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

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CONTENTS October 2016 Regulars

10 Editor’s letter 12 Five minutes with... Gallery owner Cecilia Colman on ceramics and applied art 14 The agenda A cultural round-up of what to read, see and do this October 64 Gone with the wind With temperatures dropping, see this month’s fashion shoot for some cosy clothing inspiration 88 Food & drink news The latest restaurant openings and culinary highlights in the area

Features 18

Another dimension Exploring the movements that art history forgot

30 52 76 96

18 22 26

Dada cool Discover the lesserknown work of Erwin Blumenfeld Star quality Unseen photographs of Amy Winehouse at Zebra One Gallery

Grand designs Meet the maverick ‘anti-style’ architect Eric Carlson Frieze frame What to look out for as art’s finest fair returns to Regent’s Park Home is where the art is See Frida Kahlo in a new light thanks to Suzanne Barbezat’s latest book Over the rainbow The rainy season in Bali reveals lush rice paddies and luxury beach clubs

34 Collection

57 Fashion

81 Health & beauty

92 Travel

45 Art & antiques

75 Interiors

88 Food & drink

101 Property

COURVOISIER.COM

editor’s letter

editor

From the O C T O B E R 2 0 1 6 s iss u e 0 0 5

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 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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Members of the Professional Publishers Association

“The artist’s job is to be a witness to his time in history” Robert Rauschenberg Step aside Impressionism, Cubism and Surrealism – to kick off our first art issue we round up the under-the-radar art movements that have shaped the political and social landscape. From Japan’s Provoke Era photography to Vorticism and its obsession with the urban environment, brush up on your art history on page 18. Put your new-found knowledge to the test at Frieze London, which returns to Regent’s Park this month. Flick to page 52 for our guide to the weird and wonderful artworks on offer. If it’s a one-of-a-kind piece you’re after, look no further than Hampstead’s Zebra One Gallery. Owner Gabrielle du Plooy is currently hosting an exhibition of previously unseen photos of the late Amy Winehouse. All proceeds from the show will go towards the foundation set up in her name to support young people battling addiction. Find out how you can support the cause on page 26.

Lauren Romano Acting Editor

On the

cover

Also published by

R u n w i l d M e d i a Gr o u p

Kylie Minogue by Phil Knott, courtesy of Zebra One Gallery, zebraonegallery.com. Read more on page 26.

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

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5 minutes with...

In May 1977 I was looking for premises to display and sell mainly British decorative contemporary ceramics, not too far from my home in Hampstead, and I came across what is now my gallery. It was an old doctor’s surgery and had been on the market for two years. I finally opened on 23 December – just in time for Christmas! In nearly 40 years I have seen the area change enormously, from a cosy, quiet village style atmosphere to a High Street with very few individually owned shops.

After ceramics I added the work of designer makers in the fields of jewellery and studio glass and sculptures in wood, stone and bronze. I sell what is termed Applied Art and I am careful not to stock mass produced objects. I have championed up-and-coming artists from the beginning, as contemporary work was not popular when I started. My job is always exciting as I deal with designer makers, some of whom I met at their degree shows, so I have seen their particular style evolve over time.

Cecilia Colman The gallery owner on her earliest memories of London and the changing face of St John’s Wood High Street

I arrived in London in April 1960 from Southampton, as I travelled by sea. One morning soon after, I was in a café in

I admire my children. They keep my late husband’s tradition of learning, open-mindedness and helping others alive.

I have a collection of mostly British ceramics at home, as well as some studio glass and modern paintings from many countries, as I travel extensively. Two destinations are always constant though: Spain, to a house overlooking the sea in the Costa Brava and Argentina, where I was born.

Victoria and my rather large handbag was stolen. I reported it to the police and within a day, they told me they had recovered it. Only some money had gone, the rest, including a camera were still in it. According to the police, it had been taken by an old lady and left inside a telephone box. She was known to them. At the time I thought to myself, it could only happen in England.

I would love to be locked overnight in the British Museum. I love the building and there is never enough time to see it all. fROM TOP: Glasswork by Bob Crooks, photo credit: Ian Jackson; Purple Fritillaries glass engraved bowl by Julia Linstead, courtesy of Cecilia Colman Gallery

“My job is always exciting as I deal with designer makers, some of whom I met at their degree shows”

I have unearthed many wonderful pieces over the years. At present we are organising a Christmas 40th anniversary celebration called One of a Kind. Every maker I have contacted is working on that theme. I will probably be tempted to keep at least one piece for myself.

67 St John’s Wood High Street, NW8, ceciliacolmangallery.com

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Pretty in pink Paint and wallpaper specialist Little Greene is launching a limited edition capsule collection of eight pink hues in support of Breast Cancer Awareness Month this October. Seven of the shades are completely new and range from a bright berry to a gentle lilac. What’s more, 15p from every can of paint or roll of wallpaper sold will be donated to Little Greene’s chosen charity, Breast Cancer Haven. 3 New Cavendish Street, W1G, littlegreene.com

literary itinerary

Little Greene Pink Sitting Room Wall: Dorchester Pink 286 Door and Woodwork: Dorchester Pink 213

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 chao & eero

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OUT & ABOUT

The artisan home

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The Sir John Soane designed One Marylebone, formerly Holy Trinity Church, will host contemporary craft and design fair MADE London Marylebone once again this month. More than 120 exhibitors will present and sell their work with commissions also being taken during the fair. Look out for handmade ceramics by Emma Lacey and precious metal jewellery by Finnish design duo Chao-Hsien Kuo and Eero Hintsanen. 20-23 October, One Marylebone, NW1, madelondon.org

step out in style Previously fashion features director at British Vogue, journalist and author Harriet Quick has now produced this regal looking coffee table tome. Part of the Vogue Portfolio Series of fashion reference books, it focuses on the shoe as a pivotal part of an outfit, covering varied styles from delicate hand-embroidered couture stilettos to the chunky humble clog. Five thematic chapters, from Cinderella Heels to Fetish & Fantasia reveal more than 300 images from the last century and feature key works by photographers such as David Bailey, Norman Parkinson and Mario Testino. The book is introduced by Alexandra Shulman, current editor-inchief at British Vogue. VOGUE: The Shoe by Harriet Quick, published by Conran Octopus, £75, octopusbooks.co.uk

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EXHIBITIONS from l-r: Early Form, 2014, 72 x 64 x 62 cm, Bronze; Parts of the World, 2015, 200 x 133 x 66 cm, Painted aluminium; Willow, 2014, 70 x 69 x 75 cm, Wood. all © Tony Cragg. Photography: Michael Richter, Courtesy of Lisson Gallery

Shapes and forms Sculptor Tony Cragg continues his exploration of different forms and materials in his 14th collaboration with Lisson Gallery. The exhibition gives a sweeping overview of Cragg’s distinguished career and includes a body of works entitled Industrial Nature that contrast and fuse organic and artificial elements, as well as his striking Willow, Skull and Migrant bronze pieces. 1 October – 5 November, 27 & 52 Bell Street, NW1, lissongallery.com

Monochrome magic

Taizo Kuroda, Untitled 1, 2015, yakishime porcelain, 51 x 32 cm. Image © the artist, courtesy Tristan Hoare

Tristan Hoare’s new gallery space opens in Fitzrovia this month, housed in a Grade I-listed Georgian townhouse. Its inaugural exhibition, Ensō, will display the work of Ursula Schulz-Dornburg, known for her black and white photographic series, and Japanese ceramicist Taizo Kuroda, who crafts sculptures from unglazed white porcelain. Until 21 October, 6 Fitzroy Square, W1T, tristanhoare.co.uk left: Children climbing a concrete screen, Higher Secondary School, Chandigarh, 1956, designed by Jane Drew © RIBA Collections Below: Giles Round portrait © Brian Sweeney right: Cove, Adrian Sykes, 60 x 26 cm, oil on board

Home sweet home

From the outside in The Royal Institute of British Architects (RIBA) has opened up its archives to artist Giles Round to inspire new exhibition We Live in the Office. It focuses on the facade in architecture and how buildings are reappropriated and repurposed; for further insight, join the curator’s tour on 4 October. Until 5 February 2017, 66 Portland Place, W1B, architecture.com s l u x u ry l o n d o n . c o. u k s

Adrian Sykes is back for a second exhibition at the Curwen Gallery this month. Almost all of the paintings in his new collection include a house of some description, set in surreal, fairy tale-like landscapes that play with scale. Some of the dwellings appear majestic but lonely, presenting home as both a happy sanctuary and a place of isolation. 5-29 October, 34 Windmill Street, W1T, curwengallery.co.uk 15

