Signe - Edition 7 by Signé

ANNIVERSARY EDITION

S I G N É

THE ESSENTIAL GENTLEMEN

THE GENTLEMEN ETIQUETTE GUIDE BY HIS GRACE DUKE OF SOMERSET

THE STROKE OF GENIUS

THE HISTORY OF ROLEX AND IT’S MASTERPIECES THROUGH THE YEARS.

AN ARABIAN DREAM A journey through the rich history and cultural landmarks of Dubai

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CONTENTS

SCHOLARS

038

034 THE ESSENTIAL GENTLEMEN The Gentlemen Etiquette guide by his Grace Duke of Somerset

038 TRUE LEGACY An exclusive interview with the Osama Seddiqi, the VP of Ahmed Seddiqi & Sons on the family legacy

042 THE RENAISSANCE MAN An in-depth feature on the multi–talented Jean Cocteau, the man responsible for the French avant–garde movement

044 SCENT OF A MAN Dhaher bin Dhaher, the brain and nose behind the invention of Tola perfume, speaks about his concept store Villa 515, Dubai

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CONTENTS

S AV O I R FA I R E

060

050 BLACK TIE ETIQUETTES The beginning of winter season marks the beginning of elegant events as well. Head of Buying department of Mr.Porter, Toby Bateman on black tie etiquettes

054 TASTE OF HISTORY The recently opened Coffee Museum is definitely a gem in Dubai with a wealth of materials dating back to several centuries past

060 MEASURED ELEGANCE Fluidity and uniqueness mixed with classic style is the Definition of Giorgio Armani’s Made to Measure service

064 HOMAGE TO ARTISANS The watch makers of Jaquet Droz at La Chaux-de-Fonds workshop are redefining the watchmaking

069 THE BAG ACT Channel all the charm and sophistication of Hollywood’s elite with Tod’s new Script bag

072 STRATUM Revered by the Incans for their soft wool the South American vicuña faced extinction by the 1960s. After careful conservation their wool is back on the market and is the most expensive fabric in the world

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CONTENTS

S IGN É S E L EC TION

092

078 THE FIRST DOOR The Gran Maestro of a discreet gentlemen’s club, Giancarlo Maresca speaks on the importance of their first rule of the club, which is the Cigar

081 SPREZZATURA Stay and travel in style during business, or holidays with our selection of looks, carefully curated by MR.PORTER

089 FOR HER A selection of gift ideas curated by Bulgari for the better half

092 THE DESERT FOX Signé portrays the man who appreciates style for what it is with a true love of the history and the land

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CONTENTS

PHIL ANTHROPY

104 FOSTERING INTERCULTURAL DIALOGUE

109 THE COMMITMENT

The collaboration between BMW and UNAOC to promote intercultural innovation across the globe encourages young entrepreneurs in creating intercultural activities and organisations

IWC Schaffhausen’s involvement in the cinema industry and its support for the aspiring film makers are truly inspirational

109

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CONTENTS

OBSESSION

114 START... AUCTION Michael Jeha, Christie’s Managing Director and Head of Sales in the Middle East discusses the importance of the Middle East art market and the international appreciation for local artists

118 FOR THE LOVE OF VINTAGE The increase in watch collectors in the UAE signals a new appreciation for vintage watches. Tarik Malik, Co-founder of Momentum Dubai, discusses the region’s rising community of vintage watch collectors

118

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CONTENTS

H E R I TA G E

128

126 LOST GENERATION The roaring 20s also known as the jazz age and crazy years was an era of major societal and cultural change reflected in the modern lifestyle

128 THE STROKE OF GENIUS The history of Rolex and its masterpieces through the years

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L A D O L C E V I TA

156

138 HAUTE SOCIÉTÉ The latest openings across U.A.E

140 WINTER PALACE Summer or Winter, Gstaad Palace’s Walig Hut provides a five-star mountaintop experience

144 AN ARABIAN DREAM A journey through the rich history and cultural landmarks of Dubai

152 DINING ETIQUETTE There are many unwritten rules, when it comes to formal, business dining

156 POWER ON ICE Finland’s Formula 1 drivers test their skills on ice. Bentley offers you a driving experience so cool it’s subzero

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Anniversary Wishes WITH COMPLIMENTS

To all at Signe, We hope you have a stylish first birthday! From all at MR PORTER

Ian Tansley Managing Director

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SCHOLARS

THE ESSENTIAL GENTLEMEN

THE ESSENTIAL GENTLEMEN The gentleman of gentlemen, His Grace Duke of Somerset who is the 19th Duke of Somerset explains the importance of Gentlemen Etiquette

As chairman of the London Season and London Season International Protocol and Etiquette Academy, I frequently receive queries from all over the world to request advice on modern manners and etiquette for the 21st century. Indecision about what to wear, or how to react in certain unfamiliar social or business situations, is still one of the most obvious manifestations of social insecurity. Confidence springs from an awareness of acceptable codes of dress and behaviour for all occasions. Despite the informality of modern life, it is still essential, particularly in a business environment, to understand the nuances of correct form and this particularly reflects the need to present to the world the perfect image for each person’s particular role in life, to inspire confidence in business and social occasions. The ultimate accolade that can be given to a man is to be called a ‘gentleman’, but what constitutes the word gentleman in the 21st century? A man is sometimes described as a gentleman because of the way he looks  his clothes and his demeanour, but this is a very superficial and often incorrect assumption. Being a gentleman isn’t about what you do, or what you wear, it’s about how you behave and who you are. The world today seems to applaud unmannerly behaviour and

and what you wear rather than how you carry yourself through life and what you have achieved. So, do true gentlemen still have a place in today’s world? And if so, what are the attributes that go together to make a true English gentleman? In this series of articles I will attempt to answer this question. This first article is devoted to gentlemen’s attire, dress codes for all occasions and social and business table manners. Future articles will include all aspects of essential codes of behaviour for gentlemen in the 21st century.

true gentlemen of all nationalities are becoming more of a rarity. Social standing and success seem to be based upon what you own

far more interesting to evolve a style of one’s own wearing clothes suitable for the lifestyle one leads.

