BEYOND MYKONOS - ELEGANCE IS INNATE

beyond MYKONOS

Elegance is Innate

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ON THE GO MYKONOS BAG

Louis Vuitton is pleased to announce the launch of Mykonos limited-edition OnTheGo in celebration of the House’s Summer 2021 Collection ‘Summer by the Pool’. Showcasing gradient pastel Monogram Giant canvas with woven raffia gussets, this year’s OnTheGo not only features the name of the Greek Island but also a oneof-kind shell-shaped leather charm. The OnTheGo Knokke is exclusively sold in Louis Vuitton store for a limited period of time.

LOUIS VUITTON MYKONOS: Nammos Village,Psarou Beach, Mykonos Enoplon Dynameon, Tria Pigadia, Chora, T: +30 22890 78850 louisvuitton.com

Real Estate Company Since 1989

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Alexandros, Yiannis, Akis Revithis

www.revithis.com info@revithis.com | +30 210 81 35 181

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Luxury Boutique Hotel Delight means pleasure, satisfaction, joy and many other things that bring you closer to happiness.

Agios Ioannis, Mykonos, Greece 84600 | +30 22890 78038 info@delightmykonos.com

www.delightmykonos.com

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Armed forces, Chora Mob: 6949078018 www. queenofmykonos.gr

A landmark at the «jollification map» of Mykonos, Queen has emerged to the ultimate champagne-cocktail bar that keeps, the cosmopolitans of Mykonos, up until late at night with premium labels, an exemplary cocktail list and the world’s finest champagne. Αll this combined with sophisticated tasteful delights, the strongest music and the ability to view the stroll of people at Chora’s alleys, among its famous patrons!

Kiton The legendary Made to Measure and Prêt-à-Porter Neapolitan company that dresses the most famous men and ladies in the world.

Kiton is represented in Greece by Stormy SA, through three elegant boutiques in: The Kiton shop mens & ladieswear at NAMMOS VILLAGE (Psarou Beach) Mykonos, the brand new Kiton island in Chora Mykonos (Agia Kyriaki square), and of course the most elegant multi brand boutique in Athens, Mah Jong ,where you can find the complete collection of Kiton. The new shop Kiton island is situated across the pitoresque church of Agia Kyriaki. The shop is made like an old Myconian house with absolute respect to the Myconian architecture. A great Fortuny lamp dominates the space, over a red carpet like the Kiton point. Here you can find a complete line of leisure Kiton clothing, ideal for the beach or the yacht. Against the “noise and light pollution” the Kiton island is an oasis of calm and elegance in the center of the old town of Mykonos.

Kiton Kiton Boutique: Nammos Village,Psarou Beach, Mykonos, T: +30 22890 22488 Kiton Island: Chora Mykonos, Agia Kyriaki Square, T: +30 22890 78420 Mah Jong boutique- 14, Kanari Street- 106 74, T: Tel: +30 210 362 2860

Manoulas Hotel

The magnificent view of Agios Ioannis bay and the sacred island of Delos will offer you the warmest welcome when you arrive at Manoulas Beach Hotel. The sandy beach is right across the shores of the ancient islands of Rinia and Delos offering an impressive spectacle to all bathers. This beach is ideal for families and small children due to the cove which protects it from the strong winds. Our luxurious hotel is where the Paramount movie of Shirley Valentine was filmed; located just four kilometres from Mykonos town.

Agios Ioannis – Mykonos (+30) 22890 – 22900 (+30) 22890 – 24314 manoulas@otenet.gr www.hotelmanoulas.gr

beyond MYKONOS

Publisher-Director Vangelis Chaniotakis

Editor-in-Chief Petros Vasilopoulos Creative Director Vasilis Kardis Advertising Department Margarita Pinioti Contributors Katerina Lymperopoulou, Pantelis Mantzanas, Athina Moiralioti, Antonis Theodorou, George Xylas Copy Editors Peny Fylaktaki, Vicky Chatzopoulou Photographers Van Kosmas Koumianos, Spyros Paloukis, Dimitris Karteris,

VAGMA MEDIA DEVELOPMENT 40 Agiou Konstantinou str., 15124 Marousi tel.: +30 210 62 55 393, info@vagmamd.com, www.vagmamd.com

This magazine is distributed free of charge.

Nothing appearing in BEYOND MYKONOS magazine may be reprinted, reproduced or transmitted, either in whole or in part by any electronic or mechanical means, without prior written permission from the publisher. VAGMA MEDIA DEVELOPMENT do not necessarily share the opinions expressed in Beyond Mykonos Magazine.

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Contents

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Once upon a time Mykonos… as it once was

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Royal Holidays The biggest royal cruise in history in summer of 1954

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On the Road Yiorgos Kordakis’s photo album

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Mykonos Vioma organic farm The holy vineyard

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The story of Manoulas Hotel Nikolaos Zouganelis talks about his Mykonos

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Life is a journey Dimitris Tsertsidis. Alover of journeys

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Art in the Summer The Bathers

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Delight Marzipan of Mykonos

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Orsalia Parthenis Revolution Goes On

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Contents

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Editorial

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Inside Story The Wind is Everything

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Themis Zouganeli Life Lessons

92 Fashion Solaire 106

Dimitra Kolotoura When Zeus met Dione

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Makis & Aby The owners of Kalesma Mykonos hotel

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Corina Larpin It’s not just about beauty…

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Dancing with the windmills Choreographing with Maria Christara

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Last Page

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ONCE UPON A TIME IN

MYKONOS Local people, small boats, white streets, and a way of life very different from that of the big cities caught the interest of the young Athenians.

By Vangelis C.

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Intellectual and bohemian personalities of the period arrived at Mykonos in search of an alternative way of living. Politicians, businessmen, and other people that later became powerful spent their summers in Mykonos during the 1950s, partying, falling in love, and discovering their own paradise in post-war Greece. In the 1970s, gay couples discovered Mykonos. On the island, nobody judged 26

them. The people there were so easy-going that even Elizabeth Taylor or Rita Hayworth could walk by them in the streets and they would not pay attention. Rich people, like Soraya, the socalled ‘sad princess,’ used to come to Mykonos to ‘feel free’ again. Poets, singers, fashion designers, actors, and models… they all loved Mykonos for this liberating atmosphere and made it their own

shelter in the middle of the Aegean sea.Mykonos, an infertile island, had little to offer but the islanders’ hospitality and tolerance. The first modern visitors admired the simplicity and repetition of the all-embracing whitewashed stonework. The locals decided to ‘respect’ visitors’ tastes and preserve everything ‘as it was back then’. Moreover new houses were built in

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Shawl Seller, Delos, Greece, 1958 28

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the old style. This slowly created a ‘staged’ vernacular. This spatial performativity, reflected in the actions of the locals and in the habitus of the whole exogenous community, created what Urry calls a ‘post-modern vernacular’ where the representation of time in space is faked to create a picture of authenticity. Mykonos’ later notoriety was acquired through an aesthetic capital which reputedly derived from its ‘inherent taste’. The place-myth remained faithful to the romantic gaze by constantly recreating a local vernacular architecture. Timelessness defines the island’s performative space. Lawrence Durrell is largely responsible for the semiotic acquisition of Mykonos’ space as timeless with no definite style – haphazard and harmonious at the same time. Mykonos, the ‘miracle’ of modernist architecture, ‘has so little history to intimidate one’ (Durrell 1978: 231).

Yet, Mykonos – due to its overdevelopment – suffered a semantic mutation: from a romanticised ahistorical rural landscape to a cosmopolitan ‘metropolis’ that semiotically works as a rurban space constantly expanding through sophisticated 30

contemporary architecture contiguous with the picturesque signs of the vernacular. The prevailing discourse is one of a historical catastrophe due to the vandalising of the romanticised Mykonian landscape by invading visitors and greedy locals.

Once upon a time, in Mykonos, the streets were clean and the explorer- tourist walked barefoot, enchanted, seeking to catch up with ‘local’ time and forget his own, taking pictures of old ladies at their looms. Nowadays, the picturesque old ladies are a scarce spectacle for the tourist gaze. Those that still exist simulate the image of the ‘Mykonian woman’ and enact weaving by displaying the old loom without actually using it. Some women still knit caps near their windows and sell them during the summer months, especially around sunset when tourists return from the beaches.

For a moment the eye is enchanted: what time is this place? Greece in the 1950s, or further back?

Next to the window with the old lady knitting is a small chapel with its door modestly open.

With just one glimpse, time can change here and now. The next snapshot is of Pierro’s. Soon

after sunset its fame will transform the Mykonian neighbourhood: laughter and extravagant clothes, leather, boots, beers. What time is this place? The 1980s, I’d say. Youth, subcultures and all that. Tourists do not bother to explore the many short cuts of the town. There is nothing ‘left’ to discover. They have already decodified their own haunts. Some will end up at Pierro’s, some at the Irish bar, some at the Scandinavian, some will exhaust themselves ‘celebrity’ spotting. Some old-fashioned romantics visit Mykonos off-season, admire the architecture, talk to the locals. They will perhaps find cheap accommodation in the freaks’ camping site on Paradise beach. What time is this place? Definitely the 1970s.

Quotes taken by Pola Bousiou, The Nomads of Mykonos: Performing Liminalities in a ‘Queer’ Space,

ΓΙΑΤΙ ΤΟ ΠΑΙΧΝΙ∆Ι ΤΟ ΕΛΕΓΧΕΙΣ ΕΣΥ ΚΑΙ Ο ΟΠΑΠ ΣΕ ΒΟΗΘΑΕΙ ΝΑ ΜΑΘΕΙΣ ΠΩΣ. Μάθε περισσότερα στο responsiblegaming.gr

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Royal

HOLIDAYS In the summer of 1954 the Queen of Greece Frederica organized the biggest royal cruise in history. Members from royal dynasties around the world received their invitation from Greece.

By Antonis Theodorou

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The Comtesse de Paris poses with her daughter, Hélène

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In August 1954 a cruise ship set sail from Naples on a cruise of the Mediterranean, Aegean And Ionian Seas. It included numerous stops at various well-known Greek Archeological sites, as well as plenty of time on the beach. The route planned for this cruise would offer to the distinguished guests the opportunity to discover the marvels of Ancient Greece in supreme luxury. The cost of the cruise would be covered by the donation of 10.000 pounds sterling, which were offered the previous year by Greek ship-owner Mr. Evgenidis to the Queen to promote Greek tourism. The steamship “Agamemnon” was offered for the cruise free of charge by shipowner Mr. Markos Nomikos. Prince and princesses over 15 years of age from Germany, Denmark, Sweden, Luxemburg, Great Britain, outcaste kings from Eastern Europe countries, dynasties that had lost their thrones a long time ago, all received invitations for this Aegean cruise. The official reason for the cruise was to provide a boost for tourism in the Greek isles, along with the re-acquaintance of European royals following two devastarting world wars. However, the unofficial purpose of the cruise was to bring young bluebloods together for possible royal matches. Quenn Frederika of Greece sent out approximately 85 invitations to royal guests over 15 years old. This was during a time when marriage to fellow royals was on the decline. When asked about the cruise, the Greek counul in Naples replied,”We hope to announce several engagements at the end of the cruise.”