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SPOTLIGHT PLATINUM, Atlas Gallery

Clockwise from top left: Modern History, 1956 © Toshiko Okanoue Givenchy Hat, 1958 © Frank Horvat Hateruma Island, 1971 © Shomei Tomatsu Magnolia Blossom, 1925 © Imogen Cunningham Ranger with Tusks of Killed Elephant, Amboseli 2011 © Nick Brandt

A new exhibition at the Atlas Gallery in Marylebone aims to bring the history and beauty of the platinum print to a wider audience. Simply titled Platinum, the show displays a range of works dating from the early 20th century up to the present day. To showcase the diversity of the medium, works range from dramatic landscapes – such as shots by Herbert Ponting who was the official photographer of Captain Robert Scott’s Arctic expedition between 1910 and 1913 – to delicate botanical still lifes by Imogen Cunningham, and fashion photography from the likes of Horst P. Horst and Irving Penn. Japanese artist Toshiko Okanoue also used the

method to create collages. The printing technique, which gives an increased tonal range with more subtle blacks and a kind of luminosity in some cases, stems from the 19th century and as platinum is a more stable element, the prints have a potential lifespan of up to 5,000 years when carefully preserved. As such, the prints often prove popular with collectors. Many of the works for this exhibition have been sourced from Amanasalto, a state-of-the-art printing studio and specialist, based in Japan, who works in collaboration with Belgian publishers Salto Ulbeek. Until 19 November, 49 Dorset Street, W1U, atlasgallery.com

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Take a different view of art history with our round-up of the lesser-known art movements from the last century W o r d s : M E L I SS A E M E RSO N

rt history is often dominated by a series of familiar names – from Picasso and Dalí to van Gogh and Warhol. Not that credit shouldn’t be given where it’s due, but the lives and works of those lesserknown artists and their efforts to bring about change in the art world are equally as interesting. Many of these more under-the-radar movements were often short lived. For example, painter Wyndham Lewis’ move towards social change began when he launched an art centre and a journal in London in order to introduce his Vorticist principles to the British public; he had talent and connections but the First World War interrupted his plans. Meanwhile the Sots movement in the Soviet Union – from ‘socialist art’ – was developed in response to state oppression. Here are our favourite art movements and collectives that helped to shape political and cultural history.

Orphism The Orphism movement had lofty beginnings. Its name derives from Orpheus – a figure in Greek mythology famed for his impressive musical and poetic abilities – and was coined in 1912 by the French poet Guillaume Apollinaire, who was a big fan of the movement’s leading figure, Robert Delaunay, and his wife, Sonia. One of the factors that makes this relatively short-lived movement so intriguing is that the husband and wife duo worked together to create the aesthetic – generally considered to be a new expression of Cubism. Robert Delaunay frequently referred to his style as ‘simultanism’, a phrase that draws on the colour theory of French chemist Michel Eugène Chevreul. Chevreul wrote about the way in which colours mutually influence and impose on each other when juxtaposed. How the brightness or

ART SPECIAL

The Provoke Era FAr LEFT: Robert Delaunay Circular Forms (Formes circulaires), 1930 Oil on canvas 128.9 x 194.9 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 49.1184 Left: Robert Delaunay, Red Eiffel Tower (La tour rouge), 1911–12, Oil on canvas, 125 x 90.3 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 46.1036 BeloW: Taki Kōji, photograph from Provoke 3,1969 © Taki Yōsuke

Recent years have seen a renewed interest in the former Japanese magazine Provoke, with the launch of a touring exhibition about its historical context and an accompanying catalogue by publisher Steidl. The magazine may only have survived three issues from 1968-69, but its photographers including Takuma Nakahira and Yutaka Takanashi went on to become an influential collective throughout the next few decades. The Provoke Era is characterised by abstraction of its subjects and blurry, grainy and out-of-focus imagery, almost as if the camera has been shaken. The lack of clarity reflected the social and political instability of post-war Japan and provided a dark, moody contrast to the polished, glossy commercial photography of the day. Provoke – Between Protest and Performance, edited by Diane Dufour and Matthew Witkovsky, from £51, published by Steidl, steidl.de

depth of colours could diminish or increase depending on the other shades they were paired with was central to the Delaunays’ work, and they experimented with depth and movement by layering shapes in different colour combinations. Abstract forms and circles featured heavily, while in other pieces, architecture was a more direct influence. Robert Delaunay is best known for his works that feature the Eiffel Tower – a symbol of Paris’s progress in the modern age. It was largely the Delaunays who are associated with Orphism, but the works of French painter and sculptor Fernand Léger and Czech painter and graphic artist František Kupka also reflect the style.

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Sots Art This term – sots being short for socialist – was coined in 1972 to combine the idea of Soviet social realism with conceptual art, and is largely associated with Vitaly Komar and Alexander Melamid, the artists who coined it. Working as a pair and not always declaring who did what, they stated: ‘we are not just an artist, we are a movement’. The Ben Uri gallery in St John’s Wood has just launched a significant exhibition, Yalta 1945, of work by the duo that has not been shown publicly since 1990. The exhibition embarks on a world tour this month. Its name refers to a series of 31 panels, created between 1986-87 and inspired by the Yalta Conference in 1945 between world leaders to discuss Europe’s post-war reorganisation. Known for their satire of Soviet ideology and propaganda, the two artists have been synonymous with controversy throughout their careers and

ABOVE LEFT: Yalta 1945, 1986-87 (Detail 1A), Vitaly Komar (b. 1943 Moscow) and Alexander Melamid (b. 1945 Moscow) ABOVE RIGHT: Orlov, Boris Bouquet in Imperial Style 1988, Tate, Purchased with funds provided by the Russia and Eastern Europe Acquisitions Committee 2014 © Boris Orlov

faced arrest and expulsion from teaching posts. Their work was even destroyed at the so-called Bulldozer exhibition when Soviet authorities broke up a gathering of non-conformist artists who had congregated in a Moscow field to showcase their work. This international scandal piqued global interest and the pair managed to smuggle work to New York in 1976 for an exhibition at art dealer Ronald Feldman’s gallery, before later moving to the city themselves. The above piece by Boris Orlov follows a similar vein, subverting sculpture as a classical technique to undermine the notion of Soviet dominance. Until 18 December, 108A Boundary Road, NW8, benuri.org.uk

The Avant Garde in eastern Europe The Arts Club is currently presenting an exhibition of avant-garde art produced in eastern and central Europe during the Cold War years. It features those who have been largely overlooked by the artistic canon but that showed an appreciation and awareness of art history in their own work. Such artists include Hungarian-born Imre Bak and Dóra Maurer and her husband Tibor Gáyor, Slovakian Stanislav Filko and Ukrainian-born Edward Krasiński.

ART SPECIAL

manifesto and define the movement’s aesthetic. The name itself came from Lewis’ friend and poet Ezra Pound. Lewis also founded the Rebel Art Centre on Great Ormond Street, where it was intended classes would take place, but the timing of his efforts, on the cusp of the First World War, brought the movement and its plans to an end before they had started, as Lewis joined the army two years later in 1916. Many female artists were also involved, including Jessica Dismorr and Helen Saunders. Following the shock and horror of the First World War, many sought familiarity in more traditional art forms and avant-garde ideas such as those of Lewis were for a time rejected or forgotten.

ABOVE: Wyndham lewis Workshop c.1914-5, Tate, Purchased 1974 © Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity) RIGHT: JESSICA Dismorr, Abstract Composition c.1915 Tate, Purchased 1968

Vorticism Vorticism was a London-based movement. Its works show some Cubist sensibilities, such as the fragmentation of objects, but its angular shapes were directly inspired by machinery and the urban environment. Artist and writer Wyndham Lewis, who had been developing this style for a few years, officially founded the group in 1914, launching the Blast journal in order to introduce his

As well as paintings and photographs, the exhibition features the unusual assemblages of Czech photographer Běla Kolářová. Her ‘artificial negative’ style involved pressing everyday objects such as pencils, matches and food items like nut shells into layers of paraffin on photographic paper, before exposing the impressions. Life in an era of Soviet dominance – including economic difficulties – meant challenging authority is a common thread among these artists’ works. Boris Bućan used his Bućan Art (1972) series to criticise the spread of corporate

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LEFT: Július Koller, 1992, Pen on paper, 21x30cm, signed and dated bottom right

culture and consumerism by replacing iconic brand logos such as BMW and Coca-Cola with the word ‘art’. A number of these artists have gained recognition in more recent times with the Tate acquiring a piece by Imre Bak and the first UK retrospective of Edward Krasiński’s work opening this month at Tate Liverpool. Displacements: Avant-Garde Eastern and Central European art from the Cold War Period at The Arts Club, W1S, until mid-January 2017, by appointment only, theartsclub.co.uk