GENTLEMEN’S ATTIRE One assumption is that if you can dress the part you’ve somehow earned the right to be classed as a gentleman. This isn’t the case — it’s something you instinctively have or have to learn; it cannot be bought and it is very much attributed to instinctive or taught levels of courtesy and behaviour. A gentleman doesn’t need to follow fashion. It is much more interesting to observe correct codes of attire but to adapt them to an individual style with the confidence of individual choice. The fashion dictates of colour and style are indication of a herd instinct and it is

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19th Duke of Somerset

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THE ESSENTIAL GENTLEMEN

Bradley House in Maiden Bradley Wiltshire is one of the family seats of His Grace the Duke of Somerset

Business attire requires formal city suits during the working week. These should be conservative in colour and cut, worn with formal shirts, ties and cufflinks, black shoes, never brown for the city. At weekends, jeans or chinos and casual linen or tweed suits should be chosen depending upon the weather, all of which may be worn with brown shoes. Certain items are really a social taboo. Peaked caps are to be totally avoided apart from gym use. Loafers or moccasins are infinitely preferable to trainers which should be reserved for sporting events. A gentleman would never wear obvious jewellery such as an earring or neck chain, preferring a good watch and perhaps a wedding or signet ring as the maximum jewellery. Grooming is always essential and whatever the hairstyle, hair should be well cut and unless a beard is worn, a gentleman should always be clean shaven. Unless there is an unlimited budget, it is always advisable to aim for a more classic approach with good quality garments which will last more than one season and staple items which will not change with fashion. There are certain occasions when it is obligatory to wear formal attire and it is really important to wear it correctly with the right accessories. The first of these is the White Tie occasion – now reserved for the grandest of balls or dinners, requiring men to wear

which must be hand tied not ready-tied and white evening waistcoat, studs, (preferably antique) cufflinks and waistcoat buttons. Black patent shoes should be worn with a White Tie ensemble. Ladies would wear long gowns for these occasions. Those who have been awarded medals or decorations would wear these at a complete White Tie occasion. It is possible to buy White Tie complete from any reputable London gentlemen’s outfitters or, of course, to have it tailored. Morning Dress — This extremely formal dress code reserved for Ascot and weddings and differs from the White Tie in the following way. The jacket is black or grey (although black is considered smarter) with a curved front. The waistcoat may be any colour but the most conservative are either buff, grey or white. Trousers are either striped or checked in black and grey. The shirt should be a stiff turn-down detachable collar and a tie of choice: never a cravat. Black shoes are worn. Morning dress also requires a top hat which should be in black. It is correct to carry gloves, either grey with a grey coat or yellow with black. A watch and chain would complete the effect. Hats should always be removed inside and always worn for royalty. Less formal, but still requiring specific attire is the Black Tie occasion. Gentlemen should wear a black barathea jacket with silk

a black evening tailcoat, matching trousers with braid at each side of the trouser leg, stiffly starched wing-collared shirt, white bow tie

lapels, preferably not satin, black patent shoes, trousers cut for braces, a white shirt with a turn-down collar – not a wing collar, a

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black bow tie and a cummerbund of any colour. Ladies should wear cocktail dresses. Perhaps the most difficult of dress codes is Smart/Casual. It has to look presentable but not too formal. The pivotal garment for men is a black or dark navy blue blazer with or without brass buttons or smart

to eat and after dinner should be scrunched up and left at the side of the plate. Soup is drunk from a bowl which is always tilted outwards rather than inwards; the knife and fork are always rested at diagonal angles on a plate corresponding with 4.40pm on a clockface and never off the plate at 3.45pm positions. The knife and fork should be placed

jacket teamed with chinos, casual trousers or smart jeans and an open-necked shirt or shirt and tie. Brown shoes or loafers are usually worn with this attire. An alternative in summer would be a casual linen suit worn with an open necked shirt. The country house weekend is often quite informal and tweeds and corduroy are the most popular form of attire for the day time and, dependent on the house in which you are a guest, a smoking jacket for the evening which may be worn with formal trousers or tartan trews

in the 6.30 position when finished. During a large formal dinner with a variety of courses it is always customary to select the outermost implements of the place setting as the courses progress, working from the outside inwards. The knife and fork are always held with the end of each in the centre of the palm not held like a pen with the ends of each emerging. Glasses are always filled to two thirds of the glass and guests should never help themselves without ensuring that their neighbouring guest’s glass is also filled. In formal British homes port

and velvet slippers. This is becoming very popular with young men for weekend dinners both in London and the country. Shooting parties require a different code of attire and whilst the attire for country weekends is applicable for non-shooting days, the dress code for shooting is specific as are the rules for accepting to join a shooting weekend. I will address this more specifically in a separate article on dress codes for sporting activities and the social events of the London Season such as Ascot, (morning coats) Henley (blazers/ linen suits) and Glyndebourne (black tie).

is always drunk at the end of dinner with women leaving the table and departing to the drawing room whilst the men remain at the dining table. Port is drunk in small-stemmed glasses and the usual procedure is for the host to serve himself and the guest on his right and then pass the decanter to his left – never to the right! Hosting a drinks party or reception requires considerable social skill. The host must ensure that each guest is greeted courteously and introduced to other guests. He should then circulate throughout the gathering introducing guests to other guests, ensuring that glasses