Royal etiquette was abandoned in hopes of allowing the cruise goers to relax, minglr, and have fun without the usual stifling expectations of a royal court. The itinerary included visits to the Greek islands, music and dance nights and an original way to bypass strict protocol in the evenings: men and women draw tickets from separate boxes and then those with the same number would sit together at the same table. However, some guests bought the number that would ensure them a position next to the person of their preference...

The route of the cruise was planned by King Paul himself: Naples (Italy), Corfu, Katakolo (visit to Olympia), Crete – Herakleion (visit to Knossos), Rhodes, Santorini, Delos, Myconos, Skiathos, Sounio-Athens (visit to Tatoi), Mycenes-Epidavros, Itea (visit to Delphi), Corfu, Naples. King Paul ensured that his guests would wake up to a different location every morning. To achieve that, “Agamemnon” would travel during the night. The captain assigned with the responsibility for the lives was 60-year-old Panagiotis Patsis.

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1. The royal families of Europe on the deck of the Agamemnon. 1954.

2.King Paul of Greece Prince 3. Constantine of Greece at Epidaurus 4. Alley in Mykonos 4

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1. Queen Frederica of Greece was a fantastic hostess 2. The Comtesse de Paris on the “Agamemnon” promenade deck 3. On every visit, Constantine of Greece and his cousin Simeon of Bulgaria play the paparazzi 4.King Paul of Greece and Queen Frederica of Greece at Delfi 5. King Paul of Greece and Queen Frederica of Greece in Mykonos

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1. Marie of Greece in Delos 2. Transport to Mykonos 3. The King of Greece’s guests bask on the beach after an improvised picnic, 4.Prince Juan Carlos of Spain with Princess Isabelle Countess of Schonborn-Buchheim. 5. Marie-Jose,Queen of Italy in Mykonos 6. In the footsteps of Odysseus 7. Princess Anne of Orleans, Princess Sofia of Greece, Princess Tatiana of Radziwill, Princess Helene of Toerring- Jettenbach, Princess Irene of Netherland, Princess Irene of Greece, Princess Diane of Orleans on the steps of the theater at Epidaurus,

Countess of Paris offers a wonderfully vivid narrative of the cruise. Thanks to her recollections we are able to re-live the unique holidays to the smallest detail: «Queen Frederica had the marvelous idea to invite all young members of the European royal families to a cruise aboard the s/s “Agamemnon”. She had realized that as a result of the war, many of the members of the various royal families and relatives around Europe had been alienated from each other. So a nice way for these youths to meet, appreciate each other and maybe wed each other would be through family holidays. I find this in some ways similar to an advanced expanded European Union.

The meeting would take place in Naples, August the 21st 1954. Some of the guests arrived by car, others by train, while others were already in Italy, either on vacation or because they were just living there. We embarked in “Agamemnon” at eight o’clock next morning. Words cannot describe the feeling!! We were about one hundred people - parents and children. Members of the Greek Royal entourage were aboard the ship, the crew, along with a doctor, an inspector, a nurse, even a hairdresser and his assistant. [...] We set sail from Naples, through the strait of Messina. We continued with the periplus of Sicily standing amazed in the sight of the Mount Etna. Before reaching Corfu – our first destination – the captain anchored “Agamemnon” off shore and we were able to walk on the sandy beach before enjoying our pick nick.

Late in the afternoon, we visited Achillion and then we had our dinner in Mon Repos, the summer residence of the Greek royal family. [...]

In Crete, we visited Herakleion and the museum of Knossos with its magnificent palace, located nearby Herakleion; in Thira, we traveled around the city with donkeys; in the island of Poros, we admired the temple of Poseidon and in Athens, the Tatoi Palace. These monuments were amazing indeed. I can still feel admiration for the Epidaurus Theatre, which is considered to be the most perfect one in the ancient world, as regards its unrivalled architecture and exceptional acoustics. On the night of our visit, the “Hypollitus” theatrical performance was put on our honor. This was the first time when the Ancient Theatre in Epidaurus was used for a dramatical performance. Dimitris Mitropoulos was the music composer, Dimitris Rontiris was the director and Alekos Alexandrakis, Dimitris Papamichail, Aleka Katseli and others formed the team of the actors. The performance was splendid! We were sitting on the limestone seats of the Theatre watching the skini (stage). All of a sudden, the Master of Ceremonies (M.C.) started to panic on the sight of Greek farmers approaching the Theatre along with their donkeys to watch the performance. The funniest moment was when donkeys started to bray loudly in the middle of the act. I must confess, this was quite repelling. [...] The Comtesse de Paris poseswith her daughter, Hélène We took a small boat to arrive at the island of Delos. This way, we were able to visit the magnificent ruins of the Agora of the Kompetaliastae (the Kompeliaston Market) and admire the impressive square, which dates back to the 7th century BC and is surrounded by marble lions. It was an amazing experience! Then,

my cousin - Count Toerring-Jettenbach - and I went to visit the place where Apollo was born. We climbed over the steep path of the famous hill at five thirty in the morning, as, according to Greek mythology, the god Appolo was born at dawn.

We felt something unique. It was really beautiful, although just a few ruins are left. Was Appolo a god, was he mortal or just a spirit? We will never know. Throughout the royal cruise, Queen Frederica was a fantastic hostess. She was taking care of everyone; she could sense any problem - even if one of us felt a bit isolated from the others.

The way she managed the entire trip was really exceptional. [...] When the royal holidays came to an end, after thirteen days, we returned to the port of Naples”. “Agamemnon” did not have the glorious end it deserved. Having changed a lot of owners, it finally sank in the port of Piraeus in March 1968.

Quotes taken from the Book entitled “Royal Holidays”, Cyrille Boulay, publications ASSOULINE

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ON THE ROAD

Yiorgo Kordakis’s images pulsates to the rhythms of 2020s Mykonos: music, nature, architecture and the dessperate hunger of a new generation for experiences that are passionate, exuberant and alive to the heartbreaking potential of the present moment.

By Antonis Theodorou

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Mykonos means for me adolescent carelessness, the Greek summer and Cyclades. Its onvious that the island has mutated into something else which no longer expresses me as before, but remains in my heart. Because I know it a bit to the point I have the ability on the one hand to find the hidden beauties and on the other hand and perhaps more importantly to avoid mischief.

My purpose was to capture with sensitivity what is happening today in a place that never ceases to stand out. Of course Mykonos has mutated and serious mistakes and exaggerations have been made. On the other hand, very important efforts have been made and created new experiences, new habits which we just have to accept. To protect the tradition are is important, but on the other hand you can’t stop evolution. The island has changed but still remains unique. The coffee table book tries to capture the beauty of yesterday with the beauty of today. They are both present there for anyone who is interested.

Picturesque and modern coexist many times with great success. In Mykonos I easily manage to go 42

from yesterday to today many times in the same day. This is exactly the path I wanted to capture in the book.

Architectural Photography. Any photograph is ultimately the way the photographer chooses to view the subject. The choices of light, contrast, balance, texture, and composition are all up to the photographer. I try to create photographs that enhance the subject by the techniques employ rather than drawing attention to the techniques themselves. A failed photograph is one that the viewer sees more of the photographer’s technique than the intended subject matter. Finding the ideal moment when all external variables come into play to create a “perfect moment.”

In some ways, one waits until the weather, the light, and even the people in the building are at an ideal point in order to take the picture...The light is the most important. You can have the most beautifully designed building, but if it isn’t lit well, it isn’t going to look good – and for me, that means lighting it as it’s actually going to look.

About Art. I think that most architectural pho-

tographers were a bit worried for the future of our field the minute photo-real renderings became so good that they were passable standins for the real thing. Luckily we were quickly calmed by the fact that renderings, no matter how like a photo they are, show the project in its concept phase and do not show it in the real world.

Kalesma Mykonos is a luxurious retreat, hidden awayin idyllic surroundings with gorgeous views over Ornos Bay and sunset sea views on Delos Island. Timeless boutique elegance meets stunning restaurant, pool bar,firepit sunset lounge and main infinity heated pool, boasting 25 expansive suites and 2 grand villas, each with its own private heated pool and terrace. “Kalesma” means “invitation” in Greek,a word aligned with the ethos of this luxury boutique hotel. Beautifully designed to resemble a Mykonian village that tumbles down the slope to Ornos Bay and just a short walk from the exclusive Ornos beach with its buzzing beach bars and restaurants. The outstanding location brings with it the infamous panoramic sunrise and sunset vistas, which can be enjoyed from your private terrace and all the outdoor public areas. The property also offers a chapel, lobby lounge with fireplace, main fitness center, spa treatments,concierge, free Wi-Fi, 24-hour room service, in-room private dining, 24-hour security, boutique, yoga, Pilates, babysitting and private chef service and butler service in the two hotel villas .

Aleomandra / Agios Ioannis, 84600 Mykonos, Greece +30 22890 77222, reservations@kalesmamykonos.com www.kalesmamykonos.com

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Nikos Zouganelis

THE STORY OF MANOULAS The white island of desire, once the passage of only travellers, aesthetes, social butterflies and the nouveau riches of the 80s and 90s is today an international crossroad consigned to mass tourism. Nikolaos Zouganelis, the owner of “Manoulas Hotel”, “De.Light Boutique Hotel” and Pili restaurant in the Agios Ioannis area of the island, talks to us about his Mykonos.

By Athina Miralioti

Nikolaos Zouganelis at De.Light Boutique Hotel

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Nikolaos Zouganelis with his daughter, Evangelia

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1. Michail Zouganelis, father of Nikolaos in “the garden” 2. Manoulas Hotel and Agios Ioannis beach in 1985 3. The church in the port of Agios Ioannis in 1985

We live in a time of great contrasts. We are fortunate to live in a time in which science has reached such heights and offered us such potential so as to allow man today to focus on pursuing and seeking happiness. We live in a time in which authentic people are rare. Nikolaos Zouganelis is one such person...

AGIOS IOANNIS. This part of the island, where hotels are located today, is what my father and grandfather used to call: the garden. A leeward place with so much green, something one can rarely find in Mykonos where lush trees and vegetables grew. This stretch of land, from Agios-Ioannis beach towards the peak of the hill, was bought by Doxiadis in the 50s and 60s. He wanted to build the city of light directly across from the island of Delos, because he thought that the brightest spot of light in the world was that found between Delos and Mykonos. He died, so he never fulfilled his dream, and his children later divided and sold the land.

MANOULA’S. Times changed and I had the idea to transform “the garden” into Manoulas hotel.