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

“W

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

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

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

clockwise from top left: Gestures, New York, 1942; Madeleine Sologne, Paris,1937; Untitled, New York, 1949; Solarized Model, New York, 1942, all photography: erwin blumenfeld; images Courtesy of Osborne Samuel

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

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

ART SPECIAL

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

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

opposite, from top: Fantasies Parisiennes, 1924-6; Kaleidoscope for Dayton’s Oval Room, New York, 1964; Two Models from Dayton Company, New York, 1961, all photography: erwin blumenfeld; images Courtesy of Osborne Samuel

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Star

quality As a charity exhibition of previously unseen photos of the late Amy Winehouse goes on show at Zebra One Gallery, owner Gabrielle du Plooy talks to Lauren Romano about the famous faces on her walls and the photographers who snapped them

All imagery by Phil Knott, courtesy of Zebra One Gallery, zebraonegallery.com

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t sounds like the most unlikely of stories: an ex-military man founds an art gallery in a tiny old garage in north-west London, and before too long he ends up selling paintings to the likes of Pierce Brosnan and the late politican Michael Foot. But fast forward more than 40 years and Zebra One Gallery (a moniker taken from founder Lee Brew’s South African army codename) is still making a name for itself beyond Hampstead’s cobbled streets. The diminutive space has welcomed its fair share of celebrity customers through the door over the years. Observing all from the corner, with wideeyed fascination, was current owner Gabrielle du Plooy, who took over the running of the gallery from her father 11 years ago. Her weekends as a child were punctuated by Brosnan dropping in for tea to tell the Brews he’d landed the role of James Bond, and shying away from actor Peter Cook when he came around for art lessons. “He fancied himself as quite the artist,” she smiles. “My earliest memory is watching my father making his bespoke handmade frames. He always taught me that the framing can be the making of a piece; it is two pieces of art in one. “My dad was such a powerful man with a massive following – he was a hard act to follow,” she

continues. “I knew from the beginning that I couldn’t just be a gallery or else I’d sink. Everyone has access to art now, so I had to do something that involved thinking outside the box.” Her new business model involved combining her contacts in the music and photography industries. Du Plooy took the gallery’s focus from Old Masters and painting to seminal photography, displaying work by the likes of Helmut Newton, Man Ray, Bert Stern and Norman Parkinson. Her big break came with an exhibition of Philip Townsend’s photographs. “His work is so iconic, he got the ’60s down to a tee. People thought I was mad: ‘what do you mean you’re going to sell The Rolling Stones? Who wants them on their wall?’” Back then, she reflects, people still coveted Mirós and Picassos. Undeterred she continued, unearthing rock and roll prints and other unusual pieces, including a series of handmade postcards by notorious criminal Charles Bronson. “Art is fashion now. Street art has taken over the world,” she laughs gleefully. “My biggest fear was always: ‘how am I going to top what my dad did?’ The art world was very much a man’s world back then.” In the tiny gallery with images stacked three deep against the walls, there’s no room for anything less than complete conviction. Du Plooy talks me through some of the works currently on show, from a signed Chagall to a photo of Kate Moss clutching a teddy bear, scattered in diamond dust.

“Everyone has access to art now, so I had to do something that involved thinking outside the box” “I made that image!” she says. “Russell Young asked to borrow it and he blew it up and now it’s selling in the Halcyon Gallery in Harrods for £50,000. But that’s the signature you bring to art.” Du Plooy’s larger-than-life character has built up a steady stream of loyal customers to rival those of her father – both locals and A-listers – although she seems largely unfazed by her celebrity following (Liam Gallagher, George Michael, Nicole Appleton and Michael McIntyre are clients, to name a few). “I waved at Josh, what’s his name, Hartnell? Hartness? the other day,” she says, referring to actor Josh Hartnett. “My good friend Dynamo lives nearby, we’ve got

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a footballer opposite. You just missed Ricky Gervais actually,” she adds. “I love living here. I’m a Hampstead girl. I walk the Heath every morning before work – it’s a wonderful place.” From one north London girl to another. Zebra One Gallery recently unveiled an unseen selection of portraits of Amy Winehouse at a private auction held on 13 September, a day before what would have been the late singer’s 33rd birthday. Entitled Hope, the event helped to raise funds for the Amy Winehouse Foundation set up in her memory. It included a series of startling images of the fresh-faced star taken by Phil Knott back in the noughties, alongside other work by Mason Storm, Dan Pearce and Finn Stone. “When I unearthed this box of photos after moving to LA I was moved by how full of hope, beauty and shy innocence they are,” says photographer Knott. “This was the funny, healthy, remarkable Amy that I remembered and captured in those early years. They had never been shared

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“This was the funny, healthy, remarkable Amy that I captured in those early years” with the public before, so I wanted to work with the foundation to celebrate her life. I also wanted to inspire the young people the charity is doing fantastic work for in her memory by showing Amy in her prime before the addictions – that they are also battling – took hold.” Following the auction, the exhibition has moved to Zebra One Gallery, where it will be on show this month. “Amy was a north London girl and I loved her music. It’s always sad when a fantastic talent leaves us at a young age and what the charity is doing is very close to my heart,” du Plooy explains. This is not the first time the gallery has been involved with charitable initiatives. Back in May, du Plooy curated the art stalls at the Star Boot Sale run by Blur drummer Dave Rowntree to

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raise money for refugees from the Middle East. The gallery donated a batch of works including Blondie photos and Dennis Hopper and Steve McQueen prints by Russell Marshall, helping Rowntree to surpass his £100,000 target. Then came Celebrity and the Big C, a poignant event capturing those in the public eye affected by cancer, from David Bowie and Angelina Jolie to previously unseen photos of Kylie Minogue. The exhibition donated ten per cent of profits raised to Marie Curie’s Great Daffodil Appeal. Up next is an exhibition by fashion photographer Alistair Guy. “He’s very much on the scene at the moment, he’s such a lovely man,” du Plooy says. “The exhibition is all about strong women, so I can’t wait to get my teeth into it.” Hope will be on show at Zebra One Gallery until mid-October (bidding for the photos and artworks continues until November), 1 Perrin’s Court, NW3, zebraonegallery.com

Eric Carlson has made a name for himself in the luxury market with his Paris architecture firm Carbondale, seducing Louis Vuitton, TAG Heuer and BMW with his striking designs. The self-confessed ‘anti-style’ architect tells Ellen Millard the secret to his success

P eric carlson, image credit: chidi onwuka

atience is a virtue in the interior design world, but if the founder of architect powerhouse Carbondale had to choose another career, he would select a vocation where patience could be sidelined for instantaneous rewards. “The problem with architecture is that it takes time,” explains Eric Carlson. “If you have an idea and you draw it on a piece of paper, you may see if it works or not in a year or two, which is a long time. I would like to do a job that gives instant gratification, so I would probably polish shoes.” Fortunately, the architecture mogul now has his pick of designer brogues to buff, having carved a career creating flagship stores for a number of luxury brands. Carbondale was founded in Paris in 2004 by Michigan-born Carlson, who cut his teeth heading up Louis Vuitton’s architecture department before branching out on his own in a bid to tap into multiple luxury divisions, as opposed to just fashion. Twelve years later and it’s safe to say that he has succeeded, having constructed showrooms

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tag heuer, switzerland, IMAGE CREDIT: JIMMY COHRSSEN

“Luxury brands come to us because we are able to understand who they are and manifest that in architecture” for BMW in Manhattan, the Celux Club in Tokyo and São Paulo’s Tre Bicchieri restaurant and JK Iguatemi shopping centre. But that’s not to say that he has completely shied away from the sartorial world; in fact, I would say that fashion projects have been his best work. If you have ever seen the Longchamp boutique on New Bond Street, the H.Stern store in São Paulo or, most notably, the golden Louis Vuitton flagship on the Champs-Élysées, then you will see what I mean, for these were all created by the hand of Carlson and his cohort of shopping-savvy designers. “I think fashion and luxury brands are very aware about how they are perceived and therefore they want architects who are able to deal with that,” he explains. “They come to us because they see that we are able to understand who they are and to manifest that in architecture.” The Louis Vuitton boutique in Paris is particularly spectacular: staircases absent, it instead has twisting floors that take you on a journey through the space in a way that Carlson likens to the Guggenheim Museum in New York. “It’s kind of a travelling experience, much like Louis Vuitton, which started by creating trunks for travellers,” he says. “That was our intention; when you go in there you don’t get lost but you get taken away on this path, which guides you through all of the different realms of the brand.” LOUIS VUITTON, ROPPONGI HILLS, TOKYO, IMAGE CREDIT: DAICI ANO

