smell as divine as they look, encased in decadent black and crimson bottles. The deeply hydrating formula is left to work its magic under a heater for ten minutes while I’m treated to a relaxing hand massage (other while-you-wait options from the in-house masseuse include foot and leg or shoulder rubs). Back in the chair, as whole tufts of hair float to the floor, I can see the overall blunt outline taking shape. The most meticulous fringe trimming operation I’ve ever experienced concludes the cut, before I’m given a masterclass in pared-back, natural looking styling. I emerge an hour and a half later, with a light, bouncy lob to rival that of the hair flip emoji. And for once, it actually suits me. 400 Oxford Street, W1A, danielgalvin.com

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The Macallan’s whisky hotspots

othing says Christmas like enjoying a fine whisky by the fireside – and there’s no better way to toast the season than with a glass of The Macallan. Stocked in bars across north-west London, the only decision left is where to drink it…

The Summerhouse

The Marylebone

The Waterway

Chill your single malt to perfection thanks to the hotel bar’s Macallan Ice Ball Machine. Cigar pairings are also available on request. 47 Welbeck Street, W1G, doylecollection.com

It might be too cold to enjoy the outdoor terrace, but the ski chaletinspired interiors come complete with a roaring fire and live music. 54 Formosa Street, W9, thewaterway.co.uk

Push the boat out at this Grand Union Canal restaurant, with a seafood platter of rock oysters and an after-dinner glass of The Macallan. 60 Blomfield Road, W9, thesummerhouse.co

Food & drink news W O R D S : J a c i n ta R u s c i l l o

Winging it

It takes two Dinner at The Cavendish is a must for cosmopolitan fine dining with a traditional Italian twist. To celebrate its second birthday in Marylebone, head chef Douglas Santi has launched a new menu of simple, pared-back dishes. Traditional slow-cooked beef short rib and sea bream with beurre blanc and the 100-layer lasagna are just a few of the delights on the menu. The downstairs bar is the perfect place to enjoy some festive pre-dinner drinks. For an exotic winter warmer, opt for the Maya cocktail made with dragon fruit, rum, fresh mint and lime. 35 New Cavendish Street, W1G, 35newcavendish.co.uk

Happy, free-range chicken tastes better according to the mantra of new eatery Chickens and Foxes. Located next to Baker Street station, the hip and wholesome vibe translates into a perfectly simple menu, which is available to eat in or take away. Enjoy flavoursome grilled chicken with a choice of interesting sides, from tabbouleh to a three quinoa salad. For the best of the trimmings, head over on Sunday for a hearty roast, slow-cooked in the rotisserie oven. 199 Baker Street, NW1, chickensandfoxes.com

A Provençal Christmas The new festive set menu at Aubaine promises a taste of Provence in the heart of Marylebone. Enjoy butternut squash tart with poached eggs and smoked salmon with beetroot tartare, before moving onto mains of black truffle tortellini and chestnut velouté, or a more traditional ballotine of succulent turkey. Just be sure to save room at the end for matcha macaron Christmas trees and an exquisite cinnamon spiced tarte tropézienne. 7 Moxon Street, W1U, aubaine.co.uk

food & drink

review

Ivy league The Ivy Café has opened another outpost, this time in St John’s Wood. It adds a touch of excitement to a residential area with a discerning clientele, as Charlotte Phillips discovers

e’ve been waiting for The Ivy Café for a long, long time. As a lifelong resident of St John’s Wood, I can confirm our high street has been in dire need of somewhere inviting, serving good food in a buzzy, but not overly trendy, location. Thank goodness Richard Caring has bestowed his winning formula upon the hallowed grounds of NW8. When we arrive, ever sceptical at fictionalised restaurant hype, we’re pleasantly surprised to be met with a 90 per cent occupied restaurant, filled with well-heeled diners, waiters ferrying oversized white plates and the intoxicating scent of The Ivy’s famed truffle arancini balls. The menu is British comfort food at its best. Old favourites such as shepherd’s pie and fish and chips sit next to lighter, more modern choices like tuna carpaccio, making the restaurant just as suited to a family Sunday lunch as a first date. If it is date night, take advantage of the cocktails: Garden of the Abbey, an elderflower vodka, cucumber and lime concoction, is as refreshing as it is potent. Torn between two starters, I opt to make one my main course, and supplement with plenty of sides. The roast pumpkin soup is the perfect winter dish: warming and richly comforting, I would order it again. The smoked salmon on granary bread is tender and peppery and just as it should be, yet my guest’s tuna carpaccio gives me automatic food envy, while he declares his main course – fillet steak served medium rare – is excellently cooked. If you can resist the fried zucchini, you’re a stronger woman than I, but on this occasion do