The name “Manoulas” came from my grandfather;

it was his nickname. Here on the Greek islands, because so many of us have the same name, we often are identified by our nicknames. Because he was the one from whom the land passed down to me, it only made sense to name the hotel after him. Manoulas was the first hotel in the Agios Ioannis area at the beginning of the 80s, when there were few hotels on Mykonos. Tourism had just started blooming. Manoulas started out as a small family business and required a lot of personal work and effort. It wasn’t easy; we had some challenging times. During the 80s and 90s, we did everything by ourselves with the help of few staff members. Together, we ran the place: we worked reception, we were drivers, we were night watchmen, everything. My mother and my father helped us in the kitchen to make breakfast for our 30 rooms when we started. But you know…through hospitality, our guests became our friends. I used to sit with them and have a glass of wine and so our relationship would blossom. There was a veranda in front of Manoula’s in front of which my father had planted 180 vines.

He would go down, pick some fine grapes and come up and offer them to the guests. They were impressed at the sweet gesture and from the

unmistakable feeling that comes from authentic hospitality. They had never experienced anything like that. Everyone who came to Mykonos back then fell in love with the place and the generosity of our people. That is what saved tourism on Mykonos then, because a large amount of the tourists were people who returned to the island every summer. They valued and appreciated the generous and genuine personalities of the Mykonians. I am incredibly proud that today my children, Michail and Evangelia, continue our family’s legacy in Agios Yiannis at Manoulas Hotel, Pili Restaurant and De.Light Boutique Hotel.

THE FIRST CHARTER. There was a time on Mykonos when the hotel owners didn’t want charter flights to come, because they were skeptical about the quality of incoming tourists and the effect it would have on the island. I used to work with one of the biggest tourist agency in Munich back then and its owner adored Greece.

One summer he said to me: Nikolaos, I say we bring a flight with 120 passengers to Mykonos straight from Munich—what do you think? He had estimated that the length of the airway was suitable for a 120-passenger aircraft. I explained 47

1. Manoulas Hotel during the film shooting of “Shirley Valentine” in 1988 2. Nikolaos Zouganelis on top of the Manoulas van helping to unload tourists’ luggage 3.

Nikolaos Zouganelis with two guests-turned-friends, who visited annually for 30 years 4. The stars of the movie “Shirley Valentine”, Tom Conti and Pauline Collins.

to him how we could make it happen, and we completed all the paperwork. It was no easy task dealing with the Civil Aviation Office, customs office, etc. In the summer of 1985, the first charter flight from Munich landed on Mykonos. It was an absolute success. Imagine that soon thereafter, he would begin bringing two planes a week. That saved tourism on Mykonos, because we had customers that would spend one or two weeks on the island, not just three days as they do now.

SHIRLEY VALENTINE. It was June 1988. A group of five came to stay at the hotel, and among them was Kas Savalas, the brother of Greek-American actor Telly Savalas. He told me they were looking for a location to shoot a film produced

by Paramount pictures called ‘’Shirley Valentine’’ starring Pauline Collins and Tom Conti. They did a shooting at Kalafatis beach, they went to Ftelia beach and, at some point, he asked me if I had availability in the hotel from September 15th until the end of October. I said yes, as long as they gave me enough notice so as not to book those days for other guests. Two weeks later, Kas Sav48

alas came to the hotel and told me they would be shooting Shirley Valentine at Manoulas hotel.

They booked the entire hotel. I had 30 rooms back then, and it was an amazing experience. They turned the rooms downstairs into dressing rooms, they made the rooms upstairs dark so that the crew could work, they lodged in the rooms in between, and they morphed the common areas into sets. Cables, lights, generators, stunts, actors; we had to serve the whole crew. I didn’t know what a movie production meant back then. I’ll tell you something else: one day an absolutely skyrocketing phone bill came, so high the National Telecom called me to ask me what was going on.

But the movie production crew compensated me for everything, they were true gentlemen and professionals. The production manager came one day and told me ‘Nikolas, we’ll do one more thing for you. We won’t change the name of the hotel in the film; it will stay Manoula’s.’ You can see it in the movie. They shot at Kapari beach, the beach of Agios Ioannis, and at Manoula’s.

They asked me to act many times, but I said no.

I was too shy. In any case, I was on good terms

with everyone the crew and the actors. Tom Conti, for instance, was fantastic. Following the film’s release, even until today, cruise liners show the film and when people get to Mykonos it is a tourist attraction to see the places where the film was shot and visit the property.

ABOUT LIFE. The most important thing is to have values: to walk in the street with your head held high.

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Love for the open road

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PARTHENIS CAFE IN MYKONOS IS THE ESSENCE OF GREEK SUMMER. The House ParthenisS with immaculate aesthet-O F G R EEK SU MMER EN I S C AFE IN MofY KONO I S itsT HE ESSENCE ics is an always evolving piece of Greek fashion history. The brand’s instantly classic collections combine comfort with simplicity, enveloped through a timeless twist of elegance, deeply linked to the essence of Greek summer. The same simplicity, comfort and elegance is to be found at Parthenis Cafe, a new spot that follows the spirit, sense and history of the House itself. The cafe cosily sits right next to the windmills, in the courtyard of the iconic Parthenis store, at Alefkandra square in Mykonos. The menu medicalpsychology.eu is a testament to the Parthenis aesthetics, with fresh and Greek ingredients found in light, all-day signature meals focusing on the heart of taste and taking us on a culinary trip to Greece. An integral part of the everyday menu here at Parthenis Cafe is the mesmerizing Mykonian sunset of Little Venice, that you will enjoy while sipping your favorite cocktail or fine wine, paired with refined, light tastes. As for the music? Always an important element of the Parthenis universe, it now inhabits every moment of the day with curated playlists that follow the course of the sun.

aculate aesthetics is an always evolving piece of Greek fashion history. The brand’s instantly classic mplicity, enveloped through a timeless twist of elegance, deeply linked to the essence of Greek summer.

legance is to be found at Parthenis Cafe, a new spot that follows the spirit, sense and history of right next to the windmills, in the courtyard of the iconic Parthenis store, at Alefkandra square in Mykonos.

thenis aesthetics, with fresh and Greek ingredients found in light,Asall-day signature meals focusing moments and moods change, as people sweeton the heart of taste and taking us on a culinary trip to Greece. ly mingle more and more into the night, so does

the music: different styles are combined with a genre-bender approach, always following a common thread of flow and rhythm. Never has a dj set in Mykonos softly gone from Jose Padilla to The Black Keys, from James Brown to Paul Oakenfold or from Mark Almond to the Adelphi Music Factory and Nicolas Jaar. Right where Cycladic simplicity meets the minimalist aesthetics of Parthenis. This is where summer lounging is enjoyed from morning till night.

Where you can get in touch with the true meaning of easy living.

nu here at Parthenis Cafe is the mesmerizing Mykonian sunset of Little Venice, that you will enjoy ping your favorite cocktail or fine wine, paired with refined, light tastes.

nt element of the Parthenis universe, it now inhabits every moment of the day with curated playlists moments and moods change, as people sweetly mingle more and more into the night, so does the with a genre-bender approach, always following a common thread of flow and rhythm. Never has PARTHENIS CAFE m Jose Padilla to The Black Keys, from James Brown to Paul Oakenfold or from Mark Almond to the Alefkandra Sq, 846 00 Mykonos +30 22890 22448 Adelphi Music Factory and Nicolas Jaar. info@partheniscafe.com partheniscafe.com

where Cycladic simplicity meets the minimalist aesthetics of Parthenis.

50 his is where summer lounging is enjoyed from morning till night.

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Dimitris Tsertsidis

Life is a journey

There’s certainly nothing better than sharing the surprises, impressions, joys, or even the disappointments that a new place may have in store for you!

By Katerina Marmarinou 52

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Dimitris Tsertsidis is a kind of Renaissance man –well adjusted in a society that is only now starting to accompany him in his quest. A lover of journeys, not for the destination per se, but for everything that a ‘concept maker’ of his own life, a ‘larger than life creator’, gains every moment, at the actual time of the experience.

What was your childhood dream. I’ve always wanted to travel. That’s what I wanted, ever since I was a little boy. My health problems, however, did not allow it. And yet, I think that the way I’ve lived since I was born, the way I am overcoming these difficulties, the joy of my life, is drawn from the benefits of travelling.

What is a journey. I know what it’s like not to travel. I know what it’s like not getting out of your own home. I can describe how it feels, not going anywhere. On the other hand, I know that in my travels, what attracts me is the bliss, my over-exposure to life instances of a special lifestyle, special in the sense of the extraordinary; not in the sense of luxury and blabbermouth costliness, but rather in the sense of culture, art, new places. That’s what satisfies me, gives me strength, material to work with, joy. If I’m not travelling, there’s something missing. The journey is perhaps the only way you have to prolong this single life you’ve been given.

And the reason is that it becomes a point of reference, which expands within you, in your memories and consciousness, claiming a far greater area than the actual time you devoted to experiencing it.

Think. The more you travel, the longer, the richer in memories and emotions your life is. The journey is richness of the soul, knowledge and wisdom.

It is the water of life. It is a book. You interpret and see the world with a clearer eye. You do it automatically and unconsciously. You feel fuller 54

in yourself. I just want to travel. There’s always something to gain from travelling for the person who dares do it.

Persistence and patience. I took my first steps in 2000. Till then, I was confined to a wheelchair, but I always wanted to travel and I knew, within, that I would do it. Before 2000, medical science was not able to effectively deal with the health problem I was facing. I’ve been lucky enough, in this research framework of how to overcome my problem, to have met my doctor,; who is still treating me to this day. He was able to see the power in me and my certainty that I’d walk, and he suggested I undergo a difficult operation of high risk. It was like gambling in the roulette. Red or black... But after the operation, I did manage to walk. I, myself had already set the stakes quite high, so I did it.

I wanted to get away, to have a different kind of life, I went looking. I didn’t wait for hope to come to me. I went to find it myself so as to be certain of the outcome. Coffee Table Book. You know, in every journey I have unforgettable experiences.

Or, to put it better, many small moments add up to what we call an “unforgettable experience”. I’ve visited 130 countries in the last six years. 126, to be exact, because, due to the pandemic, I haven’t been able to visit N. Korea, Iraq, Afghanistan and Sudan. A woman friend, who knows about my travels, gave me the idea of a coffee table book.

I liked it. Lately, that’s what I’ve been busy with.

It will include an introductory note about what inspired me to set out on these journeys, followed by the countries I have visited, with a little info about each and photographs, probably about six pages for each country. In the end, there will be a text about what I have learned through all my travels. I like finding out about the world and sharing whatever I’ve learned with those interested. I

hope that with my book I may help other travelers, friends or simple acquaintances, to get to know the world. About Greece. I am very proud to be Greek. Greece is unique. After the 130 countries that I’ve visited under all kinds of circumstances, I have acquired a more rounded point of view. Take food, for example. Here in Mykonos, you can go out and eat fresh fish and wild greens and it’ll be a really satisfying meal. For us it’s that simple, while the French, for instance, need to make an effort to do that... I’m happy to see my foreign friends coming to Greece and then coming again and again, enjoying the Greek hospitality. Some of them may even feel a little bit Greek, and I like seeing that.