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FROM L-r: LOUIS VUITTON, ROPPONGI HILLS, TOKYO, IMAGE CREDIT: DAICI ANO; TRE BICCHIERI RESTAURANT, SAO PAULO, IMAGE CREDIT: NELSON KON; BMW SHOWROOM, MANHATTAN, IMAGE CREDIT: O.BRUNET; LONGCHAMP LONDON BOUTIQUE, NEW BOND STREET; LOUIS VUITTON, OMOTESANDO, IMAGE CREDIT: DAICI ANO; LONGCHAMP LONDON BOUTIQUE, AS BEFORE

While Carlson had his fun with the interior – stripping it bare of its four floors and starting from scratch – the facade was another story, given that it was historically classified and therefore untouchable. “How do you define the image of a building that you can’t actually do anything to?” Carlson laughs. “It was a challenge but, by working behind the glass that makes up about 65 per cent of the building, we managed to create a double skin that’s visible from the outside, which unifies the entire building and is inspired by the monogram of a Louis Vuitton bag.” Carbondale has innovated its architectural style. For the Paspaley pearl jewellery boutique in Brisbane, the firm created a pearlescent effect using a composition of lamps strung vertically behind a glass facade, creating the appearance of a string of glowing beads. Inside, cream and golden tones were used on reflective surfaces to produce a shimmer effect. Meanwhile, in Sydney, the boutique for Australian footwear brand Florsheim is decorated with a collage of coloured glass squares in leather shades of tan, black and taupe, while London’s Longchamp store features a three-storey high multi-coloured mural in a design modelled on the label’s logo. You don’t get as far as Carlson has without having something of an ego and the architect

has no qualms about telling me that he is without a doubt “anti-style” – and don’t even get him started on trends. “If you’re an architect and you have a style, then you usually repeat that style over and over again and you become known for that. I make projects for people that are theirs and I don’t want to apply my own aesthetic or language onto them,” he explains. “I would go so far as to say that if somebody recognised a building as an Eric Carlson then I would have failed to do my job correctly. In my world, we are leaders, not followers, so people will often follow us to define a trend. That sounds very arrogant, I realise, but it’s sort of true. Trends are preconceptions that are inevitably polluting the discovery of something new.” The secret to his success, he tells me, is the in-depth research that his team does prior to design, during which they delve into the client’s background to truly understand who they are and how they want to be perceived. “I am sitting in my office looking at the walls because they’re covered with images and text for a new project we’re doing,” he tells me over the phone from his Paris headquarters. “We just presented to a big luxury fashion house and the owner told me that we understand his brand better than his staff, which

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is a huge compliment because that means that we’re going to get it right the first time.” During our conversation, it becomes clear that Carlson threw the rule book out long ago. “I like the [design] pieces that broke the limits in whichever period they were created, whether classicism or baroque. I’m not into styles and romanticising about them; I’m more interested in radical people who broke through to create those things that we now define as styles,” he tells me. “I am very impressed with the architect Eero

“If somebody recognised a building as an Eric Carlson then I would have failed to do my job correctly” Saarinen, a Finnish-American who did large projects like the Gateway Arch, a beautiful sculpture in St. Louis, but at the same time he created chairs and tables. He really spans the spectrum of scale and has mastered all of them, which is extremely rare.” And which scale does he think Carbondale is best at? “I think we can do all of them,” he responds assertively. To back up his point, Carlson tells me about a particularly unusual request that a private client commissioned for a residential

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property in Tokyo. His love of the Japanese wine Shochu meant an interior reshuffle. “We designed 24 pieces of furniture for his house and each piece has a place for his special glass of wine, so he doesn’t lose it,” Carlson laughs. “Everybody’s got their thing. The more complicated a client is, the better the project is. You really are forced to reinvent or create things.” Now the team is keeping busy with projects in Beijing, Monte Carlo, Venice and São Paolo, but Carlson remains tight-lipped on the scale of the commissions and the identity of the clients. Self-confidence is something that the architect has in abundance, but the passion is still alive too. “I like the fact that every project and every client is new. I don’t get tired of anything, because there’s no repetition,” he says. “I don’t do the same thing over and over again and for me that’s vital, to be creative and to be pertinent. It’s important to be confronted constantly by new challenges.” Put your Louis Vuitton loafers away, because it sounds as though the world will have to wait a little while longer for Carlson’s shoe shining debut. Fortunately, what is the footwear industry’s loss is architecture’s gain. cbdarch.com

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BLURRED

LINES

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

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

The high seas

Jewellery news

WORDS: OLIVIA SHARPE

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

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

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

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

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

inset: Magie Blanche necklace, photography: Ben Hasset @Cartier far right, from top: Quetzal bracelet, photography: Vincent Wulveryck ©Cartier; Incantation ring, photography: Ben Hasset @Cartier

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

The

golden touch

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

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

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

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

from lefT: Necklace, £14,600; White gold ring, £1,440; Yellow gold ring, £1,620; ring, POa; Bracelet, £12,740. opposite page: marco bicego

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

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

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

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

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

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

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

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

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

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

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

Watch

news

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

TAG Heuer Connected Martin Garrix, £1,300

Formula 1 Red Bull Special Edition, £1,300

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

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

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

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

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

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

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

above, from l-r: INGENIEUR AUTOMATIC, £4,650, iwc; OVERSEAS SMALL MODEL, £43,800, Vacheron constantin; 5980/1AR-001, £45,270, patek phillipe; polo s, £8,650, paiget; LAUREATO, £8,750, girard perregaux

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

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

art

prowess in PAPER

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

Peter clark, Handle With Care, 2015, Collage, 96.52 x 76.2cm

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Art news words: camilla apcar

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

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

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

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clockwise from top: Fabienne Verdier, Triptyque rouge, 2016, Acrylic and mixed media on canvas, 183 x 407cm, courtesy of Waddington Custot; Clyfford Still, PH-950, 1950, oil on canvas, 233.7 x 177.8cm, Clyfford Still Museum, Denver ©City and County of Denver / DACS 2016, courtesy of the Clyfford Still Museum, Denver, CO; robert kelly, Luchino’s Nocturne II, 2014, oil and mixed media on canvas, 182.88 x 142.24cm, courtesy of the artist and Sophia Contemporary Gallery; Fabienne Verdier in her studio, 2016, courtesy of Waddington Custot

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

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

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Prize lots SOLD: £185,000 e s t im a t e : £ 1 0 0 , 0 0 0 - £ 1 5 0 , 0 0 0

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

SOLD: £850 e s t im a t e : £ 2 0 0 - £ 3 0 0

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

SOLD, from left: A portrait of two sisters, probably Anne of Denmark and her sister Elizabeth, Circle of Robert Peake the Elder, oil on oak panel, 87.9 x 116.5cm, Old Masters Day Sale at Sotheby’s, 7 July, Image courtesy of Sotheby’s Methode Amusante Pour Enseigner l’ABC, The Bibliophile Sale at Dreweatts & Bloomsbury, 25 August, dreweatts.com, Image courtesy of Dreweatts & Bloomsbury

UPCOMING

Smoke, Mert & Marcus, 2011

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

UPCOMING, from left: Image ©Mert & Marcus Image ©Christie’s Images Limited 2016

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

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PAD London

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

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

clockwise from top left: Enrico Castellani, Superficie rossa, 2009, Acrylic on canvas, 120 x 150cm, Courtesy of Mazzoleni Art, ©Cittá di Castello (Perugia) and Archivio Enrico CastellanI; Marc Chagall, Autour des fruits rouges, c.1970-1975, Oil on canvas, 46.4 x 38.1cm, courtesy of richard green; Hervé van der Straeten, CONSOLE ORIGAMI n°516, anodized blue aluminium, 74.80 x 23.62 x 33.07in, courtesy of Hervé van der Straeten; Michele Oka Doner, Radiant Table, 2015, Bronze 75 x 193cm, courtesy of David Gill Gallery. opposite page: W.A.S. Benson, Table, c.1900, Courtesy of H.Blairman & Sons Ltd.