restaurant photo courtesy of Paul Winch-Furness Below: CROQUE MADAME; ROASTED BUTTERNUT SQUASH WITH GRAINS

succumb: they are thin, moreishly crispy and served in a generous portion. We also share tenderstem broccoli (generally dull and virtuous, but here, quite delicious) and a portion of root vegetables, sliced and baked (perhaps fried; I choose to believe not) to look like French fries. The restaurant is large, with a cosy, timeless décor: orange banquettes, tiled floor, indoor greenery and tinted mirrors. Vivid bird and wildlife-themed artwork which almost resembles stained glass windows, adorns the walls, and the space is lit by copper and glass lanterns that give off a flattering dim yellow glow. Despite being stuffed, we opt for the speciality dessert: molten salted caramel poured onto a dark chocolate bombe until it melts to reveal a vanilla ice cream and honeycomb centre. It defines indulgence at its best. The restaurant occupies a tricky site on the high street that has seen quick turnover in recent years. But The Ivy Café’s arrival was worth the wait, and Caring can be quietly confident that his new venture is here to stay. 120 St John’s Wood High Street, NW8, theivycafestjohnswood.com

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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 winter 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

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“Mayfair’s best kept secret”

info@hush.co.uk Telephone: 020 7659 1500 Fax: 020 7659 1501 No.8 Lancashire Court, Brook Street, London, W1S 1EY

The show must Hospitality veteran and thespian Laurence Isaacson went to school with George Harrison and university with Mick Jagger before establishing his restaurant empire in the West End. Now heâ&#x20AC;&#x2122;s helping to revive Londonâ&#x20AC;&#x2122;s oldest French eatery, and pulling strings backstage at a new theatre. Lauren Romano meets the restaurateur at home in Primrose Hill

interview All images courtesy of L’Escargot

go on

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“O

ne of the highlights of my life was flying in a six-seater Learjet from Paris to London with Coco Chanel. She was on her way to dinner at L’Escargot,” begins Laurence Isaacson as he clears a space for me at the breakfast room table. Many things about the restaurant mogul’s meandering career sound highly improbable, not least that he ended up owning L’Escargot several decades after sharing said private jet with Madame Chanel at the tender age of 24. Isaacson has opened and run so many restaurants in his time, chiefly under his umbrella company Group Chez Gérard, that he’s beginning to lose track – but at the last count he estimates the figure to be around 50. L’Escargot is the most recent addition to the tally and was bought by Isaacson and his long-time friend and business partner Brian Clivaz from Marco Pierre White in 2014. Isaacson and Clivaz successfully launched Home House private members club together back in 1990 and Clivaz (who some of you might remember as the manager of the Arts Club) was keen to rekindle the partnership. “I thought: ‘what have I done? I was just about to retire!’” Isaacson smiles as he tells me of Clivaz’s irresistible business proposition. “L’Escargot first opened in 1927 and it was one of the first, if not the very first, French eatery in London. Today the décor is still very theatrical and decadent like restaurants used to be,” he adds, rattling through a guest list that has included everyone from the late theatre director Sir John Gielgud to Sir Ian McKellen. Isaacson didn’t set out to be a restaurateur at all. The hospitality empire he grew was, by all accounts, a happy