A journey that’s stuck to my mind. Good question. It’s hard to say. A journey to Chile, I’d say, the Atakama desert, specifically. It is ideal for astronomic observations, due to its geographical position and the minimum of light-pollution. India also, I’d say. They are a destitute people and yet cheerful overall. I think, however, that it’s the journey itself that I carry with me in my mind, and not ONE of them. It isn’t the route, but rather what remains afterwards. Selected snippets, at your disposal for ever, raw material to be used at will, dreaming of the next time or even modifying the existing ones, according to today’s mood. Because, every time you retrieve something from memory, you don’t remember the initial event, but the last time you remembered it.

Salar Uyuni in Bolivia

Attakama Desert

Machupicchu

Bhutan

Bhutan

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Summer in Art

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B AT H E

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Bathers have been covered in European art by a large number of famous artists, across a variety of different movements. The figure of the bather is one of the most common visual tropes in Western art history. From ancient Athens to 1920s Paris and beyond, painters and sculptors have presented bathing in a variety of ways with myriad different aims, whether instructional, titillating, or allegorical.

By Katerina Marmarinou 56

David Hockney (1937- )

Afternoon Swimming ,1979

With a career stretching from the early 1960s to the present, David Hockney is perhaps best known for his bright, cheerful works depicting pools and other everyday scenes from his life in southern California. Having worked in mediums such as painting, photography, drawing, printmaking, sculpture and more, Hockney is among the most versatile artists of his time.

Drawing on his lived experience, Hockney imparts obvious references to same-sex love and companionship in his work, a motif that began even before Britain decriminalized homosexuality in 1967. At present, Hockney is one of the most expensive living artists to be sold at auction.

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Edvard Munch (1863 -1944) Bathing Men, 1907

Edvard Munch was one of Modernism’s most significant artists. His tenacious experimentation within painting, graphic art, drawing, sculpture, photo and film has given him a unique position in Norwegian as well as international art history. Munch was part of the Symbolist movement in the 1890s and a pioneer of Expressionist art from the beginning of the 1900s onward.

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Pablo Picasso (1881 - 1973) Three Bathers, 1920 Pablo Picasso has also experimented with the theme of bathers, both nude and in gaily striped bathing suits. These experiments started in 1918 and continued until 1971. In the painting Three Bathers from 1920, Picasso depicted nudes with distorted bodies. The hand and arm of the nude in the foreground is gigantic and swollen compared to the toosmall head, while the arms and legs of the seated nude are impossibly long compared to her head and torso. With these enlargements and attenuations, Picasso combined classical symmetry with its opposite, the grotesque.

Giorgio de Chirico (1888 - 1978) Bathers on the Beach, 1934 After 1919, Giorgio de Chirico became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work. In 1934, de Chirico created the painting Bathers on the Beach depicting five nude female figures.

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MARZIPAN OF MYKONOS There’s certainly nothing better than sharing the surprises, impressions, joys, or even the disappointments that a new place may have in store for you!

By Katerina Marmarinou Photo: Spyros Paloukis

Since antiquity, travellers have been offered food and gifts. Our islands, even despite being frugal lands, all had their own honey, about a handful of trees and made exquisite ‘bites’, the amygdalotà (marzipan). In many parts of Greece and especially in the islands, with the Cyclades and the Dodecanese in the lead of creating these traditional sweets, we find numerous versions of the amygdalotà. This range of tastes and combinations takes us back in time and harmoniously links our present to the past. Almonds and bitter almonds, walnuts, figs, grapes, quince, sesame, honey, sweet fruits and nuts are the basic materials of Greek confectionary. Many of the traditional sweets made today, like amygdalota, karidàta (made of

walnuts), pasteli (made of sesame seeds), oriental tray-baked syrupy sweets, can be traced to Byzantine times or even further back.

Depending on their place of origin, the amygdalotà or mygdalàta are primarily made with ground white almonds, rosewater and sugar, enriched with egg whites, honey, semolina or ground breadcrumbs and get their fragrance from spices like clover, cinnamon, vanilla but also lemon shavings or bitter almond essence. Then, they’re “dipped” into icing sugar, after being sculpted in various shapes first, such as small pears, crescents, little balls, ovals and elaborate flowers.

It’s that time of the day, in the afternoon after a swim, when you’ll sit at a cafe or pastry shop to 63

catch your breath and, with the excuse of a cup of coffee, you will taste the magnificent traditional amygadlotà of Mykonos. The amygdalotà by Skaropoulos, dating back to 1921, were so famous as to become legendary around Mykonos. The founder, Nikolas Skaropoulos, bequeathed the recipe to his children, from whom the Matsouka family obtained it in 2014, taking the reins. Practically unchanged to this day, crispy on the outside and juicy inside, the amygdalotà are made with the same recipe, with ground almond, eggs and sugar.

They are lightly baked, sprinkled with rosewater, and dried for a week in mostras (mesh-covered grates) before getting steamed and placed in their boxes. A very interesting version are the kalathakia (little baskets) with a spiced almond filling, a traditional treat of Mykonos.

ARGIRENA, Mykonos 846 00 T: +30 2289026524

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ORSALIA PARTHENIS

REVOLUTION GOES ON

The Parthenis Fashion House has its very own history in the world of Greek fashion. Presently, with Orsalia Parthenis at the helm of creation, the identity of the fashion house remains timeless, with its elegantly minimal Greek aesthetics.

BY VANGELIS CHANIOTAKIS PHOTOGRAPHS BY SPYROS PALOUKIS

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“What you are wearing is a secret ‘code of couture’ that can be readily understood. It is a way of reading people, you can immediately figure out their path in life –what kind of music they listen to, where they shop from”, says Tory Turk, an independent exhibition curator, who specializes in issues of style and pop culture. Dimitris Parthenis created a recognizable Greek brand-name based on a clear creative identity, which travelled far and wide, both in Greece and abroad. “What I’m trying to maintain through my work is that a piece be recognizable from afar, it should be immediately understood that this is a Parthenis’ piece. The Parthenis line has always been timeless,of fine quality, comfortable and clean-cut. I don’t think anyone can know this better than I do. And, in any case, each new collection every season gives me the opportunity to experiment, without distancing myself from the Parthenis line.

You know, the objective isn’t a beautiful design. It’s the overall image that counts”, Orsalia Parthenis tells us. The clothes bearing the Parthenis signature have always carried an aura of sophistication, both modern in its time and timeless –they’ve emitted a sense of ‘Greekness’ without the folklore element, but rather through the simplicity and purity of their lines. Minimalism and the commitment to high quality fabrics have been key to the international renown of the Parthenis House.

The comfortable yet sophisticated Parthenis style, from very early on, has been associated with the island of Mykonos, which was a source of inspiration and creativity for the designer.“Mykonos feels like home to me. As soon as the sea-breeze hits me, I feel the same enthusiasm that I felt as a small child, when I stepped foot on the island.

That’s why Mykonos had such a huge influence on the design of the clothes. We’re talking about an era, the end of the 70’s, when night and day were one and the same for the trendy lifestyle. An era when lounging was a synonym of luxury. The Parthenis clothes were designed to accompany you in your good times, not to burden you; to 68

make you feel good inside your body when you’re wearing them; they are so unaffected, you can fold them up, put them in a backpack and hop on to the next island, without a second thought.

The aim of the Parthenis Fashion House is to feel comfortable in the clothes you‘re wearing, instead of them ‘wearing you’ just to blindly follow the fashion trends”, she says.

Inspiration for Orsalia “certainly doesn’t come from fashion itself. The people of fashion are usually solipsistic. That’s extremely tiresome. Art is my inspiration. The cinema or music, which has recently entered my life because of my husband. I find great inspiration in the past, without looking to be ‘retro’. I find inspiration in people, and that’s why I am especially open to communication. I may even be negatively inspired and just go ahead and talk to somebody out of curiosity... sometimes I may even be in for a surprise and, instead of the negative aspect I was expecting, find myself in front of something really positive”. In view of the important part that she has played in the history of Greek fashion, taking a risk, to her, is, simply, exciting. “My job is a high risk one. Without risk, there’s no life, in my opinion. To me, the risk is creative. That’s how it starts, of course... afterwards it turns into financial risk. Still, a strong foundation allows you to deviate, if and however much you may want to. In any case, working in a safe environment doesn’t let you be creative”.

The manufacturing in Greece of the Parthenis clothes has always been non-negotiable. “That’s what the House has always stood for. Nowadays, it is even more pertinent. Unfortunately, by now not all materials are fabricated in Greece, because the textile industry has been hit really hard. But we’re still pushing for it, because we want the quality of Greek producers”.In a setting that keeps changing, being authentic gives the product extra value. “What I am trying to do is create quality clothing, pieces that the buyer will not get rid of quickly. It’s the Parthenis ‘slow fashion’ concept.

Every collection can be a building block for the

next. You don’t throw away what you’ve bought, you can always combine it with the next piece.

We don’t believe in excessive consumption. We make clothes that will be loved, not thrown away, that will be used to add on.

And what about the Parthenis Café? The Parthenis Café was born because of the location of the shop, with its stunning views underneath, of the Myloi, the most sought-out spot of the Chora.

In fact, the place was a club before it was taken over by Parthenis. Our proposition with the café follows the ‘slow fashion’ philosophy of the Parthenis brand. Seeing that in Mykonos the idea of entertainment is combined with shopping, the café is a recommendation to our clients to take a pause, enjoy their shopping visit in our store, slow down –since the fashion we create and the fashion they choose to wear is not ‘fast fashion’.

What was your father loyal to above all else in his life? “He remained true to his vision. Throughout his course in life, he remained true to his silhouettes and stayed away from the pretence of the times. He really loved nature, and that was obvious in the clothes that he created. There was a kind of ‘sacredness’ in his connection to nature. He went along better with nature than with people”.

What do you miss most about your father? “His voice. His anger and his laughter”.

The design of Parthenis Cafe was done by studio design ANAKTAE, which was respected and inspired by the timelessness and the strong dynamics of the identity of the Parthenis brand, with careful interventions in order to maintain the PARTHENIS atmosphere, with a functional development and a simple aesthetic breath.

Dimitris Parthenis

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Chrisanthi Askiti

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LETTER FROM THE EDITOR

“The light of Greece opened my eyes, penetrated my pores, expanded my whole being.”, said Henry Miller in his book “The Colossus of Maroussi.” If there’s any writer anywhere who embodies the antithesis of austerity it’s Henry Miller. Toward the end of The Colossus of Maroussi Miller observes that the Greek “is just as enamoured of electric light as he is of sunlight. No soft shades, as in Paris or New York, but every window ablaze with light, as if the inhabitants had just discovered the marvels of electricity.”

In 1940, on the eve of sailing home to America, he has a last look at the lights of Athens, “an electrical display … without parallel among the cities of the world ….

Athens sparkles like a chandelier …. But what gives it its unique quality, despite the excessive illumination, is the softness which it retains in the midst of the glare. It is as if the sky, becoming more liquescent, more tangible, had lowered itself to fill every crevice with a magnetic fluid ….