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

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

fa i r f i n d s Courtesy of Dutko Gallery

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

Courtesy of Sarah Myerscough gallery

Christopher Duffy, Abyss Table, 2015

Zao Wou-Ki, Untitled, 1974 courtesy of atkis gallery

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

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

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

clockwise from top: team lab, Flowers and People – Dark, 2015, interactive digital work, 3-8 channels, digital work, Endless Sound by: Hideaki Takahashi, Photo: courtesy teamLab ©2016 teamLab, courtesy of Pace Gallery; Lynn Chadwick, Beast XVI, 1959, Courtesy of The Estate of Lynn Chadwick and BlainSouthern, Photo: Peter Mallet; Lynn Chadwick, The Stranger, 1954, Courtesy of The Estate of Lynn Chadwick and BlainSouthern, Photo: Matthew Hollow

art special

clockwise from top: Latifa Echakhch, La dépossession (detail), 2014, TheatrE canvas, painting, steel tube and straps, Variable dimensions, ©Latifa Echakhch, Photo: Fabrice Seixas, Courtesy of the artist and kamel mennour, Paris; Penny Siopis, When Is a Life Grievable?, 2015, Newspaper cuttings, ink and glue on canvas, 57.5 x 76.5cm, courtesy of Stevenson gallery; Alice Browne, Synthesis (in four parts), 2015 Oil and Acrylic on Canvas, 220 x 184cm, courtesy of Limoncello Gallery

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

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

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

clockwise from top left: Eduardo Paolozzi, Group of Bronze Heads, 1993-95, bronze, dimensions variable, courtesy The Estate of Eduardo Paolozzi/Jonathan Clark Fine Art; Taddeo Gaddi, c.1300-1366, Saint Anthony Abbot, Tempera on panel, 61.8 x 35.4cm, Provenance: Germany, Private Collection, courtesy moretti fine art; francis BACON, Man in Blue VII, 1954, 152.7 x 116.5cm, courtesy robilant + voena; Pietro Novelli, 1603-1647, Prometheus Creating Man, Oil on canvas, 208 x 163cm, Provenance: Private Collection, courtesy moretti fine art; Auguste Rodin, The Kiss, Conceived in 1886, cast during the artist’s lifetime, 2nd Reduction, Signed, Bronze, 59.4 cm

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

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

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FASHION

THE

MAN WHO FELL TO EARTH P

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

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IMAGE CREDIT: MARIO SIERRA

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

Style update W O R D S : jaci n ta r u sci l l o

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

Crème de la crème Ralph Lauren on Regent Street On the corner where New Burlington Street meets Regent Street now sits Polo Ralph Lauren’s European flagship – a new store that opened mid-September, spanning three floors. The space includes the Polo Custom Shop (from £80), which allows shoppers to personalise timeless classics such as saddlebags, polos and blazers with monogrammed crests and designs – from bulldogs to Corgis – that embody the best of British spirit. Navy blazer, £379, 169-173 Regent Street, W1B, ralphlauren.co.uk s l u x u ry l o n d o n . c o. u k s

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

robert pringle the second 1940 and THE PRINGLE FAMILY, circa

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

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

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

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

archive images courtesy of pringle of scotland

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

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

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

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

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jason basmajian on...

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

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

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

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

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

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

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

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

with the

Breeze into the new season with chunky knits, oversized coats and polo necks that will keep you warm when the temperature dips P h o t o g r a p h y: W i l l i a m G a r r e t t S t y l i n g : A n at D y c h t w a l d

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fashion

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

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

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

fashion

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

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

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

TO READ MORE ARTICLES LIKE THIS VISIT www.luxurylondon.co.uk

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huntsman, IMAGE credit: harry soames

fashion

with Campbell Carey, creative director at Savile Row tailor Huntsman

Style spy WORDS: MARIANNE DICK

Return of the mac

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

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

Head to toe Endorsed for its superior fit and quirky designs, this season comes Oliver Sweeney’s first foray into ready-to-wear. Set to shake up the fashion world like its shagreen brogues did in the 1990s, expect classic and vintage designs crafted from Merino wool knitwear and selvedge denim. Head to its revamped Mayfair outpost for a closer look. From £99, 5 Conduit Street, W1S, oliversweeney.com s l u x u ry l o n d o n . c o. u k s

Which three items should a modern gentleman own? A Huntsman tweed jacket, a classic dinner suit and a navy blue onebutton suit.

What is new this season? To mark this year’s opening of our New York premises (a couple of doors down from the Carnegie Hall), our exclusive house tweed range is inspired by the Carnegie Southesk Estate check. We asked three of our American clients at the top of their fields in art, architecture and design to select the colours. How would you describe the Huntsman gentleman? The Huntsman man comes from all corners of the globe. He is top of his game – or fast approaching it – and well informed, so expects the best. 11 Savile Row, W1S, huntsmansavilerow.com

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

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Image courtesy of smallbone of Devizes

interiors

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

Interiors news WORDS: MARIANNE DICK

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

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

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

Home is where

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

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

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

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

interiors

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

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clockwise from top: blue house garden, Alamy/John Warburton Lee Photography; blue house kitchen, Alamy/ Paul Gordon; frida kahlo at home; blue house courtyard, Alamy/John Mitchell opposite page: Kahlo in New York, 1933, Almay/ Granger, NYC

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

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

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

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

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health & beauty

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

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

A little lift

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

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

A classic reborn

Lily-Rose Depp for the N°5 L’Eau ad campaign ©Chanel

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

health & beauty

SALON REVIEW

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

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

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

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

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

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

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

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

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Skin deep Give your beauty regime a boost this autumn at Aesthetics Lab

or the precision and efficacy of a clinic and the luxury pampering of a spa, look no further than Aesthetics Lab. With access to the industry’s leading experts, Aesthetics Lab prioritises doctor or therapist-led, personalised aesthetic treatments. Bespoke procedures are designed to meet individual needs and deliver the best possible results by combining a clinical approach with hands-on pampering. Favoured with celebrities such as supermodel Neelam Gill, TV presenter Laura Whitmore and actress Alicia Vikander, this medi-spa approach has the answer to all your skin and body concerns and will leave you prepared to face the colder weather in no time at all.

Skin peels As autumn approaches, bringing with it harsher weather conditions and aggressive central heating, it pays to be savvy about your skincare regime. For those on the hunt for fast and effective results, Aesthetics Lab offers a holy grail of treatments in the form of exfoliating skin peels. Peels are an innovative way to substantially improve the quality of the skin, while promoting rejuvenation so that unwanted blemishes, lines and wrinkles, irregular pigmentation and impurities are effectively reduced or diminished. Aesthetics Lab offers a choice of peels that work at various depths within the skin and are suitable for treating different concerns. This season, the medi-spa has introduced a refreshing treatment menu of peels packed with natural ingredients such as blueberry, pumpkin, pomegranate and mango. A gentle and effective way to treat ageing skin, acne and reduce sun damage, these peels are also sweet-smelling, non-invasive and require no downtime; leaving skin

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hydrated in just under 30 minutes. What’s more, many are suitable for pregnant women and breastfeeding mums.

BodySculpt BodySculpt with Vanquish ME, the latest addition to the extensive body shaping treatment menu at Aesthetics Lab, is a breakthrough in non-invasive fat removal procedures. Gone are the days when fat freezing and liposuction required long waiting times to see results, painful nerve damage, lumps and downtime. Vanquish ME is one of the most powerful machines on the market and eliminates up to 60 per cent of fat cells. What makes this procedure unique is its ability to target fat with deep-tissue heating, which in turn causes lipolysis, without touching the skin. The machine uses radiofrequency energy and has high-tech sensors that are able to detect the fat levels in your body and then deliver customised levels of energy to heat and liquefy the fat. The body then naturally flushes out the dead fat cells without the need for surgery. BodySculpt with Vanquish ME can target the problem abdomen area from flank to flank with the largest spot size available on the market. It can also produce circumference reduction on tummy, thighs and arms from the first treatment, which is good news if your inner and outer thighs or bingo wings are giving you nightmares. BodySculpt is quick, pain-free and contactless too, and best of all, it will make your first little black dress outing of the party season a lot less daunting. Peels from £95; BodySculpt from £500, 128 Regent’s Park Road, NW1, aestheticslab.co.uk

The Ivy heads to NW8 The Ivy Café is finally set to open in St John’s Wood High Street this month. Promising the same all-day feel as its Marylebone sister, guests can linger over morning coffees or after dinner cocktails at the antique pewter bar or comfortable burnt orange banquettes. Food-wise, expect refined but homely flavours, such as brioche crumbed chicken Milanese with hen’s egg and black truffle, or roasted butternut squash with a feta, harissa, yoghurt and coriander dressing. Opening 19 October, 120 St John’s Wood High Street, NW8, theivycafestjohnswood.com

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

Eastern promise After cooking residencies at Trishna and Carousel, Ravinder Bhogal decided she wanted to get in on the Blandford Street action, opening Jikoni last month. The restaurant is a fusion of British, East African, Middle Eastern and Asian flavours, which means prawn toast quail scotch eggs with banana ketchup, spicy shepherd’s pie and a daily rice plate celebrating curries from all over the world. 19-21 Blandford Street, W1U, jikonilondon.com