TABLE MANNERS FOR GENTLEMEN In the multinational world in which we all live today the topic of appropriate table manners both in the business world and socially is often anxiously queried and the gentleman’s role as host or guest is a very important one. When a gentleman hosts a table at a restaurant for either a corporate or social occasion, he is responsible for making the table reservation, arranging the placement for his guests and being in charge throughout the meal. The placing of guests (usually referred to as the 'placement') will depend upon whether this is a business or social event, although it is customary to place the most important person on the right of the host and the next in importance on the left of the host. Men should never sit down until all the females at the table are seated. A gentleman will always stand when a female guest arrives or leaves the table. Conversation at the table should begin with the person on the right for the first course, the person on the left for the second course and divided for the third course. As host, the bill should be paid unobtrusively at the end of the meal. People often become anxious about eating unfamiliar foods in restaurants or private parties and the best advice to follow if unsure is to wait until someone else on the table begins and follow on. It is usual to wait until the host begins eating to start a meal. In England there are specific table manner codes amongst the upper classes, such as breaking rather than cutting bread rolls, never buttering the bread pieces in the air but keeping the bread on the plate. Napkins are always placed on the lap immediately one sits down

are filled, ensuring that serving staff know to whom they should serve alcohol and indicating those who should not be offered alcohol. An indication of the duration of a reception (usually from 6.30 to 8pm). should always be stated on the invitation but it is sometimes difficult to ensure that guests leave at the appropriate time. A diplomatic way of dealing with this situation is to courteously explain that you are expected to attend a follow-on dinner or meeting which should indicate that the reception is over!

DINING A DEUX Dining à deux in a restaurant, especially if this is a first date, can be a minefield. In our less formal times it is usual for the couple to meet at the restaurant or lobby/bar area and essential that the host arrives at least fifteen minutes before the appointed time to avoid embarrassment for the dining companion. Once seated at the dining table (in most cases the waiter will assist with the dining chair) the host should order drinks having established his dining companion’s preferences and should repeat his companion’s menu choices to the waiter directly. He should stand when his companion leaves the table and on her return, hold out her chair. He should not talk incessantly about himself but should ensure that the conversation is interesting and amusing. At the end of the meal he should unobtrusively pay the bill. A real gentleman would never allow a lady to pay for his meal. Afterwards, unless they are meeting with friends, he should ensure that she is either driven home or a taxi obtained. In next month’s article we will be looking at international business and social etiquette for the 21st century.

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SCHOLARS

TRUE LEGACY

True

Legacy We catch up with Osama Seddiqi to learn about the founding of the UAE’s leading retailer for luxury timepieces, Ahmed Seddiqi & Sons, its plans for growth and desire to remain a company dedicated to innovation and client loyalty BY ROSHIN RAHMAN

AHMED SEDDIQI & SONS is a family business which has become the synonym for the luxury watch industry in the UAE. How has the family business structure influenced the growth and success of the company? The business is owned by family and run by family and all decisions are made by the family. For the family members who are working over here this job is their priority so they are dedicated to the business a hundred percent. So that’s why you will feel that the success and the touch of family values are there and it is translated directly from the family to the business. There are no mediators. We are involved daily with every part of the business and this is the key to our success. Each head office is run by a family member. We are lucky to have the Chairman and Vice-Chairman from the second generation to guide us. We then use specialists from the industry to help us grow further. We treat our new employees as part of our family so they learn the business as well. In addition, we, as the third generation,

The Seddiqi family compared to other families of the Gulf is not a big family, but everyone from the Seddiqi family knows about the company and respects what it has done for the luxury jewellery and watch industry. We all have the values; it’s in our love. To work here you need to add certain values to the family business. I always tell everyone, that even if I am sitting over here and my last name is Seddiqi, I am still an employee like you. I have to follow the rules, too. What is your background and how has it helped you in your current role? No one enters the family business unless they have the experience needed. Before working at Ahmed Seddiqi & Sons I worked for seven years at the National Bank of Dubai. Now I work at Emirates NBD. Over seven years I worked as a supervisor, Branch Manager, Commercial Manager and finally, a Relationship Manager. I gained a lot of experience. I feel for someone to come into a family business they need to have prior banking experience. Why? Because they

What has inspired you to join the watch business / family business? After I graduated I was not thinking about joining the family business. I did not think, “One day I will be here.” I was merely thinking about developing my career in banking. Then one day I realised that it would be a good time for me to serve the family. It was time. This is when I approached my father as well as my uncles about joining the family business. And once I joined, I didn’t immediately have the role that I have today. I started gradually. When I used to sit with my father and grandfather they would often tell stories about how hard it was to start this company. It was very difficult; it wasn’t easy. My grandfather used to go get his watches personally from customs and come through the Dubai Creek.

are working to the best of our capability to support the growth of the family business.

will gain experience in many different areas, including PR, customer relations, marketing,

He’d take them back to the shop and then sit at night to write all the logs and the inventories.

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managing budgets as well as the legal framework regarding a deal. In my opinion, banking is the most important platform to gain experience for any career path. I studied in the United States and have a Bachelor’s Degree in Business Administration.