On any slight eminence one can stand in the very heart of Athens and feel the very real connection man has with the other worlds of light.” As always the enemy of 70

understatement, Miller suggests “that in Athens the miraculous light of day never entirely vanishes,” that “in some mysterious way,” the city “never wholly lets the sun out of its grasp, never quite believes that day is done.” The Light of Greece is so startling that Henry Miller was moved to write: “The Colossus of Maroussi” -a celebration of the uninhibited spirit...In the dazing sunlight, a detail stands out in hair-raising exactitude such as one sees in the paintings of the very great or insane. Everything is delineated, sculptured, etched..You see everything in its uniqueness-a man sitting on a road under a tree...Whatever you look at you see as if for the first time. What makes Greek light in general so special? The combination of small masses of land against; the Aegean Sea, high island vantage points and steep cliffs which lets the observer perceive the light falling from the sun while more light simultaneously reflects back up off the sea, the neutral brown colors of the landscape, especially in summer, and the sparkling of the white of the simple Cycladic houses. It’s magic, and it’s not to be found in any guidebook or monitor

screen: it must be seen to be believed.

“Marvelous things happen to one in Greece – marvelous good things which can happen to one nowhere else on earth. Somehow, almost as if He were nodding, Greece still remains under the protection of the Creator. Men may go about their puny, ineffectual bedevilment, even in Greece, but God’s magic is still at work and, no matter what the race of man may do or try to do, Greece is still a sacred precinct – and my belief is it will remain so until the end of time.”

It is amazing how Miller is inspired by Greece and its civilization. The last words of the novel are: “Greece herself may become embroiled as we ourselves are now becoming embroiled, but I refuse categorically to become anything less than the citizen of the world which I silently declared myself to be when I stood in Agamemnon’s tomb. From that day forth my life was dedicated to the recovery of the divinity of man. Peace to all men, I say, and life more abundant!”

ATHENS • MYKONOS • SPETSES • CHANIA • PATRA

orsalia-parthenis.gr

71 Photography: Pantelis Mantzanas • Model: Jenny Koukou • Special thanks to Cine Manto

the wind is everything on this island... remember it When I want to think about something beautiful, my mind immediately travels to the summer festival that we call Mykonos “Island of the winds”, as Mykonos is often referred to, is dictated, defined and redefined again and again, by its imposing and emblematic winds.

Based on the idea of V.Par Photos by the award winning cinematographer Pantelis Mantzanas GSC” jenny Koukou / Instagram: jennyk_who / Vn models Fashion:Parthenis 72

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If you were able to observe the island and the sea from above, you would realize that everything was created by

fondling the breasts of bare stone – and has no intention of relinquishing its siege before sweeping the sparse, fea 74

the air exhaled through the lungs of the milky horizon. It reaches the shores of the island with legions of waves

athery vegetation with its far-reaching tentacles, again and again.

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We, who speak to you, have sown the wind to reap its coolness in our island homes, those white cubes are randomly scattered on the bedrock.

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Everything is the wind on this island – remember that. And if you stop and gaze upon the peaks on the horizon, you will be convinced that they are dancing at its command, hazy and windswept. Boatmen measure lengths with its stride; fishermen forgotten since Homer’s time, companions of a day laborer king, searching for his Ithaca in the Cyclades, curse the acerbic north wind as they sit in cafés, whiling away the time.

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The salutary gusts of wind are the breaths of God, who gave color to the sea, sky and land, and divided our islands; who painted the faces of day from dawn to dusk, and put the sun to bed in the darkness of the universe. With His breath, the wind now comes and gives life to all He imagined. This is the only explanation for the persistent gusting in the sacred bosom of the Cyclades.

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Since then we live on this island as if captivated, nourished by the light, the sea and the wind. We have few worries and there is no need for you to consider the hordes of tourists running amok on our memory. Like the autumn comes, the whitewash and the Cycladic aesthetic get to work. So journeys the island, tightly bound to the cape of geography.

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TH EM IS How many miracles can the endless light of Mykonos do?

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For Themis Zouganelis, owner of THEMIS Z brand, Mykonos embraces us with smiles, sun and seawater to give us life lessons. ΒΥ VANGELIS CHANIOTAKIS PHOTOGRAPHS BY KOSMAS KOUMIANOS

Dreams. “I’ve certainly never dreamt of doing what I do right now. I grew up between Greece and England and used to spend my summers in Mykonos. The images I gathered were different but in a magical way they all fit in harmoniously in the genuinely relaxed mood and elegance of Mykonos. My parents were very different but what characterized them both was open-mindedness and a progressive attitude to life. Our summer house in Mykonos was always open, full of friends and dinners were made on the spot to please them. So I learnt from early on how to share the joy of life with others. This is actually what I was dreaming of, to discover the world.”

My father. “My father was wild and witty and flexible. With “9 Muses” he lived life to the full. What he respected above all was himself.”

My mother. “My parents split when I was 3 years old, and because of that I spent most of my time with my mother. She had lived in New York where she worked as a columnist and stylist in Harper’s Bazaar. My mother taught me in her own way the concept of being sophisticated, in other words how to be discreet and elegant and do nothing for the sake of appearances alone. She led me to think that besides Greece there’s an entire world waiting to be

discovered. She loved design. She loved stage design and often changed the house out of the blue just to make it look different. She was the designer of my father’s clubs in Mykonos.

The crucial moment. “It was six years ago and came quite naturally, as part of my career as Interior Designer to create my own objects for the spaces I imagined. I owe the entire brand to how I grew up with my mother and to Mykonos.

Inspiration. “My love for Greek architecture and interior design. I’m excited about anything that has to do with motifs from our civilization.

I came up with the motif of the peacock as I was walking up the stairs of PALLAS theatre and observing the railings. From house items to clothes and accessories, all the creations of THEMIS Z have been designed in an authentic, unpretentious way. So, I started a series of decorative furniture and accessories with Greek aesthetics and architectural design. Then came my cooperation with Dior Maison, when I was asked to design two exclusive series for Dior. And then came the clothes collection inspired by Mykonos. Mykonos has always had this sense of freedom, especially when we were younger. It was very chic during the 70s and 80s, and very artistic, too. This is exactly what I wished to see reflected in my creations.

I wanted a brand of Greek, not ethnic, identi-

ty whose aesthetics would fit in everywhere.

What’s important is that all materials are made in Greece and the collection production is also carried out in Greece from start to finish.

Foreigners like something made in Greece, because Greek creators are incredible.”

Elegance. A woman dressed in jeans and a white shirt or a silk kaftan…and golden bracelets.

Life attitude. When you have a positive outlook, things happen. If you want something badly and believe in it, it’s already happened…

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S OL AIRE Photographer: Kosmas Koumianos, Fashion Editor: Panos J Albanis, Make up artist & hair designer: Fay daskalopoulou Photographer assistant: Yiorgos Makris, Wardrobe assistant: Christina Sideris Models: Sasha / Ace

Shirt the row jumpsuit Philosophy Di Lorenzo Serafini, Enny Monaco, Bracelets & necklace Minas Minas boutique Chora Hat Eliurpi, Bollicine boutique chora.

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Alexander Vauthier shirt Loewe belt & bag Bottega Venetta mules, Luisa beach Nammos village Bracelets & rings Minas Minas boutique Chora.

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Top Balmain, belt Johanna Ortiz Haus of money wedges, Enny Monaco, Hublot classic fusion rose gold 38mm, Hublot boutique, Chora.

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Alexis dress, Luisa beach Nammos village, Tunik Dassios, Dassios boutique chora, earrings titanium with diamonds Anastasia Kesaris, Kesaris Mykonos.

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Parthenis dress, Parthenis boutique Chora Necklaces & bracelets apriati, apriati boutique Chora Jacque Mari Mage sunglasses, Panaidis boutique Chora

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Dolce & Gabbana swimsuit, Azzedine Alaia shirt, Luisa Beach Nammos village Gucci sandals from stylist archive Necklace and rings apriati, Apriati Boutique Chora.

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Top, shorts, hat & earrings Louis Vuitton Louis Vuitton boutique, Nammos village.

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Themis Z. Top, Themis Z. Boutique Chora Swimsuit Oserre, Bollicine boutique Chora, Ellie Saab sunglasses, Luxottica Hellas.

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when zeus met dione ΒΥ VANGELIS CHANIOTAKIS PHOTOGRAPHS BY KOSMAS KOUMIANOS

Greek spirit and inspiration, greek materials and traditional techniques presented in a novel way. There’s a breeze of renovation and creation blowing from ZEUS + ΔIONE, which reminds us that life changes only in so far as some people never stop awakening

our feelings. It’s a phenomenon which corroborates that aesthetics is actually what gives meaning to our lives. Dimitra Kolotoura, the soul of ZEUS + ΔIONE, in a chat about aesthetics, values, Greek tradition, doric lines, contemporary minimal...

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Nice to meet you...

“Nice to meet you, too.”

Does elegance still exist in our days? I’m asking you because, in the 1960s fashion ateliers in Paris, elegance was a synonym for the thirst for beauty, thirst for life...

“What, in French, we call chic, or joie de vivre, the joy of living, whatever you may call it, exists in everything. In the way we live, the way we drink our coffee, how we walk in the street, the way we talk, what we wear. Now, about whether it exists nowadays... My answer is that in our days, there exists everything. There are both the elegant ladies and gentlemen, but there are also the Kim Kardashians, with an unprecedented vulgarity, there’s the cool type and the preppy type. There is an overall liberty, which, I must say, I like, because everybody is offered the chance to express themselves and declare, without saying a lot, who they are.”

What is the opposite of elegant?

“The inelegant. Elegance, carries certain obligations in its essence. The elegance of the women of the past was always laced with a certain prudishness, which we’ve gotten rid of nowadays and have become more substantial. But, do you know which expression I like to use, instead of ‘elegance’?| No, tell me please...

“Aesthetics. Life is aesthetics. I much prefer it to the word ‘elegance’. A person of aesthetic learning can tell the difference between the ethical and the unethical, good and evil, the original and the copy, beauty and ugliness. Aesthetics includes the experience, ‘the sensation caused by data from our environment’. So, as a word, it is stronger, because it has feeling, and that is far more relevant to me”.

Your dreams, as a child...?

“I really love children and when I was little, I felt that I would become a piano teacher. I played the piano since I was 5 and it was a part of my life. Afterwards, during adolescence, architecture became very prominent in my dreams, I studied and I took drawing lessons to go to university. Life took me on a different path, in the end, I studied one thing, my profession turned out to be something else, but the routes were always fascinating. I can’t wait for what’s next...

How important is the environment in these things we’re talking about?

“Very important... I firmly believe that. In my opinion, the environment shapes 80% of a situation”.

What was the environment you grew up in like? “I grew up in the urban environment of Athens. My mother comes from Syros and was very strict about my upbringing, while my father is an economist, with a more ‘western’, liberal 104

approach. I grew up in Athens and piano lessons, along with French and painting were in my everyday routine. I was a quiet child, with a peaceful adolescence, not rebellious at all. My rebellions took place later, on a personal level, and they are still going on”.