Forging ahead Kurt Zdesar, the mastermind behind Chotto Matte and Black Roe, is opening an Italian restaurant off Chiltern Street this month. The food at Fucina (which translates as ‘forge’) will revolve around a wood-fire pit, with roast suckling pig, lamb and boar on the menu. Book a table in the private dining room for front row seats of the kitchen thanks to a glass wall, before perusing the seven-metre high walk-in wine room. Produce made in-house will be available to buy at the restaurant’s neighbouring panetteria, opening in November. 26 Paddington Street, W1U, fucina.co.uk

Candy crush For his latest sugar-laced feat chocolatier Pierre Marcolini has teamed up with AMI founder and menswear designer Alexandre Mattiussi to create a limited-edition chocolate box to sweeten up the arrival of autumn. Fashioned on a 1950s television set, with a pop up Parisian scene inside, the retro inspired collection features chocolate ‘barres’ flavoured with caramel and a hint of vanilla, or almond praline gianduja, together with a selection of signature praline chocolates. £45 for assorted box and tote bag, 37 Marylebone High Street, W1U, uk.marcolini.com

food & drink

review

Hot shot Lauren Romano hits the vodka bar at Samarkand, the capital’s first Uzbek destination restaurant

obody does comfort food with a side order of vodka quite like the Uzbekistanis. But until Samarkand came along last month, the capital’s Uzbek dining scene was rather non-existent. Sitting at the gastronomic intersection between the Middle East and Eastern Europe, the country’s cuisine, a hearty mix of dumplings, pickles and delicately spiced stews, marks new culinary territory for Charlotte Street. Named after Uzbekistan’s second largest city (which is also the birthplace of astronomy), the subterranean restaurant has been dressed in decadent fashion. The geometric blue tiled walls, hexagonal tables, marble-clad bar and hand-carved wooden columns hint at its Eastern origins. The food is inspired by founder Sanjar Nabiev’s childhood. There’s butternut squash and liquorice soup, tashkent – poached fillet of veal with heritage radish and white cabbage – and smoked eel salad with grated horseradish. Keen to sample the most traditional dishes, our waiter Dimitri points us in the direction of manti, hand-made Uzbek dumplings stuffed with pumpkin, which are lighter and more succulent than expected. The yellowfin tuna shashlik (skewed meat flamed over the robata grill) is cooked to perfection – the meaty morsels are balanced with sweet yellow courgettes, a nutty

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wild rice and a moreish yoghurt and dill sauce. We keep it traditional for the main course too, with plov, the national dish of Uzbekistan. It’s the sort of thing that you’d imagine every good Uzbek grandma would have a recipe for, until Dimitri tells us that custom decrees it is cooked by a man for four hours outside on a fire. A hearty casserole of unctuous beef short rib, hand-cut yellow carrots, onions, chickpeas, barberries and sticky rice, it is autumnal nourishment in a bowl. We eat it alongside achichuk, a fresh salad of heritage tomatoes, onions and herbs. “It’s traditional to sip vodka alongside your plov,” advises Dimitri. “I’ll bring you a little thimble.” The ‘thimble’ turns out to be a filled-to-the-brim cup (there’s no such thing as half measures here). We finish with a delicious poached peach sprinkled with pistachio crumble. It doesn’t go quite as well with the vodka we’ve been nursing since the plov, but there are plenty more tipples where that came from. The bar stocks more than 40 varieties – from a rare Polish potato-based Vestal to Black Cow, the world’s first vodka made entirely from milk – so make sure you raise a glass. It’s tradition, after all. 33 Charlotte Street, W1T, samarkand.london

MARKET VALUE From super-posh peanut butter, to Aztec Gold chocolate and raw artisan honey, whether you’re looking to try or buy, pop along to Hampstead’s new Saturday food market for a taste of something special

s if picturesque leafy Hampstead really needed to attract any more weekendamblers, looking to while away a sunny afternoon. But as of last month, there is now one more reason to visit the area: the new Hampstead Market. Open every Saturday from 10am until 3pm in the heart of Hampstead, there is something to suit all tastes. Set behind the Everyman Cinema in the grounds of Hampstead Parochial School, it

will play host to more than 45 award-winning farmers, street-food traders and artisan producers. Organised by local resident Mike Norledge, whose name may be familiar to those who managed to catch the Primrose Hill Market, visitors can enjoy the same atmosphere and offering, but in a slightly different spot. Whether you’re there to procure your entire weekly shop, re-stock on essentials, or discover some new and intriguing ingredients, you’ll be sure to find

FOOD & DRINK

something that grabs you. Or if shopping isn’t your bag, then head over to the street food traders, as there are also a number of lunch options to choose from. Mike says: “The benefits of food markets are wide-ranging. By shopping at Hampstead Market, visitors will be helping to preserve farming traditions and supporting local artisan producers.”

“We want our markets to benefit both the community and local enterprise” Expect incredible produce including organic salad and vegetables from Wild Country Organics, raw milk and butter from Hook & Son, and fresh sourdough bread from Olivier’s Bakery; all while tucking into delicious Muffin Man’s muffins and Sub Cult’s sandwiches. And those just looking for top quality essentials will be hard-pressed to find better than the offerings at the Borough Cheese Company and Jumi Cheese, Flavourtown Bakery, Moloko Coffee, Ted’s Veg and Kyklos Olive Oil, to name but a few.

Following on from the success of the debut market, which saw more than 2,000 customers find something simply irresistible, The Flour Station’s Heather Harmsworth said: “We’ve never seen such a successful opening of a food market.” Meanwhile, Hook & Son’s Tony Vintner was equally impressed: “We’re delighted,” he said. “The atmosphere was great and we’re pleased that we have another opportunity for people to come along and try our delicious organic raw milk.” Organiser Mike adds: “We also work exclusively with the schools that host our markets, with the aim of benefiting the communities around them and the education of school children in the area. The students at St Paul’s School in Primrose Hill, for example, had a chance to set up their own stall selling herbs they grew from seed in the summer term. It was a great success! We want our markets to benefit both the community and local enterprise.” Hampstead Market takes place every Saturday from 10am-3pm in the grounds of Hampstead Parochial School, Holly Bush Vale, NW3, hampsteadmarket.com

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suite dreams O

f all the 32 suites at the Mandarin Oriental, Milan, none is quite as wacky as the one dedicated to master of design Piero Fornasetti. The Italian painter, sculptor and interior decorator spent most of his life in Milan where he created thousands of decorative works featuring the face of opera soprano Lina Cavalieri. Several original pieces of artwork are dotted about the vast Milano Suite, which abounds in quirky details, from the wallpaper adorned ceiling to the capitello chairs modelled on Roman architectural pillars. La Dolce Vita doesnâ&#x20AC;&#x2122;t get much better. Prices for the Milano Suite are available upon request, mandarinoriental.com/milan

TRAVEL

Reach for the stars The Maldives isn’t short of spectacular beach residences, but Soneva Jani resort, set on the banks of a private lagoon, boasts more than just ocean views. Its 24 water villas are designed with retractable roofs in the master bedrooms, so guests can stargaze the night away from their beds. There’s also an on-site observatory for those looking to take a closer look at the skies, as well as an outdoor cinema where you can watch a film as dusk descends. From £1,411 a night for a one-bedroom water villa, soneva.com

Travel news W O R D S : J aci n ta R u sci l l o

Seas the day Life in the fast lane

The Wellesley hotel has launched MY The Wellesley, a striking new 56m superyacht ready for charter. Decorated in a glamorous Art Deco style that mirrors that of the hotel, the vessel will sail the Mediterranean Sea to a personalised schedule, stopping off at secluded bays and coves. With a Jacuzzi, humidor and outdoor cinema spread across three decks, up to 12 guests can be catered for by the permanent crew of 12, including an onboard chef, masseuse and qualified water sports instructor. Available to charter from £201,392 a week, mythewellesley.com

Racing towards a more sustainable future, Hong Kong will play host to the world’s first fully electric racing car series in a weekend of urban street racing – the Grand Prix of the future. Circuiting around the Central Harbourfront, this ePrix will be a motor sporting milestone, minus the emissions and will offer visitors a sustainable insight into the future of the motoring industry. 8-9 October, hkformulae.com

Hitting the right notes To celebrate its centenary, Aqua di Parma has launched a new fragrance inspired by the rich musical and operatic heritage of Parma. With its bell-shaped stopper, Note di Colonia is a tribute to Giuseppe Verdi’s renowned opera La Traviata. The autumnal scent is composed of intense aromas, including essences of bergamot and neroli, balanced and softened by Damascus rose and the comforting, woody notes of cedarwood and patchouli. £280 for 150ml, acquadiparma.com s l u x u ry l o n d o n . c o. u k s