accident, born out of hard work, luck and a fortunate ability to spot a lucrative opportunity. He doesn’t strike me as a nose to the grindstone type; despite all his success, he eludes an air of calm, as he pauses to consider each question. He labours over dates, trying to sort episodes into some sort of chronological order. “It’s very difficult to describe my life because I’ve done a lot of different things,” he admits. He “escaped” from Liverpool aged 17 – “George Harrison was in my class at school. He used to beat me up in the playground. I wasn’t very pro The Beatles in those days,” he smiles in passing – and moved to the capital to study at the London School of Economics. There, he ended up in the same class as Mick Jagger for two years. “If I’d have been able to sing, I would have become very wealthy,” he quips. He ended up having to turn down a place at RADA because he was unable to get a scholarship. Such is fate however that two years ago Isaacson was asked to join the board at the academy: “I’ve gone full circle!” Isaacson’s enthusiasm for acting has never left him. He first joined a drama group while working for Unilever at the beginning of his career, and today he is part of a community theatre group based on Fire Island, New York where he has a second home. His first venture, Le Café des Amis du Vin in Covent Garden was right by the Royal Opera House. “When we opened we broke the mould of restaurants at the time because we had no tablecloths, just wooden tables and chairs. We served great steak frites and onion soup,” he reminisces. It was an overwhelming success, so much so that three and a half years later he sold it for a healthy profit and ended up starting a new restaurant group – Chez Gérard.

interview

Isaacson’s restaurants soon became the stomping ground for the movers and shakers of the theatre world and gave him the perfect launch pad from which to tread the boards. He eventually started the Covent Garden Festival of Opera and Music Theatre, which ran for three weeks each May. Over the course of its 11 years, Isaacson raised £7m to host the event and enlisted Princess Diana as royal patron.

“At L’Escargot we wanted to create a café society, a fun place to be with good old-fashioned French food” Today he’s also on the board of the Royal Shakespeare Company and is currently helping artistic director and producer team Joshua McTaggart and Joel Fisher to open The Bunker, a 100-seater space next door to the Menier Chocolate Factory, which will stage new writing, musicals and cabaret. “Setting up a restaurant is like putting on a show, and every night is different,” he explains. Curtain calls and cuisine go hand-in-hand for Isaacson, who was also enlisted by the Ambassador Theatre Group to help grow its theatre portfolio from three to 40 venues, all while running Chez Gérard. He affirmed his Midas touch by introducing theatre and dining packages for the first time, too. But today in the wake of pop-ups and a trend-led dining scene, Isaacson laments the death of more traditional restaurants. “I’m a great fan of simple food. My friends are frightened of inviting me for dinner, but I quite like egg and chips,” he laughs. I don’t ask, but I hazard a guess that ‘no reservations’ policies aren’t something he’s accustomed to. “Everywhere is trying too hard to be clever-clever these days, with minimalist décor. At L’Escargot we wanted to create a café society, a fun place to be with good old-fashioned French food,” he tells me. On his nights off you’ll find him at The Ivy, The Wolseley, or his local Greek restaurant Lemonia, where the staff know him by name. It has the added bonus of being just around the corner from the handsome north-west London townhouse he has called home for more than 40 years. “This house is the best investment I ever made,” he says. “It’s very

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un-London around here. Everybody talks to each other, and it’s only ten minutes from the West End.” His house, as you might expect, is an extension of the comfortable, welcoming aesthetic Isaacson favours in his restaurants. There’s a wonderfully lived in quality to the place, with trinkets and artworks covering every available space. Among the ornate chandeliers and paintings in the vivid blue first floor sitting room, I spy a photo of Isaacson being presented his CBE by the Queen for services to the restaurant business and tourism in London – something he describes as his “proudest moment”. What with meeting the Queen and commuting with Coco Chanel, I wonder what’s next for the indefatigable businessman? One thing’s for certain, throwing in the towel isn’t an option. “You’ve got to keep busy,” he warns with a telling smile. “You’ve got to be careful about retiring too soon because you might get bored and drop down dead.” 48 Greek Street, W1D, lescargot.co.uk; The Bunker Theatre, 53 Southwark Street, SE1, bunkertheatre.com

Retail therapy 2.0 Melissa Emerson watches her Christmas shopping woes disappear as she’s whisked from hotel to designer outlet paradise, thanks to The Landmark London’s Shop ‘Till You Drop experience

o matter how organised you try to be, Christmas shopping usually turns out to be a stressful experience. But this year, as the world and his wife descend on Oxford Street to panic buy presents, I’ve decided to give the West End a wide berth and try a different approach. Cue the new Shop ’Till You Drop package, the result of a partnership between the five-star The Landmark London hotel, designer shopping outlet Bicester Village and Chiltern Railways. With The Landmark London located right next to Marylebone Station and Bicester Village having its very own purpose-built train station, we are practically taken door-to-door in just 46 minutes. The package is designed for two, with return tickets for both guests included and the bonus of being able to check in to the hotel before departing for our shopping spree.