Osama Ibrahim Seddiqi VP Finance & Admin Ahmed Seddiqi & Sons

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TRUE LEGACY

The first Ahmed Seddiqi & Sons watch exhibition was held at the Riveira Hotel (formally known as the Carlton) and was attended by the late Crown prince of Dubai, His Highness Sheikh Maktoum bin Rashid Al Maktoum

It took them a huge amount of effort to establish this company and they did it for us and this is what inspired me. Back then, Dubai was very different. It was very challenging. We didn’t have the infrastructure that we have now. Can you explain the luxury watch industry in the UAE currently, compared to the past when the company was founded? Patek Philippe is now celebrating its 175th anniversary. We have been with Patek Philippe for 55 years. I am giving you this example to show you the growth of the luxury industry in the UAE. In the past, people did not have the same availability to buy watches like they do today. The luxury was there but we needed the tools to represent it properly. This is what we built. How do you try and engage the local

market, collectors and up-and-coming watch brands? Now people understand what they are buying. The UAE buyer has matured. People research before they buy a watch. We have a good number of collectors that are very close to us. We are immersed by their knowledge; it shows how much they appreciate the industry and the watch brands we represent. In my opinion, people collect watches more out of passion than to invest. The return of Christie’s watch sales, the staging of GPHG (Grand Prix d’Horlogerie de Genève) last year and the many highend watch boutiques that are continuing to open in the UAE signal the ever- growing importance of the luxury watch market in the UAE. What do you feel has contributed to this growth in luxury watches in the UAE over past several years?

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We represent most of the luxury brands in Dubai. It is our duty to see how we can grow and we must support GPHG. We don’t work as much with Christie’s as they are an auction house and they work more with vintage watch pieces. The presence of Christie’s in Dubai has influenced watch collectors from the region to buy items of historical value. We are retailers, but our aim is not only to sell and make money; we must educate people to enjoy what they buy. GPHG was one of the events we had been dreaming to have. We look forward to continuing to host such events. We want to be different and set a new benchmark. We personally enjoy such events. We love what we do. How do feel the market has changed to encourage/facilitate an increase in buyers? We have the proper platform here to

Humble beginnings - The second showroom of the Ahmed Seddiqi & Sons in the Bur Dubai district and it was the highest building in the Bur Dubai area at the time.

enable customers to be able to do so. The shopping malls and entertainment which Dubai has is not found anywhere else in the world. For example, when you go to any small community mall in the UAE you will find all the amenities and entertainment that the shopper needs. When you go to one of these malls you are tempted to buy; you feel relaxed, you’re able to dine at nice restaurants and browse luxury boutiques. This type of ambience encourages people to buy.

relationship that can grow. We want to create loyalty and an ambience that continues to make people feel comfortable. What are your favourite watches from the company’s portfolio? Whatever is under the umbrella of Seddiqi. It’s like asking a parent, ‘Which is your favourite child?’ We love each and every one of our 67 brands equally.

What legacy does Seddiqi wish to leave behind? We hope to maintain the same name. The Seddiqi name is equated with honesty. We wish to leave behind the legacy of taking care of people. A customer’s satisfaction is more

What are some of the company’s future plans and what role do you hope to play? We always have a new plan. We want to be innovative and continually adapt to the market. Innovation is the key to the future. Our showrooms are being renovated and we have lots of events taking place – the next five years will thus be very busy for us.

important than the goods that they buy. We like to create a friendship with our clients – a

Explain to

your

passion

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for

watchmaking and where would you like to take this to? I like mechanical timepieces. I love putting things together. I even have some watchmaking tools that I practise with, but I am certainly not a professional watchmaker! If I do it, I do it for myself. What are your hobbies? We’ve heard you have a passion for aviation. Can you tell us more about this? I haven’t flown for a while, but still have a passion for aviation. As I told you, from my childhood I have a passion for mechanical things. When I was young I used to fly lots of aeroplane and helicopter models. A Watch for a gentleman is …. ? It depends on the gentleman. Whatever he wants to wear and can all can be found at Seddiqi.

SCHOLARS

THE RENAISSANCE MAN

The Renaissance Man Jean Cocteau is responsible for the French avant-garde movement, using his multitude of talents to portray messages that were hard for society to face at the time. He introduced new concepts and techniques through his collaborations and works he completed alone, influencing generations to come in literature and filmmaking

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Few artists are able to

Femina theatre, Paris, at age 16. From there,

he achieved phenomenal recognition with

establish themselves as true Renaissance figures. For the general public to acknowledge a singular talent at that level, it may take years if it happens at all. That was not the case for Jean Cocteau, the most versatile artist of the 20th century. A world-renowned French poet, novelist, illustrator and filmmaker, Cocteau served as honorary president of the Cannes

his notoriety rose, earning him a reputation as a dandy and joined the ranks of the close-knit group of Parisian intellectuals at the forefront of society. By the age of 25 his writing was already being hailed by the likes of Marcel Proust. During World War I, he made a number of friends who would secure his niche in the

his fluidity and sense of comradeship. Jean Cocteau was known as brilliantly witty with a self-invented personality and when historians study him he remains impossible to categorise because he does not fit in a bracket. His film Le Sang D’un Poet (The Blood of a Poet), hailed by many including Charlie Chaplin, was the last avant-garde film he

Film Festival and was a member of the Academie Français. He served as manager to Panamanian boxer Al Brown, whom he helped recover from alcoholism, depression and finally the World Bantamweight title in 1938. Despite displaying a range of talents, works and professions he insisted upon the title of poet. He explained: “I have

creative world and reinforce his versatile nature, including Guillaume Apollinaire and Pablo Picasso. The Paris-based Russian Ballet, Serge de Diaghilev, made history with Cocteau as an addition to its ‘extended family.’ Among numerous posters he illustrated for them, Cocteau, in 1917, wrote the storyline for Parade, an avant-

made. During the 1930s he moved onto Parisian literature. Cocteau the avant-garde provocateur then became Cocteau the celebrity playwright. Not one to compromise his admiration for the Greek Gods, during the Occupation of France (1940-44) Cocteau publicly praised the Brecker exhibition of neo-Classical

been accused of jumping from branch to branch. Well, I have, but always in the same tree.” Poetry was the unifying thread between his works. His greatest masterpieces, Les Enfants Terribles, La Belle et la Bête (Beauty and the Beast) and Orphée impacted audiences in various ways. Able to anticipate the ‘modernism of the future,’ we see Cocteau’s

garde ballet with music by Erik Satie and décor by Pablo Picasso. Parade received a controversial, stunned response. While much of the audience was uncomfortable, Picasso looked on with wry amusement. Critics gave mixed responses, but the Russian Ballet in Paris, already a prestigious entity, gained a pivotal role in the avantgarde movement as a result.