[city break ]

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

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

clifton & camps bay

The Shortmarket Club IMAGE credit: Michael Le Grange

Ellerman House

House

travel

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

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

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

Where to eat

Image courtesy of cape town tourism

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

#3 Shirt, £135, AMI, amiparis.com

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

Mayfair recommends

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

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

Ellerman House

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over the

rainbow Despite the downpours, Cathy Adams discovers lush rice paddies and happening beach clubs on a rainy season trip to Bali

travel

ere’s what people don’t tell you about Bali: there’s a lot of water. I’ve come at the wrong time. The first few months of the year are the wettest (it’s February, and around 80mm falls throughout the month). It’s dripping from a water feature, rushing down the Ayung River behind me and bouncing off the surface of my private plunge pool. I’m holed up at Mandapa, a Ritz-Carlton Reserve in central Bali. This is where water comes in the form of condensation on your champagne glass or used as part of a luxury Balinese massage, too. And where swimming in that private pool during a downpour suddenly becomes one of life’s more unfashionable pleasures. The hotel, which opened last year, is a collection of villas set along the banks of the Ayung River that snakes through Ubud, the cultural centre of the popular Indonesian holiday island. It’s where a welcome is no ordinary one. From the reception, the estate

At Mandapa water comes in the form of condensation on your champagne glass or as part of a luxury Balinese massage OPPOSITE PAGE: SAWAH ceking tegalalang rice terrace, photo credit: willy priatmanto Above & left: mandapa, a ritzcarlton reserve, photo credit: richard bryant below: the exterior of katamama

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tumbles down the wet rice paddies, with the villa-dotted perimeter marked by the river. If you’ve only got time for one sundowner, pull over a couple of chairs and order a drink up here. The one-bedroomed riverfront villa I’m installed in is the most private of all the accommodation. It overlooks (as in, almost hangs over) the valley into the rushing brown river beneath, which every now and again some kayakers come barrelling down, shrieking. Local art hangs above the teak furniture in the bedrooms, while outside the neat Balinese garden is reflected in the private pool – just long enough to do lengths (which of course you’d never do here, not when there’s more important work to be done…) Namely: immersing yourself in the surroundings. Mandapa’s spa overlooks the same river that the villas do, and it turns out that enjoying a signature Balinese massage with the sound of the water rushing through your ears makes the whole situation about 167 times more enjoyable.

Dinner at signature restaurant Kubu is much the same. Here, dishes – including one superlative wagyu beef steak, matched with wine – all come direct to your own private Balinese bamboo pod, with the river facing you. This is the heartland of hippy Bali. In Ubud, traditional Balinese temples – ‘puras’ – stud almost every street, quietly impressing with their gorgeous orange and burnt brown brick. Small woven baskets filled with nuts and flowers are flung on the floor by the entrance: daily offerings, called canang sari, are made by Balinese Hindus to their God. On two feet, the best way to explore Ubud is to simply walk along its boutique- and caféstrung streets, smelling the lingering ginseng scent. It’s also home to most of Bali’s backpacker crowd, so after you’ve booked to see one of the cursory, but totally worthwhile, Balinese fire dancing performances that happen every night all over Ubud, don’t linger. Mandapa (and the beauty of lush rice terraces – home to an important stream income for Bali) has that kind of effect on you, anyway.

THIS PAGE: MANDAPA, A RITZ-CARLTON RESERVE, PHOTO CREDIT: RICHARD BRYANT

The next few days come in sharp contrast to Ubud’s watery charms: I’m headed for Seminyak, on the south coast of Bali, for the other picturepostcard side of the island. In Seminyak, Balinese culture comes in the form of retox. Here, the beaches are groomed, with beach clubs, showy luxury hotels and streets studded with hip restaurants serving long, casual lunches to groups of hipsters. Boutiques selling floaty beach gear, Havaianas and designer sarongs dot the streets. There’s no doubt that this is where Bali’s beautiful people hang out. Later that evening I’m eating dinner in Mama San, an Indonesian joint with sexy leather interiors and swinging Edison lamps: I’m in Bali’s Shoreditch. The vibe is colonial 1920s Shanghai – of course it is – while the name is pinched from Asia’s men’s clubs, and the cocktail menu sounds as fresh as the ingredients in them (limoncello martini, anyone?). Seminyak recently got an uplift with the opening of the Katamama, a seriously designfriendly property filled with Danish furniture and

travel

clad in red Balinese brick. The hotel presents an aesthetic that was previously unfamiliar to Bali’s beachfront: urban design just moments from the sand. It hails from the same family as Potato Head, the exclusive mecca of a beach club that helped propel Seminyak into ‘a scene’. The pastel shutters of the beach club’s dramatic exterior are right next door, making it easier than ever to bounce between bed and bar. Which is where I am right now, attempting to fit in among Bali’s movers and shakers. We’re installed on one of Potato Head’s daybeds at the front (get here early to secure one, and be prepared to use your elbows to keep it), overlooking the kidney-shaped pool and waves crashing on the vast, sugar-white sand in front of that. The club’s menu of locally inspired cocktails raises the usual sundowner to something just shy of magical here. After all: what’s better than watching the sun draw in, turning the sky all kinds of pinks and purples on its way down, while drinking a tequila sunrise out of a shell? Oh yeah, when it starts raining. Which is our cue to disappear off to Lilin, the in-house restaurant, to be replaced next month by Kaum, the Indonesian joint already making waves in other Potato Head outlets (I should know – I live around the corner from the recent Hong Kong opening. The food is dreamy.)

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THIS PAGE: POTATO HEAD BEACH CLUB

Thankfully, rain clouds have a habit of making the sunset look more dramatic and we’re treated to a mega sunset that only seems possible this side of the world. It’s still raining, but when you’re drunk on Indonesian raki, eating plates of some of the best beef rendang you’ll ever get your mitts on then it doesn’t matter, does it?

N E E D • T O • K N O W Rates at Mandapa, a Ritz-Carlton Reserve start from £435 a night. ritzcarlton.com/en/hotels/indonesia/mandapa For more information on Katamama, visit katamama.com. For Potato Head beach club, visit ptthead.com For more information on Indonesia, visit indonesia.travel/en

travel

HOTSPOT

ROME

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

ne of the oldest inhabited cities in Europe, few capitals can rival Rome’s rich artistic heritage. Medieval, Renaissance and Baroque eras rub shoulders in the city’s innumerable piazzas, where ancient statues and frescoes await. The greatest artists – Michelangelo, Caravaggio and Raphael – are all accounted for, but don’t bypass the opportunity to discover contemporary works too. MAXXI, the National Museum of the 21st Century Arts, is the first national museum dedicated to contemporary work, housed in a striking glass and concrete building designed by the late architect Zaha Hadid. Once you’ve had your fill of culture, get lost in Rome’s fashion and jewellery quarter near the Spanish Steps on Via Condotti, making sure to pay a visit to the illustrious boutique of Carlo Eleuteri for rare antique jewels.

STAY With more than 150 original contemporary artworks throughout, The First Luxury Art Hotel Roma offers a canvas for permanent and temporary exhibitions. The restored 19th century nobleman’s palace is located on Via del Vantaggio, just moments away from the Piazza del Popolo in the heart of the city. It has been transformed into a colourful and contemporary space, with rich blue velvet sofas, striking marble bathrooms and a rooftop bar that boasts views of the ancient city. Meanwhile, each of the impressive suites display a number of artworks by up-and-coming Italian artists, curated by Galleria Mucciaccia. From £309 a night, thefirsthotel.com

Few capitals can rival Rome’s rich artistic heritage 100

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HOMES showcasing the

finest HOMES & PROPERTY from the best estate agents

Elegant &

exclusive

The latest prime properties Image courtesy of Aston Chase

Greville Place, St John's Wood NW8 Immaculate freehold three bedroom house with garden and parking A truly beautiful, white fronted, lateral house that sits next to the Greville Place nature reserve, which benefits from off street parking to the front and a private 100ft garden. 3 bedrooms (all with en suite bathrooms), reception room with balcony, kitchen/breakfast room, guest WC, terrace, rear garden, private parking. EPC: D. Approximately 179 sq m (1,926 sq ft). Freehold

Guide price: £2,750,000

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St John's Wood Road, St John's Wood NW8 Six bedroom Grade II listed freehold house St John's Wood Road is located near the amenities of Little Venice and St John's Wood High Street. Master bedroom with walk in wardrobe and en suite bathroom, five further bedrooms, three with en suite bathrooms, two reception rooms, breakfast rooms, breakfast/dining/living room, study/office, garden, patio and front driveway. EPC:E. Approximately 361 sq m (3,889 sq ft). Freehold