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The marble-heavy bathroom feels like our own private spa haven with its deep double bath tub On arrival at Bicester, we enter the smartest looking station reception area I’ve ever seen and pick up our VIP cards. This gem entitles you to an additional ten per cent off purchases, as if the temptation weren’t already great enough. Bicester is home to more than 130 boutiques including fashion brands such as Prada – but beware the queues here in the afternoons – Dior and Burberry; beauty brands Penhaligon’s and Molton Brown; and jewellers Georg Jensen and Pomellato. The shops’ colourful clapboard frontages lead you along one long street, peppered with greenery to enhance the villagey feel. Once let loose in the stores, we hear whispers that if you ask, you might just get, as some stock is tucked away, and the staff at the boutiques are certainly attentive. One shop assistant seemed more upset than I was when she was’t able to get me my size in a particularly beautiful jumper. Tip number two: visit often to get lucky. If you truly get carried away – it’s not called the Bicester bubble for nothing – the hands-free shopping service will ensure your purchases are collected as you go and waiting for you on your departure. One of the newest culinary additions to the village comes courtesy of the trendy Soho House group. Its 200-cover eatery Farmshop, exclusive to Bicester, is a rustic rest stop in which to refuel. The barn-like space, with cobbled flooring, exposed beams and log piles is the backdrop for suitably simple dining. Hearty dishes include warm spit-roast chicken sandwiches on sourdough, mac ‘n’ cheese and pork chops with oregano and chilli. On our eventual return to the hotel, we surrender our shopping immediately and head for the spa to recover: the package includes a relaxing back and shoulder massage. Guests are also free to use the rest of the facilities for the duration of the stay. These include the monsoon showers, sanarium and relaxation room. It turns out that a lap in the chlorine-free, heated pool is a perfect way to wind down for the evening. Shopping until you quite literally drop, into a five-star bed no less, is how it should always be done. We’re lucky enough to enjoy the sprawling Presidential Suite, complete with a walk-in wardrobe to welcome our new purchases. The marble-heavy bathroom feels like our own private spa haven with its deep double bath tub

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– the perfect spot for sipping champagne – walkin monsoon shower, plush slippers and robes and Molton Brown goodies. The next morning, a full English breakfast tempts us to wave goodbye to our majestic room in favour of the hotel’s Winter Garden restaurant, housed in an impressive eight-storey atrium topped with a glass roof. Other brunch favourites, such as eggs and avocado and made-to-order omelettes are also on the menu. Shopping for designer bargains at Bicester Village has always been a popular pastime for savvy shoppers and fashion industry insiders, but this package, with its overnight stay and attention to detail brings a little extra sparkle and a little less stress – perfect for a girly outing or mastering the pre-Christmas prep. Shop ‘Till You Drop package from £339 a night, landmarklondon.co.uk

On cloud

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Soaring above the Val d’Isère skyline, Chalet Eagel’s Nest is the pinnacle of winter ski luxury, writes Annie Biziou

blooming cloud threatens a fresh barrage of snow across the jagged lines that distinguish mountain from sky. As dusk sets in on Val d’Isère, the chocolate box town lights up, twinkling like a string of lights on a Christmas tree in the valley below. Such is the view from the newly fitted hot tub at Chalet Eagle’s Nest, where I’m wallowing with a mug of steaming hot chocolate. This place has made quite a name for itself in Val d’Isère. In fact, it’s one of the most coveted properties in the Alps, claiming more than its fair share of titles. Spanning four levels and sleeping up to 13 guests, it sits regally on a parcel of land that was handed to French ski champion Jean-Claude Killy as thanks for winning three gold meals at the Grenoble Olympics. It’s also classified as one of luxury travel company Scott Dunn’s flagship chalets, of which there are just three sporting the label in the world – a big deal given the ski holiday company’s exacting standards. And to top it off, the owners showered the abode in €750,000 worth of new kit to ring in 2016, including the aforementioned alfresco hot tub on a brand new tiered terrace, a games room and a