statues, much to the chagrin of his peers. Paul Éluard, the poet, chastised him saying: ‘Freud, Kafka and Chaplin have been banned by the very people you have honoured.’ He was accused of collaborating with the Germans and, despite being cleared of all charges, his reputation was, not for the last time, brought into question. This did not plunge him into oblivion as it had many

influence from his novel Les Enfants Terribles (1929) as a ‘prototype for the teenagers of the fifties’. In Orphée (1949) the masculine image portrayed in the film served as a template years later in biker films, namely ‘The Wild One.’ His film adaptation of La Belle et la Bête (1946) exercised revolutionary dreamlike and surrealistic effects that hugely impacted French cinema of the 1940s and inspired other filmmakers. His ability to depict modernism stirred awe and controversy, positioning him as the leader of the 1920s French avant-garde movement. Cocteau mused “one must know how to go too far”. His ability to revitalise fables, fairy tales and Greek mythologies gave him an edge. Not only did he create and predict, he created new depictions out of the historical and existing. Born July 5, 1889, in Maisons-Lafitte and raised in Paris by his mother and grandfather after his father committed suicide, Cocteau showed immense talent from a young age. His mother relentlessly encouraged him to pursue his artistic talents until he found a

When asked how he felt about his role as an ambulance driver during the war, Cocteau was known to have said that for him the greatest battle of the war was the production of Parade in 1917. This comment was ill received, but Jean Cocteau’s forthright manner was part of what made him famous.’ Referred to as ‘The Frivolous Prince’ in some circles, the only person he truly took to heart was himself, the themes of mythology, melodrama and narcissism running rampant in his personal and professional life. He may have

others’ rather he surged onwards producing Orphee in 1950, the film adaptation of the Greek tragedy that won the grand prix at the Venice Film Festival. Jean Cocteau remained an elusive figure, leading a French critic to maintain he was “very well known, therefore unknown”. An autobiographer has said that the super abundance of information Jean Cocteau offers is what gives him invisibility. A master of bringing the obscure to light by addressing the previously unaddressed social issues and the plight of humanity through his work, and furthermore obstinate in the face of censorship, Jean Cocteau remains one of history’s most gifted jack-ofall-trades, a leader of his time and his place in society during a period when these artistic statements were the first of their kind. His ability to sum up a thought, feeling or memory with clarity and eloquence went unparalleled. To sum up Jean Cocteau himself is to understand the reply he gave when asked that if his house was burning and he could

mentor in the actor Edouard de Max, leading to the first public reading of his poetry at the

been searching for himself in others through his collaborations, but whatever the reason

rescue only one thing, what would it be? He replied: “I’d take the fire.”

“I’d take the fire.” when asked if his house were burning and he could rescue only one thing, what would it be? J E A N C O C TA E U

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SCHOLARS

SCENT OF A MAN

Dhaher Bin Dhaher : The man behind Tola perfumes and Villa 515 concept.

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SCENT OF A

MAN

A CERTAIN MYSTIQUE IS CREATED BY A MAN’S CHOICE OF FRAGRANCE, WITH A STYLISH NEW DESTINATION IN DUBAI MAKING THE SELECTION PROCESS THAT MUCH MORE ALLURING BY SAMIA QAIYUM

Ephemeral and still empowering, hinting at a hidden identity... this is the undeniable appeal of perfume. Yet the very word ‘perfume’ has typically feminine connotations to many male ears. While anything on the spectrum from deodorant to aftershave will pass, plenty shy away from the idea of all those dinky little bottles with their fussy paraphernalia. But in the Middle East, arguably the most fragrance-obsessed region in the world, the use of perfumes has endured throughout the centuries. A mere walk through a shopping mall can be utterly intoxicating as the perfumed robes of Emirati men unleash an opulent trail of notes such as jasmine and sandalwood. Their love affair with fragrances is a longstanding one, with locals treating scents as a bona fide art form. Luckily for them, one Emirati by the name of Dhaher Bin Dhaher has taken his passion to the next level, creating artisanal perfume

tale, and invites the weaving of new stories with every lingering note. Now Dhaher is helping the city of Dubai smell even better, one individual at a time, by founding the recently opened Villa 515. A one-of-a kind boutique, it is located in a tranquil area of Jumeirah and specialises in the sale of niche perfume and fashion brands. The idea behind this unique concept store started with fine fragrances from Italy, France and Holland, which are now complemented by abayas, ready-to-wear and accessories. Elaborating on the philosophy that drives Villa 515, Dhaher says: “We wanted to do something really unique in the region, not just the typical fashion or perfume store. The idea was started by myself and Alessandro Gualtieri, who is the nose and creator of Nasomatto, one of the brands stocked in the store. We are both very picky about where to place our brands and since we wanted unique ‘neighbours’ in terms of fragrance companies, we decided to create our own