Is there a certain moment in which one decides what to do in their life?

“There is the moment when, in everybody’s life, the dream and the passion outweigh one’s conventional challenges. Personally, I’ve always realized my ideas. I’ve always had crazy ideas, which motivated me and energized every one of my cells... this motivation helped me overcome my fears and inhibitions and I found myself in the pleasant position of being able to realize them... I never did something just because I had to. Fortunately, I have been able to fulfill my wishes, up to now. As for what pushed me to the creation of ZEUS+ DIONE... It was a moral challenge. At the time when Mareva and I created it, there was deep unrest in the country.

There was a financial crisis. In 2011, things were very difficult. What we both said was, that we should do something to be proud of. And we took the dare”.

Does everyday routine kill the dream?

“It depends on the kind of person that you are.

For me, it makes it stronger. A while ago, I was talking with Michelangelo Foundation and they couldn’t believe the work we’ve done, us, such a small company, in the recording of artisans and talented people in various crafts in Greece.

My daily routine, which, of course, has been my choice, revives me and keeps the flame in my dream”.

You’ve talked about talented people... How much do you believe in talent? Is there such a thing? And, if yes, what is talent?

“Every single person is born with some talent.

Thank God, each of us is unique, each of us has a gift. Our talents are an expression of our variety. That’s what makes us different from each other. What’s hard, is discovering our talent. Sometimes it’s easy to spot, sometimes it’s harder. I will add, of course, that talent on its own is not enough... it also takes practice and the pursuit of perfection.

They say that the most important thing in life is to come face to face with your talent...

“You know, creation, talent, dexterity, are all hiding in the depths of our soul. Happiness requires an inward journey. Every human being has something special, and it’s our own special something that we must come face to face with to be satisfied. Yes, I believe it too, happiness is finding your talent”.

Is there something that prevents someone from coming face to face with their talent, that prevents them from looking inside? What may distract us?

“There are people who have grown in specific homes, with specific beliefs, which they haven’t managed to overcome, which in turn results in their not finding and not developing their talent ever. There are people who may be indifferent to discovering deeper elements of their personality. The environment, then, and false beliefs may become a hindrance in discovering one’s talent”.

So, it takes talent to protect one’s talent...

“It takes passion and momentum to do what you want to do”.

What inspires you?

“Inspiration first and foremost comes from the solemn heritage that we, Greeks, have. We are fortunate enough to be living in a country that is an open-air museum and constantly bombarding you with sensory stimulation. From the ruins of an ancient temple to a magnificent edifice of the 1800s, even if it’s half destroyed, from graffiti in the street to old shops in a small neighborhood... it’s all inspiration to me”.

Does inspiration visit us, or do we visit it?

“That is a very good question. Inspiration is a novel idea which gives you no clue where it’s coming from, it is the result of sensory aesthetic stimulation. I believe inspiration visits us unexpectedly and it’s like love. Inexplicable.

Which is more important, the person who has the idea or the person that turns it into reality? “None is anything without the other. Team work is my Gospel”.

Is it the effort or the outcome that matters?

“The effort, certainly. The effort is human, the outcome divine”.

What if the effort constantly leads to failure?

What then? “It’s the effort that counts for me.

Always try, even if you fail. Try again. Fail again.

Fail better. Improvement comes through persistent effort, and if you keep insisting, what you pursue will be realized. It’s what I said before about talented people. Their talent pre-exists, but it’s through repetition, hardships and repeated efforts, again and again and again, that flawless perfection can be attained.

What is success? Is success the goal for you?

“What I’m aspiring to is the journey. I am a fan of Kavafis and my “bible” is his poem Ithaki. He has described it better than anyone. It is the journey that has the greatest value. If the journey is equipped with the right ‘weapons’, such as serious effort, diligence, passion and perfection, then success is guaranteed. So, to answer the question, success is the goal for me, but the course I follow to reach it is more important”.

What do we gain and what do we lose as we grow up?

“I don’t know what we lose as we grow up, nor what we gain. Because, personally speaking, the more I grow, the younger I feel. There was a kind of somberness about me in my 30s, while now, at the end of my 40s, I feel lighter than ever, full of self-confidence and certitude. Generally speaking, I think we lose our carelessness but we gain in experiences, and that can balance it out.

How do you manage failure?

“With temperance and rationality. It’s my basic trait. Of course there are explosive moments, but I recover rather fast”.

What makes you angry?

“Greed, lack of education, but above all, a lack of aesthetics”.

What does risk mean to you? Do you gamble?

“It means pursuing actions –putting everything at stake— without knowing the outcome.

When Mareva and I announced to our people that we would create a company with the given characteristics, ZEUS+DIONE, everybody kept telling us that we are crazy. Of course we took a great risk. I have sold things that I loved very much to support this business. I have sacrificed moments and situations for my passion. Still, I would do it from scratch in exactly the same way”.

Are our passions the same as our desires?

“Absolutely. A strong desire cannot be anything but passion. I have two consistent passions in my life: my daughter, who is my priority, and my job”.

What is the best thing you’ve seen and the best thing you’ve heard?

“I have an inherent curiosity, which is fed by this job. I’ve seen magnificent things in Greece and the whole world. Unique and rare objets d’art.

And I’ve heard amazing stories in my interaction with creators. I generally like communicating with people. I like conversations that are deep, full of meaning... I’ve been part of many such amazing conversations, both with important people and with simple folk. For example, I remember meeting a shepherd at Metsovo, whom I found astounding, with a philosophical thought that surpasses even the greatest philosopher’s. I generally like contrasts, and such things push me forward, because they are good for my mind.

After all, that’s our personal fortune: our people, our friends and all we have invested in our minds”.

Whatever we do in life, in the end, is it more relevant to our choices or to our influences?

“Our influences are the catalyst for our choices.

Personally, I am convinced that it’s this combination that performs the magic. Generally I believe that there are pairs of things. I wouldn’t be able to create ZEUS+ΔIONE, if I didn’t have Mare-

va Grabowski on my side; and then, I wouldn’t have been able to successfully move forward, if I didn’t have my selected, amazing team”.

What’s in your vision for ZEUS+ΔIONE? “To succeed in becoming a recognizable brand all over the world. Not just the brand name, but the work that has been done underneath, in its core. What each collection expresses is but the tip of the iceberg. I am interested in following the underground, the foundation. We have created a company of vertical production, we weave the fabric, we process it, we embroider it in Argos and Crete, a local work force is used... this whole journey has been absolutely great.

Especially now, I’ve got one more reason to be satisfied, because our work has been recognized by international renown houses, a colossus like Dior or Maria Gracia Chiuri, who came and saw how we work and used our primary material, the silk fabrics produced at Soufli and proudly brought them into the international limelight.

Now that I’ve mentioned Soufli, I want to stress that, I want the public and the customers to be aware that the shirt they are wearing was made by a specific person, who is in a town at the edges of Greece right now, that it went through many creative hands before it got to the shop. It didn’t just enter a roller to come out as a shirt.

That’s how we have managed to create clothes of great inspiration and also manufactured exclusively in Greece. We are a very small country, but on the other hand we have a huge cultural background, and, since everybody likes stories and has an emotional affinity to them, we have many stories to share.

I am picturing you and Mareva, somewhere at Soufli, with your designs in hand, going here and there to find, or rather to ‘dig up’ forgotten people and techniques...

“That’s exactly right. You must talk with Kostas Mouchtaridis, our man in Soufli... the first thing he thought when we went to talk to him was ‘What are these two blonds doing here’... (laughter). His factory was dead, he had not weaved in more than 7 years and, when we told him that we want silk to make clothes, he asked, who makes silk clothes nowadays, when everything is synthetic”.

What was your answer?

“That’s what we want to do” we replied. And when we asked him for twenty metres of ‘spathoto’, the relief-like particular silk fabric, he asked if we wanted to make small table coverings or tablecloths . When we explained that we want to make dresses and shirts with it, he looked at us again, made the sign of the cross and gave them to us. We went to Paris with a small collection –we came back and gave him his first order, which was 200 metres of silk fabric. Then we worked a lot with him, for improvements in the fabric, we made another

order, a third one, and since then he has been our exclusive collaborator, we’re walking this path together”.

What was your reaction?

“Oh, he wasn’t the only one. Wherever we went, we got suspicious looks... making the capes at Metsovo... making the caftans in Crete...

Who’ll pay so much money, they said. We explained to them, from the start, that we are creating an item of luxury and that there is a market for such items. That has been our identity from the beginning. To make quality stuff, expensive stuff. And they are expensive, because it’s the materials that are expensive, the procedure. We aren’t making our clothes in Bangladesh, nor do we use child labor”.

Did you find any doors slammed to your face, as we say?

“There were people who said NO. In due course, though, we found people who agreed to work for us, to be our collaborators, our partners, our brothers and sisters. We are together. When we grow, they grow”.

How did the collaboration with Mario Schwab come about?

“My collaboration with Mario was meant to be, it’s what we call a ‘karmic’ meeting. I’d seen him in London before ZEUS+ ΔIONE was actually born. In 2012 I had the communications of Greece with the London Olympic Games.

But I always carried with me an ifanto (embroidered fabric) and a pair of sandals and I’d go to VOGUE, to ELLE and show them. They told me, that’s a great story, but set up the company first and then we’ll see. In all of this, I saw Mario as well, because we’d been looking for a designer at the time. He liked our idea, wished us great success, but he also thought the same thing as the others: set up the company, and then we’ll see.

After that, we hired Lydia Vousdounis, a young talented designer and we’ve been together to this day. Now that Mario is our creative director, our team is growing and evolving, it is renovated, with our approach and eyes always on our tradition, but in a novel, revolutionary way, without losing our luxury elements”.

What’s your attitude to life?

“Nothing is impossible”, “when there’s a will, there’s a way” and all that stuff!! My general stand towards life is a smile and determination, combined with kindness at the same time”.

Thank you Thank you, too.

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MAKIS

Kalesma means ‘to invite,’ in Greek. Makis Kousathanas and Aby Saltiel succesfully marry modernity with traditional Mykonos hospitality and welcome guests to become a part of Mykonian stories. ΒΥ VANGELIS CHANIOTAKIS

PHOTOGRAPHS BY SPYROS PALOUKIS

What does traveller mean? “A person who goes to the end of the world to find the way out”, says Jules Barbey d’Aurevilly. When he returns home, purified by the majestic images and magical encounters, there’s only one thing on his mind: how to engross people with his stories, how to give lessons about life and ideals. Such an end of the world is Aleomandra, on the south-west part of Mykonos, where according to mythology the horses of Apollo were born. At this sacred spot there’s a modern cubist village with 25 suites and 2 villas which narrates stories from the heart of Mykonos.KALESMA is what its name tells us. An invitation to Mykonos’ authentic lifestyle. “This is what I was dreaming of ever since I was little. To take care of the people who seek to become one with the place, its people, its energy and its pace of life. Although Mykonos is a typically cosmopolitan island, its main feature is how hospitable it is to all visitors. Even when Mykonos was an unknown destination, the locals opened their arms and welcomed the first tourists”, explains Makis Kousathanas, one of the owners. “Kalesma is a hotel of experience. With Makis we try to revive important parts of Greek hospitality, of Mykonian hospitality with regard to food, the way of entertainment, the way we built this ‘village; because for us KALESMA is a Mykonian village, not a luxury hotel”, says Aby Saltiel, the second owner. This ‘small village’ is built in the best part 106

of land owned by Kousathanas family, high up on a south-oriented rock, with ample light and protected by the powerful northern winds. The light at Kalesma at sunrise creates an atmosphere that leaves an indelible impression and charms the visitor as the all-white houses of the hotel loom in the horizon against the blue background. The elements of nature have a very powerful presence here. “Do you know that right here, across Delos, is the spot with the strongest sunlight in the world? This is where my house was before we built the hotel. The first deed goes back to 1933. Don’t judge by Mykonos as it is today.