Guide price: £6,495,000

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31 St John's Wood Road St Johns Wood Magazine October 2016 -print

06/09/2016 10:08:12

Greville Place, St John's Wood NW8 A low built six bedroom stucco fronted villa with parking The main house offers a master bedroom suite with dressing room and bathroom, 3 further bedrooms, 2 bathrooms, a large kitchen/breakfast room, 3 reception rooms, double garage and a beautiful south facing rear garden. The guest/staff annex comprises 2 bedrooms (both en suite), reception room, kitchen/breakfast room, and separate entrance. EPC: F. Approximately 508 sq m (5,469 sq ft). Freehold

Guide price: £6,950,000

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6 Greville Place SJW Magazine October 2016 issue -print2

09/09/2016 15:58:34

SOLD Clifton Gardens, Little Venice, W9 Guide price: £1,250,000

SOLD Warrington Crescent, Little Venice, W9 Guide price: £1,749,500

EXCEPTIONAL RESULTS IN ST JOHN'S WOOD, REGENT'S PARK AND LITTLE VENICE To find out how we can help you please contact us KnightFrank.co.uk/stjohnswood stjohnswood@knightfrank.com 020 8022 6433 @KnightFrank KnightFrank.co.uk

SOLD The Lane, St John's Wood, NW8 Guide price: £1,950,000

SOLD Imperial Court, St John's Wood, NW8 Guide price: £2,500,000

SOLD Marlborough Place, St John's Wood, NW8 Guide price: £7,000,000

SJW mag SOLD -print

SOLD Castellain Road, Little Venice, W9 Guide price: £2,250,000

SOLD Marlborough Hill, St John's Wood, NW8 Guide price: £2,950,000

SOLD Acacia Road, St John's Wood, NW8 Guide price: £11,000,000

SOLD Tatham Place, St John's Wood, NW8 Guide price: £3,000,000

SOLD Marlborough Place St John's Wood, NW8 Guide price: £15,750,000

07/09/2016 08:52:18

Nottingham Place

A rare opportunity to acquire a magnificent Grade II Listed freehold house (422 sq m/4,542 sq ft) in the heart of Marylebone Village. Freehold Asking price £7,250,000

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Marylebone W1

Benefiting from an abundance of natural light throughout, the property has high ceilings and has been architecturally designed to an exceptionally high standard, whilst retaining many of its original features, making it a fantastic home for an incoming purchaser. Further benefits include three terraces on mezzanine floors and a roof terrace, allowing plenty of outside space. Nottingham Place is conveniently situated moments away from Marylebone High Street, providing a wealth of popular shops, cafés, bars and restaurants. Baker Street Station (Bakerloo, Jubilee and Hammersmith & City Lines) is a short walk away, as well as the beautiful open spaces of Regent’s Park. Marylebone is currently benefiting from a major investment programme by freeholders The Portman Estate and The De Walden Estate, as well as several landmark new-build developments such as The Chilterns and Chiltern Place, and is considered one of London’s best locations to live in.

15/09/2016 11:08

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Accommodation & Amenities • Principal Bedroom with En-Suite Bathroom and Dressing Room • Six Further Bedrooms (Two En-Suite) • Bedroom Eight/Study • Reception Room • Kitchen/Breakfast Room

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Sole Agent • Cinema/Entertainment Room • Guest Cloakroom • Two Storage Vaults • Three Terraces • Residents Parking • EPC Rating D

15/09/2016 11:09

STUNNING NEWLY REFURBISHED DUPLEX WITH HIGH CEILINGS Harley Street, Marylebone, W1

• 3 Bedrooms • 3 Bathrooms • Reception Room • Kitchen • Patio • Energy Rating: C

£1,695 Per Week Unfurnished

Kay & Co Marylebone & Fitzrovia Lettings

020 3394 0027 marylebone@kayandco.com

kayandco.com

REFURBISHED PERIOD CONVERSION WITH WOODEN FLOORS New Cavendish Street, Marylebone, W1

• Two Bedrooms • Two Bathrooms • Open Plan Kitchen/Reception Room • First Floor With Lift • Energy Rating: B

£975 Per Week Unfurnished

Kay & Co Marylebone & Fitzrovia Lettings

020 3394 0027 marylebone@kayandco.com

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Mary

LATERAL PENTHOUSE WITH VIEWS OF REGENTS PARK

Kay & Co

Harley House, Marylebone, NW1

Marylebone & Fitzrovia Sales

020 3394 0027

08:19

Six Bedrooms • Four Bathrooms • Two Reception Rooms • Two Terraces Two Allocated Parking Spaces • 24hr Security • Energy Rating: F

JSA – Arlington Residential

£8,250,000 Leasehold

kayandco.com

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14/09/2016 08:19

Whether you seek a beach, boating or golf estate, historic home, private island or quality condominium, Sinclair Realty LLC represents Bermuda’s most beautiful homes. We look forward to providing you with the private listing access, depth of expertise and ‘above and beyond’ service that is the Sinclair hallmark.

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08/07/2016 12:27 PM

PROPERTY

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

Move in like Jagger Penthouse in famous Marylebone block up for sale

4,000 sq ft six-bed penthouse in a Marylebone apartment block that’s counted Mick Jagger and Joan Collins as residents has come to market with an £8.95m asking price. Harley House, originally built as a Catholic charitable institution, has housed many a celebrity in its day, including founder of the London Philharmonic Orchestra Sir Thomas Beecham and actress/ writer Dame Joan Collins. It was, however Rolling Stone Mick Jagger who made the Edwardian block overlooking Regent’s Park quite an infamous address. Jagger lived in the building with his then girlfriend, Chrissie Shrimpton in the 1960s – until he embarked on a very public affair with Marianne Faithfull, crashed his midnight blue Aston Martin DB6 just outside, and moved Shrimpton out while she was hospitalised. The six-storey building in Marylebone now sits behind double electronic gates and provides a 24-hour uniformed security, porterage and concierge service. The penthouse, which is being marketed by local estate agent Kay & Co for £8.95m, comes with a classically grand Edwardian 27-ft reception room at the rear of the property, with views of Regent’s Park from French windows that open out onto a terrace. Martin Bikhit, managing director of Kay & Co commented: “Harley House’s list of former residents reads like a who’s who of popular culture. The penthouse, with its stunning views and double height ceilings creates the perfect setting for a buyer who enjoys regular entertaining. Ideally positioned on the border of Marylebone with around 575 sq ft of terrace space, the penthouse offers glorious views over the verdant Regent’s Park.” kayandco.com

PrimeQResi

Rare Fitzrovia development site sold on Bourlet Close A ready-to-go freehold development in Fitzrovia has just achieved more than £10m The stripped-out former B1 offices on Bourlet Close went up for sale earlier this year with Davis Brown, complete with planning for “three luxury mews type townhouses” of between 2,153 and 2,885 sq ft. Right next to Exemplar’s supersuccessful Fitzroy Place scheme and around the corner from happening Charlotte Street, the 8,000+ sq ft site ended up achieving a solid £10.35m, after inviting offers in excess of £9m.

Image credit: Davis Brown

Basement tax Westminster has stepped up its battle against nuisance basement developments, unleashing what it’s calling a “subterranean squad” to keep an eye on un-neighbourly builders. The service will be funded by a levy on those building new basements. The charges will cover the cost of delivery of the service and it’s estimated that the largest developments will be charged around £30k.

primeresi.com

Journal of Luxury Property

112

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All apartments benefit from the use of the residents’ private dining room overlooking the Dan Pearson designed courtyard garden

A LIFESTYLE TO SHARE When it comes to an address, King’s Cross has it all – right at the heart of London. Unbeatable connections, the historic Regent’s Canal, beautiful parks, gardens and squares, education, shopping, eating, culture, its very own Everyman Cinema and Paris in just over two hours. Two and three bedroom apartments in the Plimsoll Building from £995,000* Visit the show apartment and marketing suite Monday to Friday by appointment, contact us on 020 7205 4349

14-15 Stable Street London N1C 4AB plimsollkingscross.co.uk

*Price correct at time of going to press.

International Property Awards – 2016 National Award Winner

Portland Place, Marylebone W1

ÂŁ20,000,000

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

Leasehold approximately 90 years

JSA Ian Green Residential +44 20 7586 1000

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

sothebysrealty.co.uk

Conduit Street, Mayfair W1

£4,100,000

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

Leasehold approximately 248 years

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