Opened in December of last year, Villa 515’s décor took one year to come to fruition – and it’s easy to see why. The interior of this charming Arabesque villa was created by Dutch fashion designer Lilian Driessen and features an eclectic mix of bric-a-brac such as hanging chairs, vintage typewriters and brightly coloured bottles. “Villa 515 was inspired by an Arabic home, where you’ll see a lot of chairs ready in case guests arrive, but with western touches. The customer experience is always focused on welcoming the visitors, regardless of whether or not they are buying, giving them more of a ‘guest coming to your home’ feeling,” explains Dhaher. Highlighting a book on display from 1828 that he recently acquired, the Emirati perfumer speaks of the central role played by his heritage in the creation of fragrances, a fact evident upon arrival at the hidden fragrance haven. “It’s reflected even in the way we welcome and treat people. In terms

brand Tola in 2010. Each scent within the three collections was inspired by its own

store as a multi-brand concept to house scents by small, avant-garde perfumeries.”

of creating scents, I can tell you about my last fragrance. In Europe, it’s perceived as

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SCHOLARS

SCENT OF A MAN

a vintage perfume. I look at it as a heritage perfume for the Middle East because it was one that triggered memories for all people in this region. Even in the naming process, I turn back to history, memories, and the emotions associated with them.” Dhaher’s foray into the world of fragrances was a family affair of sorts. Recalling how Tola first came about, he says: “I entered the industry in 2010. Before that, I was just someone who loved buying different fragrances. I would visit concept stores in Europe and if I saw a perfume I liked, I would just buy it. Other than that, my sister and mother mix perfume oils as a hobby and for giveaways. It brought them joy and they would always brag about who was better at it. We were in London once and I said that I would create a brand for them. The reason it took me so long is because I didn’t want to create a typical local brand. It took me three years of research and development because I wanted to create an international brand. I wanted to send the experience of this part of the world to the rest of the world.” The entrepreneur’s appreciation for the craft of perfumery has only grown stronger, and he has spent the last few years travelling around the world to experiment with different ingredients and concoct exclusive new aromas. He also makes his rounds through the international perfume fair circuit, participating in exhibitions in New York, Milan and Florence, becoming the first Middle Eastern brand to exhibit at Pitti Fragranze. “The response to our scents was amazing and I’ve been growing Tola ever since,” he says. Today, Tola perfumes are stocked across the globe and can be found in London, Paris, Rome, Zurich, Frankfurt and more. Next on the agenda are Spain, Romania, Russia, Iran, Oman, Saudi Arabia and Kuwait, bringing the brand’s presence to 40 stores by the end of 2014. The concept of ‘bestseller’ is one he firmly dispels, explaining that each country – each city in fact – is different. “Tastes differ

New York is completely different. It’s the same in the Middle East. Locals are open to experimenting and would wear oud as oil, while Kuwaitis prefer spicy and floral fragrances. However the way I work is not just about fragrances that I feel would sell well; it’s based on something I feel and enjoy. I will never discontinue a fragrance because it wasn’t performing well. I will always keep it because it’s a part of me and there will always be certain people gravitating towards it.” It’s this intuition, combined with creative perfume director Alessandro Gualtieri’s experience and expertise, which led to the creation of the Perfume Laboratory at Villa 515. In a region where brand loyalty reigns supreme, this space was specifically designed for perfume customisation. Talking Signé through the process of creating a

the product is to attain, the more demand there is. People like talking about having their own scent, being different, so we try to give them something that is really unique. We take the time to understand their personality and what notes they appreciate. To do this, we go through a series of meetings and different testing stages and develop something from there. This could take two weeks, or months, if not a year.” The end result? A formula owned by you, one that expresses your inner individuality to a tee. So what about Dhaher’s own signature scent? “I don’t have one myself. It depends on my mood that day, the weather – sometimes I mix different fragrances and create a completely new one,” he says. Pausing for a minute, he chuckles, adding: “I can tell you something as a fact; I use more perfume than I drink water. I need to remind

from market to market; even the popularity of certain scents between Los Angeles and

bespoke perfume, Dhaher explains: “People in the Gulf love niche concepts. The harder

myself to drink water, but would never need a reminder to wear perfume.”

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“Indulgence is like the perfume of the truth ” ANNE-SOPHIE SWETCHINE

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Savoir Faire

S AV O I R FA I R E

BL ACK TIE ETIQUET TES

TOBY BATEMAN BUYING DIRECTOR AT MR.PORTER

BLACK TIE ETIQUETTES A black tie event makes greater demands on a man’s wardrobe than any other occasion. Spotless formality is usually the order of the day, but make sure you establish the details of the dress code in advance and assemble the entire outfit to check it looks good well before the event itself. Toby Bateman at Mr. Porter discusses the importance of black tie dress code.

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BL ACK TIE ETIQUET TES

Dolce & Gabbana black wool-blend tuxedo

Valentino navy tuxedo

The classic black dinner jacket can be single- or double-breasted, with

A slim-fit navy tuxedo is a modern take on black tie tailoring. Valentino’s

satin or silk lapels. It should be worn with matching trousers with braiding

version features a contrasting black shawl collar on the jacket, side stripes

or grosgrain trim on the outside leg. A white or cream shirt is the traditional

on the pleated trousers and has been cut from a wool and mohair blend that

accompaniment to black tie, worn with a hand-tied black bow tie.

lends a subtle lustre that will keep you looking sharp all night long.

Experiment with different cuts and fabrics, but consider the wider context before venturing too far off-piste. If in doubt, always play it safe with the tailoring and use statement accessories to add extra interest.

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Charvet ribbed silk bow tie A bow tie is a necessary part of the dinner-jacket ensemble—without it there’s not enough to separate it from any other black suit. Crucially, a bow tie can be undone and worn loose around an open collar in a dégagé fashion that a necktie can’t touch.

Turnbull & Asser white tuxedo shirt If you’re attending a very formal event, accentuate the tuxedo’s formality with a shirt with a pleated front and a white marcella waistcoat.