Mykonos was not a rich island. These lamps we have on the trees are the same lamps my grandfather and grandmother had, the ones he held at night when Mykonos didn’t have power yet.

Electric power in Platis Gialos came in 1980. This is all we had; ice cooler and ‘lux’ lamps. I remember going to open festivals and there was a lamp for every group of four on our way there. From a distance we looked like fireflies. Yet it a hospitable island, and this is what sets it apart from the rest. The people of Mykonos have always felt that the guest setting foot on the island is a guest in their home. There was always some cheese, a glass of cool water, some grapes and figs for the visitor. At summer festivals you could drink and eat for free. Whatever was given free came out of the pockets of every family”, explains Makis.

Aby has been in the world of fabric and fash-

ion for three generations now and likes to travel around the world. His experiences from the hotels of the world are invaluable in building Kalesma. “We make an invitation of hospitality, since hospitality runs in my blood. It gives me pleasure.

My father was like that, too. He would find someone on the street and bring him home. It’s in my DNA. It’s the perfect job for me. I like to talk to people, find out what they think, tell them my ideas. I want the visitor to have a great time not only in the hotel, but in Mykonos. We get lots of love from the people, because they understand that what we have made is unique. This hotel is a tribute to Mykonos. Everything here to the finest detail is based on the traditional Mykonian house, obviously seen in a modern way. But we remain faithful to its main principles. For us Kalesma is the model of how Mykonos should be like”.

A wonderful harmony prevails in KALESMA. It has an austere, but wise architecture. All-white, cubic houses, arranged in order and among them a little chapel completes the picture. In KALESMA the match of blue and white, the transparent sky and the sunlight create images that seem to have sprung from a painting. An endless and yet real fairy tale unfolds around you, unique and special in its every turn, which invites you to live it in a playful manner, asks you to taste it, to relish it to the final drop.“Besides Rick Owen’s work, everything else is made of materials from Greece and by Greek craftsmen. The hotel is a hymn, a

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ABY tribute to Greek creation. What we have made is a small Mykonian village on the basic principles of Le Corbusier who visited Mykonos in 1939 and said that these cube-like houses are the epitome of architecture, and that any architect that may visit the island has nothing more to offer. So this is what we have tried to do. We created a holistic proposition which combines hospitality in a Mykonian house, obviously including what to drink and eat. Its most important feature is right where we stand, in front of the suites: the yard. This is the main living area, where people spend most of their free time. Just like in Mykonian houses, the internal spaces separate one from the other and all their doors lead to the yard. All our little buildings are two-spaced, white, square with an arbor in the internal yard with the swimming pool for every suite. All structural pieces are oneblock parts. Our bathrooms are all marble, the planks on the ceiling are chestnut wood from the Holy Mount, chaste trees and large oak closets”, explains Makis.“…and all houses are the same”, adds Aby. “This is the first thing I asked the architects. I wanted all houses to be the same, have the same view and comforts, so that the visitor won’t worry about booking a good room or not.

This comes from my experience, my own anxiety when I stayed at hotels. I don’t want the visitors at Kalesma to have such anxieties. I’m a very demanding and hard-to-please hotel resident.

I want to enjoy what I pay for, nothing more, nothing less. Out of all the hotels I’ve stayed in –and they are plenty- there are only two where I didn’t ask for a change of room”, he says with a smile. Wardrobe assistant: Christina sideris “It’s an experiential concept. Just like in my grandfather’s yard they used to set up a gathering and have the yard bristle with people, we have a party at Kalesma every week. They all eat and drink for free. We only charge those who don’t stay at the hotel. Whoever comes to stay at our hotel will understand deeper what it is that we believe in. People like listening to stories, and we have many stories to share”, points out Makis.“There is an Kevin Costner old film called ‘The field of dreams’, in which Costner listens to the voice of a famous baseball player urging him to turn part of his farmland into a baseball court. “If you build it, we will come…”, says the voice, giving flesh and bones to the philosophy that if you pursue something, you can make it come true.

This is what we have done here, me and Makis.

Both of us have given lots of love to Kalesma, so that we can give our customers the opportunity to experience in a modern way what traditional life was like of the past”, explains Aby. And he continues “Kalesma was first lived in by us. We spent 10 months here, Makis and I, to see what works and what doesn’t. We even know how the hotel operates in the winter. It’s us who can pass on this experience to our customers. We may make mistakes. But we know all customers by their first names. What we want them to remember is our humanness and love. This is what a multinational company cannot offer.” Kalesma doesn’t embrace the formulas of luxury hotels.

It leaves room for the simplicity of the essential in order to create the sense of luxury, the luxury of freedom. Freedom of thought, of conscience, of movement, of architecture in an island famous for its defense. And as its owners declare: “Don’t forget, a genuine smile captures them all!”.

Kalesma has been materialized by K-Studio with internal spaces desined by the Greek designer Vaggelis Bonios– Studio Bonarchi.

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Sunset in Kalesma

View in Ornos Bay

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Suite with a view

Pere Ubu

tribute to Greek creation. What we have made is a small Mykonian village on the basic principles of Le Corbusier who visited Mykonos in 1939 and said that these cube-like houses are the epitome of architecture, and that any architect that may visit the island has nothing more to offer. So this is what we have tried to do. We created a holistic proposition which combines hospitality in a Mykonian house, obviously including what to drink and eat. Its most important feature is right where we stand, in front of the suites: the yard. This is the main living area, where people spend most of their free time. Just like in Mykonian houses, the internal spaces separate one from the other and all their doors lead to the yard. All our little buildings are two-spaced, white, square with an arbor in the internal yard with the swimming pool for every suite. All structural pieces are one-block parts. Our bathrooms are all marble, the planks on the ceiling are chestnut wood from the Holy Mount, chaste trees and large oak closets”, explains Makis.“…and all houses are the same”, adds Aby. “This is the first thing I asked the architects. I wanted all houses to be the same, have the same view and comforts, so that the visitor won’t worry about booking a good room or not.

This comes from my experience, my own anxiety when I stayed at hotels. I don’t want the visitors at Kalesma to have such anxieties. I’m a very demanding and hard-to-please hotel resident. I want to enjoy what I pay for, nothing more, nothing less. Out of all the hotels I’ve stayed in –and

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The art of Pere Ubu

BY NIKOS VENIERIS PHOTOGRAPHS BY SPYROS PALOUKIS

He has the cool style of an academic, the pioneering outlook of an American and the Mediterranean temperament of a Greek. Kostas Tsigas, Pere Ubu’s chef, talks about the art of cooking.

In the famous Monty Python movie, “The Meaning of Life”, John Cleese stars as waiter in a restaurant in Hawaii and suggests to Terry Gilliam and Eric Idle to try a special dish from their exclusive menu list. The dish of philosophy… Of course, Monty Python tried to discover the meaning of life in a funny, bittersweet, eccentric, extreme, peaceful and immediate way. In the case of chef Kostas Tsigas, as another imaginary member of this legendary group, his suggestions include long walks, not too much fat and certainly many good books with the hope that this way we may find the meaning of life... When you first meet him, you’d think that the man sitting across the table is an intellectual, not a chef. With studies in sociology and the media, this calm, cool guy is deeply informed about everything, not in the superficial way many people are in the recent years. Nevertheless, cooking has won his heart. He loves playing with it, de-codifying it, often deconstructing it. He calmly states his opinions. He’s a devotee in his convictions. He’s written numerous articles and books, loves reading and maybe this is where the secret of his dishes lies. The view from Kalesma restaurant over Ornos bay ties in with the aesthetic essence of the refined dishes of Pere Ubu, with their elegant gourmet sophistication and an avant-garde expressiveness that sums up the gastronomic mentality of Kostas Tsigas. The choice of his combinations sets the basis for a sophisticated style, while some of his dishes test the boundaries of people’s palate when they visit Pere Ubu in Kalesma. He’s influenced by the Mediterranean and the restaurant garden where many plants are grown, also boosts his creativity.

His dishes are inspired by his visits to the local markets and raw materials from local producers

or producers from every corner of Greece. “All raw materials come from Greece. An obvious priority is the products of Mykonos, but they do not suffice to cover our needs. So we get supplies of fresh products from Naxos and Tinos, while we order our meat from Northern Greece….Part of our plans is to make Kalesma a small farm where we can grow our own vegetables. We have our own fishermen who bring us the fish of the day…Whatever we cook is the fresh thing of the day.”

An avid supporter of local production, he stresses the significance of adopting a cooking philosophy free from chemicals, and he belongs to those who still value the importance of family gathering around the dinner table. “Food is an emotional business. The moments when the family gathers around the table play an important role. We should focus more on what gives our customers genuine pleasure, or else we miss the point.

I don’t care if someone remembers my dish. I want to hear them say they went to Kalesma, ate at Pere Ubu and had a great time.”

Behind every dish at Pere Ubu lies a specific thought. Often, a novelty, too. "Flavors should be distinct, people should be able to tell what they eat. I don’t like it when essence is sacrificed on the altar of virtuosity. I’d never lose myself in the game of complexity. Every dish is thought out in depth and has undergone many trials”, he admits laughing, without hiding his obsession for perfection. What stands out is the freshly baked bread served as a welcoming dish, with tasteful side dishes- taramosalata made of cauliflower features as the star side dish. From the main dishes lamb with rice, oysters with sausage, vine leaf with small fish and the delicious rockfish feature among the best. “To create a dish I need an image, a thought, a taste, a journey…” says Kostas Tsigas as a final note to our delightful discussion.

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corina larpin

MY FAIR LADY The owner and head designer of Stéfère, Corina Larpin, talk about jewels, art and why she chose Mykonos to spend her summers with her family. ΒΥ VANGELIS CHANIOTAKIS PHOTOGRAPHS BY SPYROS PALOUKIS

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I met Corina at her home. Situated in Kalo Livadi right above the bay, the house enjoys a breathtaking view of the Aegean Sea and the picturesque island of Mykonos. Synonymous to the aura its name exudes, Vila Marechiaro (= clear sea) takes traditional Cycladic architecture forms and hues to a contemporary level thanks to its sleek design an eclectic mix of white and gray surfaces rough stone and wood. The house outfitted with oversized paintings and smaller sculptural pieces – as well as skulls, many skulls – she has collected with her husband, an art enthusiast. I speak with Corina about art, Mykonos, family and of course jewelry. “Here, I find the right balance between work and family life. I’m grateful to my husband for buying this nice house in Mykonos. I love the fact that we have direct access to the beach from our house.