I could wile away the weekend on this terrace, breathing in crisp air that’s like tonic to my city-soaked lungs

travel This page: Chalet Eagle’s Nest

It’s quite marvellous the things that brisk mountain air can do to a wine-befuddled mind. An early start pays off when I’m lucky enough to swipe first tracks (ski speak for getting onto the slopes before the lifts open to anyone else) and the untarnished views make up for a slightly wobbly start. Carving my way through virgin snow alongside my much-needed instructor, Alex, I come to understand why Val d’Isère is often top of the list for snowbunnies – and it isn’t just because of record snowfall, lively après-ski or the notorious ‘La Face’ run, used in the 1992 Winter Olympics and in countless competitions since. Linked to Tignes, the Espace Killy ski area spans 300km of well-groomed pistes that suit all levels, and infinite effort is put into maintaining legendary ski status. The lift systems are in a constant state of upgrade and the dreaded button lifts have been replaced with a new series of fantastic uphill carpets that would give Aladdin cause for celebration. Alex, who has spent the last three years instructing here, is clearly proud to be a part of the process and takes great pleasure explaining why. “To help ready the pistes for the various competitions that take place here each year, every instructor gives up a certain number of days to assist with the prep, and in return we’re gifted ski passes for the day.” It’s clearly a streamlined operation.

revamp of the traditional alpine-themed rooms and en-suite bathrooms. Fabulous interiors aside, I could wile away the weekend on this terrace, breathing in crisp air that’s like tonic to my city-soaked lungs. But duty calls; there’s champagne and canapés waiting in front of a wood fire in the cavernous lounge, which has also been kitted out with new furnishings. The evening passes, just as any good mountain getaway should, in a blur of food, wine and copious amounts of cheese.

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TRAVEL This page: Chalet Husky, images courtesy of andyparant.com

As it happens, there’s also more than one property here getting a facelift. Le Yule is a new hotel that opened for the 2016 season, so I pitch up at the hotel’s front-de-neige terrace and sink a glass of Laurent-Perrier Cuvée Rosé, before bundling into the bright restaurant for lunch. A Scandinavian theme runs throughout, reflected in the 41 plush rooms and a lower level spa operated by Nuxe with a pool looking out to the Bellevarde slope. En route back to Eagle’s Nest, I sneak into a few of Scott Dunn’s other properties, perhaps the boldest being Chalet Husky. A bolthole worthy of a Bond charade, Chalet Husky has an arresting glass atrium at its centre, disco light floors, a swimming pool with a glass side and a feature waterfall and a climbing wall laid into the natural rock formations. It’s the polar opposite of Chalet Eagle’s Nest – modern and ostentatious – but equally suited to hedonists. Eager to return to the classic charms of Eagle’s Nest, I barrel in through the front door kicking snowflakes as I go. It’s straight downstairs to the epic spa zone for a pre-dinner dip, where a sauna, steam room and lap pool with a jet stream awaits. This chalet, as with all Scott Dunn chalets, comes hosted by an army of staff including a chef. The highlight though, is the company of MasterChef 2014 champion Ping Coombes, with whom Scott Dunn first partnered in the summer of 2015. Bringing her Malaysian-inspired fare first to Scott Dunn’s villas, Coombes has since rolled out a new menu across the winter portfolio for 2016. “It’s an Asian take on chalet dining,” she explains, as we

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slurp flavoursome mushroom laksa washed down with her signature spiced gin and tonic. “The warmth of these Asian flavours reflects the comfort aspect of winter food, but it’s lighter.” And indeed, her delectable cuisine is a welcome alternative to the heaviness of a typical alpine feast. The time comes to salute the cast bronze eagle that guards the chalet, sculpted by celebrated contemporary artist Livio Benedetti and cloaked in a glittering veil of fresh snow. On the way to Geneva airport in Scott Dunn’s souped up minivan, we come to a sudden halt. Two cars up ahead are having a rumble. A woman advances on her antagonist, screaming blue murder, before reaching into the car window and slapping her adversary. “She’d be a damn sight more relaxed if she spent a week at Chalet Eagle’s Nest,” one of my fellow passengers murmurs, with a privileged glow. “Never mind, there’s always next year.”