George Cleverley shoes

Jimmy Choo polished leather slippers

If you have put a decent amount of effort into your black tie outfit, there’s

If you’re feeling adventurous, choose black shoes in a high-gloss patent

no point ruining the effect from the ankle down. If you’re wearing a tux, you

leather. These could be Oxfords, or if the dress code is a little more relaxed

should opt for plain black Oxford shoes. They should have classic leather

then consider a more extravagant pair such as Jimmy Choo’s leather

soles and minimal detailing: toe caps are acceptable, but brogue or wing-tip

slippers with oversized tassels.

designs look too casual.

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TA S T E O F H I S T O R Y

TASTE OF

HISTORY

THE RECENTLY OPENED DUBAI COFFEE MUSEUM IS A NOT-TO-BE-MISSED LANDMARK FOR THE REGION’S COFFEE COGNOSCENTI, OFFERING A WEALTH OF MATERIAL DATING BACK SEVERAL CENTURIES BY

REBECCA ANNE PROCTOR

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TA S T E O F H I S T O R Y

Among the world’s most favourite hot drinks is coffee. The warm brew can be found throughout the world and prepared in different ways depending on the culture one is in. Emanating from a rich Middle Eastern heritage, many historians agree that the history of coffee goes as far back as the 13th century. There are a number of reports surroundings its first use, which is thought to stem from East Africa, specifically from Ethiopia. The earliest evidence of coffee drinking then appears to have taken place in the middle of the 15th century, in the Sufi monasteries of Yemen. Later, during the conquests of the Ottoman Empire, coffee made its way into the heart of Europe. While coffee is now a significant part of the food and culture of nations across the world, what many fail to remember is

Emirati Khalid Al Mulla, a partner in Dubai-based coffee wholesaler Easternmen & Co., decided to pay tribute to the region’s rich history of coffee-making by opening a museum dedicated to the bean. Situated in the historic Al Fahidi area of Dubai, in a converted coral and gypsum wind tower, the museum encompasses a wide selection of historical coffee artefacts from a collection Al Mulla has put together over the last four years. The erection of the museum was inspired by his visit to the Coffee Museum in Hamburg four years ago. The trip spurred his idea of a family-run coffee museum in Germany that would enable him to sell his artefacts and expand his collection. Then, most recently, the Dubai Culture and Arts Authority offered him a house in the Al Fahidi historical neighborhood to set up his own

authentic array of silver and brass urns, grinders, roasters, coffee sacks, ornate cups and various other items that have been used to make and serve coffee throughout the ages. Upon entering, guests are greeted by a magnificent silver Egyptian charcoal-fired burner on the main floor. “I want visitors to gain an understanding of the complete history of the coffee bean,” says Al Mulla. From the earliest Ibrik (an instrument used for Turkish, Greek and Arabic coffee) to the modern Japanese Syphon, the items on display trace how the bean has been grown as well as the intricate processes by which the perfect cup of coffee is brewed. Of particular note in the museum, which is scheduled for a formal opening in October, is a recreated Majlis showcasing coffee tools that the Bedouins have used

the important role that coffee has played to communities in the Gulf.

museum. His dream came true. Within the two-storey museum is an

since the mid-15th century and onwards. Coffee has long been an important part of

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Arabian culture. Since the mid-15th century hosts would serve coffee with dates or accompanied by candied fruit on a pillow

of coffee practised by the Bedouins is part of our tradition, identity and heritage.” Among the treasures on display are

are also manually cranked coffee grinders that were used by German soldiers during the Second World War made out of used copper

laid out on a carpet. The coffee utensils would be displayed nearby on a low-level round wooden table. Al Mulla explains how serving coffee in the UAE is part of Emirati culture. “The gesture signifies hospitality and kindness,” he says. “The consumption

300-year-old Yemeni clay coffee pots, 400-year-old artefacts from the Ottoman Empire, Turkish foldable roasters, copper utensils from across the UAE and a variety of grinders. Vintage coffee tins can be found in the Antiques section of the museum. There

bullets, since metals were hard to find during this period. On the last floor of the museum is a library with rare books on coffee in a variety of different languages including English, Japanese, German, Arabic and many more.

“I have measured out my life with coffee spoons.” T. S . E L I O T

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Khalid Al Mulla, The Founder of Dubai Coffee Museum

There is also a media room offering a variety of documentaries on the subject. Educating the public about coffee was one of Al Mulla’s aims. “I wanted to raise awareness about the history behind coffee in the region,” he says. Aligned with Easternmen & Co., the museum is dedicated to educating customers about the differences between superior beans and the more widespread low-quality grade. Easternmen & Co. also operates Mirdif-based Café Retro, a café that serves a superior cup of coffee as well as acts as a training ground for baristas in the making. It is also a place for coffee lovers to buy machines and high-end beans. The museum offers an immersive experience into the history of coffee and its

importance of coffee to cultures around the world throughout the centuries. Moreover, the museum offers guests the opportunity to not only see the various machines and beans that have ensured high-quality coffee making, but also to taste the many rituals of serving one of the world’s favourite hot beverages. Visitors can observe coffee beans being roasted and brewed by traditional methods as well as the latest automated gadgets. They can also taste Egyptian, Ethiopian and Arabic coffee. Other special touches come in the form of Egyptian barista Adel Hamid, who offers visitors a rich cup of Turkish coffee. He makes it from a silver and gold machine adorned with a 400-year-old Egyptian design. The coffee

hospitality, visitors cannot leave without tasting a finyaal, or cup, of unsweetened gahwa, the Arabic word for ‘coffee’ and dates in the Emirati majlis. The custom is to drink just one cup as a ceremonial act of kindness. Of course, several people may drink several cups over a long conversation. “When you enter into any hotel in the Middle East you’re immediately offered a cup of Arabic coffee,” says Al Mulla. “That’s Arabic hospitality and this is what we are also trying to showcase through the museum.” Al Mulla’s Coffee Museum is a true center of learning – not only about the historical technicalities of one of the world’s most popular hot drinks, but the fascinating cultural exchange that has made it so.

impact on the Middle East. Additionally, it is dedicated to educating guests on the shared

pot is heated over fine sand in order to achieve a delicious brew. Reflective of the region’s

For more info on the museum, visit www. coffeemuseum.ae.