Imagine the beach is only 100 steps away. I try to go there every morning. There is nothing more serene and refreshing than standing on the stairs, listening to the Aegean Sea and enjoying the summer breeze”.

Mykonos. Blue is Corine’s favourite colour, “because my son Alex has blue eyes. Mykonos is heaven, because the mykonian blue is the best kind. I rest my eyes by looking at the turquoise water and the clear blue sky and the creative side of me becomes restless, thinking about hoe to incorporate more blue sapphires in my jewelries, how to create pieces that resemble the natural wonder in front of me. I really enjoy spending time in Mykonos Chora. Every time I discovered a new shade of blue: in people’s houses, at their outdoor furniture, or even their tablecloths. Wandering around the town gives me sweet surprises, discovering yet another small, colorful Orthodox church at every corner of the street. I go into them, just to spend some time praying, or simply let my thoughts linger. They remind me of my roots and beliefs and inspire me to add more crosses to my existing collection. I also like the wind here. I think it symbolizes wilderness. There are also many wild plants here. I love nature and flowers; there is whole Flower Collection in my jewelry brand Stéfère. Even though I created the collection a long time ago, flowers are never out of fashion. Every season I add more to the collection.

Looking at the plants dancing to the wind gives me new perspective and creative ideas.” Corina loves to host friends from Europe and United States, as well as with her family from Romania.

“We exploring the island, we love the parties and of course the amazing Greek cuisine. Greek salad is one of my favorite dishes.”

Stéfère. Her inexorable willpower, which is exactly what happened, and what came next, seems like a fairy tale come true. Her meeting with her friend Stephanie Rehault, led her to the jewelry making industry, led her to Stéfère Jewelry. The 2019 Met Gala was definitely the event where Larpin had to create some of the best pieces in a record time. “ It was the nipples 118

Mykonos is heaven, because the mykonian blue is the best kind.

for Cardi B, which I only had 10 days to find the stones and ship them to the United States. I told them they were crazy. I didn’t have the rubies, I didn’t have the time, I didn’t know how to do it”. Eventually, Corina agreed and start working 20 hours a day. “It was nonstop working and high adrenaline because we didn’t know if they would match or not. Even in the last second, when the nipples were attached on the dress, I couldn’t believe it was real and we made it happen. At the same time, I was working on a project with for Zendaya, where we had to combine three necklaces to make them one big choker—as well as modify a pair of earrings. We didn’t even have 24 hours to do that. After the Met Gala finished, I had to go to the after-party and I couldn’t go. It was my dream to go. I passed out. I couldn’t. I can say for sure, 2019 Met Gala was monumental for Stéfère.”

Inspiration. Jewelry is a dream. It’s magic. Corine’s jewellery appears to have been inspired by a wide range of eclectic sources. “My inspiration comes largely from my personal take on the people, landscapes and objects around me.

I also get inspiration from travel, with different countries inevitably exposing me to different cultures, insights, and aromas… My designs are very strong and extravagant, very statement. I don’t do seasonal collections; I design when I’m inspired by something. My son is also a source of inspiration. He is only 14-years-old and always offers me an entirely fresh perspective on things,” said Larpin. The earliest memory of when she wanted to do what she does today. “Since I was very young, I had a passion for design and have always admired the beautiful

things that surround me. Even as a child, I was very creative, crafty, and always loved to make things. My favorite aspect of the whole design process is coming up with an idea and actually creating it. Music and art are both hugely important to me. I have always found particular joy in jewels and have been endlessly fascinated by marvelously colored gems of every kind. I feel especially blessed for being able to turn my passion into my profession. I work 20 hours a day and I’m so excited about what I do that I don’t feel tired, and I enjoy. I like doing what I’m doing.”

About Art. “I’ve always been visually driven and endlessly curious about creative people. My husband on the other hand loves art. When our son Alex was born, we started to collect art pieces and named the collection after his baby nickname, and the collection just kept growing.

We collect pieces my husband and I like – all modern art pieces. As you can see I like Yves Clerc; we have a big collection of his pieces. His pieces have also been used by Hermès to decorate their windows. We have some of the unseen photos of David Bowie by Markus Klinko and many others.”

Giving Back. Corina believes in the importance of giving back to the community any way she can. When COVID-19 started Corina found herself trapped in Thailand without a way to fly out to Hong Kong, her home. Acknowledging that the situation had a harder impact on the local Thai communities, she decided to do her part helping those in need. “We were supporting 700 families in Thailand every day for two months. We would partner up with restaurants that will buy the food, we would bring the food and they will cook and give it to the families.

700 meals a day for more than two months.

I was carrying 700 bottles of water every day.

You would not believe me, but we would do that because we didn’t have help. It was a great experience in the end, because my heart was feel happy.”

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DANCING THE

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WITH WINDMILLS

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Maria Christara has been teaching, dancing and choreographing in Mykonos for the past five years. She’s set up a dance school in the cultural association “Anemomiloi” (Windmills), in order to awaken the tradition of Mykonos and traditional dancing in all its forms and on every level. ΒΥ VANGELIS CHANIOTAKIS PHOTOGRAPHS BY SPYROS PALOUKIS

The word ‘awakening’ is often present in Maria Christara’s speech. Despite her directness, she was not an easy interlocutor. Her answers, moderate and laconic. Just like a choreography.

I’m glad to meet you.

“Me too”.

Our effort to make the other person understand us, our attitude towards it- does it actually help in the final understanding?

“Yes, it does because there are so many different levels of approach we develop when we actually make an effort to communicate.

Our willingness and try are indicators of the quality of communication…Quality is the development of many layers of interpretation on the same subject. All people want to be understood by those around them. Maybe this is what total bliss is all about: to have others understand us. Yet I would agree that the final result depends on how much we want to try to be understood by those around us. Our feelings help a lot in this direction. This is what I try to do with my group here in Mykonos. To make them understand what they have. And what they have is their culture and their tradition.”

true nature and with the qualities they carry inside; to trust the tradition of Mykonos, which is truly rich, and express it through dance; on this island, at local feasts, at other islands and parts of Greece but also abroad, wherever they represent the group.

Were you born with this predisposition to dancing or was it your environment that opened that door?

Maybe... What’s certain is that I didn’t grow up in a milieu of dancers. Still, I always remember my parents dancing at family feasts, in Athens and in Crete, where I come from. I grew up with music in the house. I still remember my mum’s voice singing traditional songs to me. So much so, that by now I sing a lot to my own daughter. But my parents did not consider it a “serious” professional choice, so they did not want me to get into it. It was my grandma that turned me towards a professional dancer’s career and supported me, and I will always be grateful to her for it. Of course, when my parents realized that dancing was a deep personal need for me, they helped and supported me a lot...

What you’ve been doing up to now, is that what you wished to do in your life?

Yes. I live on a paradise island, I’m meeting people from all over the world and getting inspired by them. I also feel great joy through my work, learning new things from my students when I teach, and this is something that never ends. I dance a lot, I teach the art of dancing, I love, I am loved. It is very important to me to be able to love. To have the strength to truly love anything... my job, my partner, my daughter, the people around me. These are the essentials to me, that’s where I stand.

What lead you to choose dancing as expression?

I didn’t choose it, it was an internal need. I expressed whatever I felt through dancing because I could not express myself in any other way. I was very shy and reserved. At the same time, though, I was a dreamer. I really like turning back time and imagining how people expressed themselves in the old days, how they lived, the kind of clothes they wore, the occasions they danced at, and why... And, of course, when I danced, I felt the whole world was mine. I wasn’t afraid of anything, because I was myself. I had discovered my power. And so, this need of mine has never ceased to exist Where do you get your inspiration from?

What exactly do you do?

I teach Traditional folk dances from all around Greece to a very active group here on the island, the “Anemomyloi”. From young, preschool children to adult “Anamomyloi”. The pace in Mykonos is very fast and that’s why I mainly try to remind them of the ‘treasure’ they all have inside. I awaken the experiences they’ve had on the island and the energy from Delos, the sacred island, which is just a breath away from Mykonos, I’m trying to “ground” them so that they can be in harmony with their

From nature. I feel it here beside me every day.

I can feel the wind blowing. The wind, the sea, all natural elements are rhythms to my senses .

Has there been a decisive moment in your life, the one that made you turn to dancing?

When I was 16, in 2000, I went to Anogeia with the Folklore research group. On the 3rd July, St. Yakinthos’ day. We went to a village feast, where Nikiforos Aerakis and his friends played the lyra and sang until daybreak. I experienced the panigyri (local feast). I celebrated with oth-

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er dancers like me and friends and with people unknown to me, and we all became one. For the first time, I felt a two-way communication between dancers and musicians, without even a word. Just through looks, movement and the songs. I saw the flushed faces and, from a moment on, I heard the music and the instruments having a different sound... And that’s when I experienced ecstasy. I couldn’t stop dancing till the morning. I was so overwhelmed by this whole thing that it turned into self-definition.

At that moment, something aligned inside me.

I was certain that this is what I want to do”.

When you’re trying to communicate your vision through your group, what’s the greatest difficulty you come across? Are there people who resist your vision?

There are people who resist and people who hesitate. For most people, it’s hard to accept that dancing is more than just steps or exercise. And that’s logical, since the art of dancing has never acquired its rightful place in Greece.

Dancing is born through expression and is then turned into movement. Only then does it have truth, only then does it strike a cord inside.

That’s dancing. I keep trying to inspire them, in any way, to mobilize them emotionally. From the song I choose for them to dance, to urging them to listen to the song they’re dancing to, and sing along. In this way, the memory that surfaces from the experience of dancing, when people become one in unity, while listening to the magnificent songs of our tradition, it makes them travel through time and space, and emotions emerge. Melancholy, joy, anticipation, acceptance... And that is how emotion emerges.

The experience mobilizes dancing, and the need for its expression. And, seeing them dance, I am justified. Also, to me, tradition is an ever-flowing river... I’ve always respected tradition, but I also want to make a step forward, because life evolves and we have to go with the flow...not stay put and regurgitate the old stuff. This has nothing to do with me. This is another difficulty that has to do with some people’s trust issues. Still, we go on...

What upsets you?

Inconsistency.

What are the values of life?

Ethics and kindness.

Thank you Thank you too.

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LAST PAGE The eternal lovers in Greece It was the summer of 1937 when Simone de Beauvoir, the influential feminist, and Jean-Paul Satre, the mlovers” were accompanied by Jacques-Laurent Bost, a student of Satre, who was in a relationship at the time with Beauvoir. Beauvoir adored Greece. In 1960, she lyrically described their crossings in the Cyclades and walks in Ancient Olympia.

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