N E E D • T O • K N O W Scott Dunn offers seven nights at Chalet Eagle’s Nest, Val d’Isère from £1,790 per person, based on full chalet occupancy with British Airways club class flights, private airport transfers, Scott Dunn chef, host and in-resort driver service, scottdunn.com

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“LOSE WEIGHT AND GAIN FITNESS IN RECORD TIME. WITH THE BODYDOCTOR’S WORKOUT ANYTHING IS POSSIBLE” The Sunday Times Style Magazine

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TRAVEL

Beachside in St Barths

Travel news W O R D S : m e l i ss a e m e rso n

St Barths’ newest hotel, Le Barthélemy, has just opened, situated on a 600 ft white sandy beach front in Grand Cul de Sac, part of the island’s Nature Reserve. The accents of blue and green in the light-filled rooms reflect its tropical location, and amenities come courtesy of Hermès; opt for a suite for the added luxury of a private terrace and heated plunge pool. By day, you can tour the island on a yacht, take a dip, try some snorkelling – or simply sip cocktails at the beach bar before dinner at Aux Amis restaurant with cuisine by Michelin-starred French chef Guy Martin. From £525 a night, slh.com/barthelemy

The nice list As well as festive menus and winter cocktails in its Plum + Spilt Milk restaurant, Great Northern Hotel is offering an extra festive treat this Christmas. Thanks to a partnership with Fortnum & Mason, guests who stay overnight will receive a personalised stocking stuffed with treats including pistachio and clotted cream biscuits and sea salted caramel truffles. Festive Spirit Package, until 30 Dec (excluding 24-25 Dec), from £235 a night, gnhlondon.com

A cosy corner of Suffolk Wilderness Reserve, a 5,000 acre private estate in Suffolk, has opened two new luxury properties for guests to rent. Both The Walled Garden and Garden Cottage have underfloor heating and open fires – perfect for cosy winter getaways – and guests can enjoy traditional country pursuits from clay-pigeon shooting to fishing. The Walled Garden from £962 a night; Garden Cottage from £244 a night, wildernessreserve.com

winter wonderland The Tuscan estate of Rosewood Castiglion del Bosco will open its doors in the winter for the first time this season, allowing guests to enjoy the UNESCO World Heritage Site of Val d’Orcia in a new light. The traditional 17th and 18th century farmhouses – sleeping up to 12 guests – are tempting enough to cosy up in, but if desired, a dedicated concierge can arrange activities or excusions to nearby cities such as Florence. Winter Villa Escape available until 12 April, rosewoodhotels.com

Image credit: Will Pryce

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HOMES showcasing the

finest HOMES & PROPERTY from the best estate agents

Elegant &

exclusive

The latest prime properties

Image courtesy of Henry & James

Pavillion Apartments, St John's Wood NW8 Well presented two bedroom, two bathroom apartment Located in the desirable portered block of Pavilion Apartments is this bright and spacious flat. Master bedroom with fitted wardrobes and en suite bathroom, second bedroom with fitted wardrobes, guest shower room, spacious reception/dining room, seperate kitchen, porter, communal gardens and private parking. EPC: C. Approximately 91.3 sq m (983 sq ft). Share Of Freehold

Guide price: £1,500,000

KnightFrank.co.uk/st-johns-wood stjohnswood@knightfrank.com 020 8022 6433

@KnightFrank KnightFrank.co.uk

KnightFrank.co.uk/SJW160119

Kensington & Chelsea Magazine

14/11/2016 18:23:46

X208

CUMBERLAND TERRACE L O N D O N

N W 1

5 bedroom house with parking and 24 hour porterage A rare opportunity to acquire a neoclassical, Grade I listed terrace designed by Royal British architect John Nash, with panoramic views over Regent’s Park. Grade I listed – Designed by John Nash – 5 Reception Rooms 5 Bedrooms – Garage – Off Street Parking – Immaculately Refurbished – 24 Hour Porterage

Guide Price: £15,000,000

X208 Cumberland Terrace_Single page.indd 1

020 7493 0676

020 8022 6433

prime@carterjonas.co.uk carterjonas.co.uk

stjohnswood@knightfrank.com KnightFrank.co.uk

14/11/2016 18:04

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

Luxury St John’s Wood development has ‘stalled’ Updates on a high-end project near Lord’s Cricket Ground

I Flying high Piccadilly’s new luxury landmark tops out

ritish Land’s Clarges Mayfair scheme has officially reached full height. Designed by Squire and Partners, and built by Laing O’Rourke, Piccadilly’s latest landmark hit 40 meters in October and is also now fully clad in its fetching Portland Stone façade. The transformation of the “once-in-a-lifetime” acre-sized plot opposite Green Park – formerly dominated by a multi-storey car park – is delivering 34 super-prime residential apartments and facilities, nearly 50,000sq ft of offices (now complete), just under 15,000sq ft of retail and leisure, and 10,500sq ft of social housing. The project has also involved the relocation of the Kennel Club to another position on the site.

PrimeQResi Journal of Luxury Property

Twenty-two of the planned apartments were released in 2014 and high-net-worth buyers immediately pounced, snapping them up for a combined £259m at an average per sq ft rate of £4,750. A total of five smashed price records for Mayfair, with a penthouse going for in excess of £5,000 per sq ft. Eighteen of those sold were on floors four and below. The remaining 12 units will be marketed (through Wetherell and Knight Frank) closer to completion in late 2017 “when buyers can fully appreciate the unique design of the building and the panoramic views over London”. Interiors are being taken care of by Martin Kemp Design and residents will be furnished with “one of the best private wellness spas in London”.

t’s being reported that receivers have been appointed to a company owning a prominent luxury residential scheme in St John’s Wood. According to Bloomberg, Ireland’s National Asset Management Agency has brought in CVR Global LLP as fixed-charge receivers to the entities that hold the prestigious site with views over Lord’s Cricket Ground, after the development “stalled under its current management”. The project has approval for 80 high-end units with a rooftop swimming pool, along with on-site affordable housing, said the report, and it sounds like a new sales strategy is already being hatched. David Oprey, one of the two administrators, told the news source: “Over the last two to three years, attempts have been made to move forward with developing the site and have reached various stages, only to fall at the final hurdle. Our appointments have come as a result of the asset managers deciding to take a new approach. The site is very well situated in a prestigious location and as such has great potential. We’re in discussions with existing agents about our sales strategy moving forward and are expecting strong interest in the development.”

property

from left: Michael Squire, Andrew dunn, Alex Michelin, Henry Squire Credit: Paul Grover / Finchatton

Green light for Marylebone townhouse project One of the finest examples of Georgian architecture in Marylebone is set to be restored

Views from the top Four Seasons comes to Grosvenor Square as US Naval HQ development steams ahead

inchatton has topped out its highly-anticipated Twenty Grosvenor Square project with a flourish, confirming a tie-up with Four Seasons Hotels & Resorts. A suite of landmark developments are in the making on Mayfair’s best-known square, and the transformation of the prominent former US Naval HQ is delivering 37 apartments and penthouses, with prices ranging from £4m for a one-bed to £35m for a five-bed. The penthouses remain price on application. Finchatton co-founders Alex Michelin and Andrew Dunn took to the roof with Michael and Henry Squire of architects Squire and Partners to mark the milestone, and picked the moment to announce some big news about who would be operating the luxury scheme. Twenty Grosvenor Square will be the first stand-alone residential building in Europe to join the Four Seasons Hotels & Resorts portfolio.

Super-prime lettings surge £5k+pw lettings given a boost of up to 16 per cent according to new Knight Frank statistics

t’s all action in London’s super-prime lettings market, with rental transactions above £5,000 per week jumping by 16 per cent in the year to September. Viewings by prospective super-prime tenants have also increased, according to Knight Frank’s analysis of LonRes data, by six per cent in the same period. The rise of renting among the wealthiest segment of the population correlates to a marked slowdown in the sales market over the past 12 months, with significantly higher transaction costs above £1.1m (thanks to Stamp Duty Land Tax) and ongoing economic and political uncertainty causing many buyers and vendors to take pause. Following George Osborne’s stamp duty overhaul, the

estminster Council has given the go-ahead for an interesting scheme involving a listed building on Marylebone’s Portman Estate. The transformation of the elegant Grade II-listed Georgian affair on York Street has received a rare seal of approval from planners. Notting Hill-based Wolff Architects is behind the proposals, which provide for a complex rear extension and a top-to-toe renovation programme. It’s a tough project for a number of reasons, says the practice: the historic and protected architecture needs serious specialist attention, and there’s a whole host of original features to be restored. Andy Goodchild, director of Wolff Architects comments: “We’re very pleased to have gained hard-won planning permission for this beautiful property. As one would expect from such an historic home, a number of challenges lie ahead in the redevelopment. Fortunately, Wolff possesses the expertise and experience to surmount these delicate logistical challenges and create a home that balances its current use as a dual-dwelling property with its heritage value as one of the finest examples of Georgian architecture in Marylebone.”

sums for buying a seven- or eight-figure home in the UK just don’t add up for many wealthy home-hunters. As Knight Frank’s head of super-prime lettings Tom Smith points out, the stamp duty on the purchase of a £15m property is £1.7m, which is the equivalent to three years rent. There also seems to be a movement from hotel suites to more homely (but often no less serviced) options. It’s more cost-effective to rent a £5,000 per week apartment than to go for a £5,000 per night suite at Claridge’s, if you’re in town for more than two months during the year. Vendors too are holding off making big decisions in light of higher costs. “A growing number of high-specification houses destined for sale are moving across to the lettings market,” says Smith. Houses are in particularly high demand among high net worth tenants, reports Knight Frank, with houses representing 64 per cent of transactions in the six months to September compared to 60 per cent in the first six months of the year.

primeresi.com

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7 Bedrooms 9,501 Sq Ft +44 (0) 20 7235 8861

HAMILTON TER

TERRACE, NW8

POA Freehold henryandjames.co.uk

Price: £3,750,000

CARLISLE STREET, SOHO, W1D This stunning property on Carlisle Street is set within a grade II listed building that has been fully refurbished to a very high standard throughout. Extending to 1,785 Sqft (165.83 Sqm) this wonderful three-bedroom apartment offers loft space storage and access to a large private garden. Carlisle Street has recently undergone a total transformation to meet the demands of modern day living. The property is situated in a quiet cul-de-sac that sits between Soho’s most popular streets; Wardour and Dean Street. Walking distance from Soho square as well as the up and coming Cross rail makes it an ideal location to reside.

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

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Central London location Newly refurbished Three bedrooms Large private terrace Long lease 1,785 Sq. ft

WATE R SI DE H O MES FAS HI O N E D FO R C I T Y LI F E CA N A L S I D E CO L L E CTI O N N OW L AU N CH E D Become neighbours with Central Saint Martins, Louis Vuitton, Everyman Cinema and the new Thomas Heatherwick designed shopping destination, Coal Drops Yard. Be part of London’s best connected neighbourhood. Studio apartments from £810,000.*

* Price correc t at time of going to press .

Brilliant exteriors, breathtaking interiors.

Register your interest at gasholderslondon .co.uk or book an appointment +4 4 (0)20 7205 4349 to v i ew o u r s a l e s g a l l e r y a n d s h ow a p a r tm e n t o n G o o d s Way, K i n g ’s C ro s s N 1 C 4 U R

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16/11/2016 16:03

sothebysrealty.co.uk

Whitehall Court, St James’s SW1A

£3,950,000

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

Leasehold 71 years approximately

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

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10/11/2016 13:33

Decadence Defined

Crafted to showcase complexity and depth, Rare Cask is drawn from the broadest spectrum of casks, 16 different types, ever identified by the Master Whisky Maker. Far less than 1% of those casks maturing at the distillery have been identified as fitting to bestow the Rare Cask name. With rarity at its core, this is a whisky crafted from casks so rare they will never again be used in any Macallan whisky. Combining Spanish and American sherry seasoned oak casks, a high proportion of them first fill, gives rise to an exquisite whisky with a splendidly rich hue, and an unmistakable woody whisky. This is a single malt which captures a true decadence; its creation goes beyond any other Macallan whisky and its rarity is absolute. It is a single malt of such diversity and intricacy it challenges the very conventions of whisky creation.

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