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MEASURED ELEGANCE

MEASURED

ELEGANCE

Fluidity and uniqueness mixed with classic style is the definition of Giorgio Armani’s Made-To-Measure service. The famous Italian ready-to-wear brand has overcome the boundaries of runway shows to explore the atelier, retrieving the values of traditional tailoring with a modern approach. BY

EMANUELE LIZZA

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The true gentleman, who walks into to the Armani boutique, will know where to go, to the exclusive Su Misura lounge. He is someone who doesn’t conceive fashion as a quest for something bizarre and senseless, but one who wants to add something special to his wardrobe. Beautiful and authentic pieces cannot in fact last for only one season, but on the contrary must be timeless. Armani has designed its own made-to-measure line, uniting its ideals of elegance with classical tailoring, halfway between tradition and innovation. Today’s connoisseurs want to enjoy the pleasure of a bespoke suit without sacrificing the brand name.

Of course, the identity remains as characteristic of Armani style— elegant and discreet, but this model of the suit will be unique around the world achieved through the knowledge and expert advice of competent craftsmen. Armani, a designer who is famous all over the world for luxury ready-to-wear, has also marked the history of men’s suits. Master at capturing the trends of the moment and interpreting the public tastes, he has always been able to maintain a dialectical relationship with society and its changes. As in the beginning of his career, in the late 70s, Armani created a new way of conceiving the suit. Before then, in

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MEASURED ELEGANCE

In the UAE Made-to-Measure service is available at the Giorgio Armani Store located at the Dubai Mall

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fact, the male uniform had a certain kind of rigidity that made all men equal, a defect that needed to be changed according to Armani. In his vision, a suit should highlight the personality of a man and exalt his body, so he moved away from all the rigid structures of the jacket. Soon this innovation was to be known as the ‘unstructured jacket’, soon to become an iconic model in the world of

your canonical measurements taken by the millimeter. Then the drop of reference (that is the difference between two half circles: the chest and waist) is identified, followed by wearing a trial suit on which the tailor staples or marks tweaks and fixes with a chalk. At this stage the suit can be customised: a choice of lining and style of buttons, specifying the details: the type of lapel, pocket positions,

look on-trend should they wish to. But for real luxury the vicuña wool is the finest of all: a rare fabric made from the wool of the Vicuña, a kind of llama native to South America. Before delivery, customers are given the option of returning for a final fitting of the suit, or just taking away the complete one, but the beauty of this process is that Armani will now have a unique pattern for the

fashion. Armani has managed to impose its rhythm to fashion’s continuous flow and has pursued his vision until today. Thus, in 2006, changing the set rules again, Armani decided that fashion was in the need of something different. “It was a time of big fashion corporations, globalisation and an impersonal approach to design. I believe it is important to remember where fashion design started—with the desire to make beautiful clothes for people to wear, ” the designer says. This gave rise to the Giorgio Armani Made-To-Measure service which aims at the highest quality and level of customisation and to be at the very heart of the creative process. Initially available in a select number of stores, today the Made-To-Measure service is present in almost all Giorgio Armani boutiques and has fascinated actors such as Christian Bale, Tom Cruise, Will Smith and George Clooney plus business executives worldwide. It is indeed difficult, when entering the Armani boutique, not to be captivated by a ritual that has been repeated in the same

single or double-breasted fastening and so on, even for the trousers. These features increase comfort, like a pleated waistband that allows them to adapt to your body size, reinforced jet pockets that ensure a longer life or button flies that add character. All handcrafted details are included, such as hand stitching on lapels and working sleeve buttonholes, but the standards of the inside of the jackets are also very high: a canvas made of a complex combination of natural materials such as horsehair and goat’s hair makes up the hidden structure of the garment. Interfacings are stitched, so they “float” and this ensures that jackets feel light and fluid. Customers can have fun with the excellent fabrics combining them as they like in the range the atelier provides. Customers can choose a wool with a thread count that makes it feel finer than cashmere or the evergreen classic fabrics — Prince of Wales, herringbone, hounds tooth —as well as more seasonal fabrics (Armani pinstripes and checks, for example) that come from

customer, so he can order new suits without actually coming into a store, choosing his favourite material from the swatches of fabrics in the comfort of his home or office. He then simply orders his made-to-order by picking up the handset, in the confidence that the new suit will match the fit of any he already owns. In a month the suit is ready along with a custom label and accompanied by a beautiful memory of great savoir faire. Thus the legendary style of Armani is evident in its made-to-measure suits as well, with a manufacturing process that authentically reproduces the relationship with the tailor, but combining it with the innovation of a contemporary design studio. What is excluded is the stiffness of the line that sometimes is associated with a bespoke suit: like a pencil stroke, the fabric follows the design of the body, without restricting it. The secret behind this result lies precisely in the dichotomy between the line and the subject, without the obsession for the latest fashion trends.

way step after step for centuries alongside a tailor you trust. The first phase consists of

the current Giorgio Armani ready-to-wear collection. All are available so customers can

Only in this way, according to Armani, the spirit of time can be captured.

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HOMAGE TO ARTISANS

Homage to artisans The discovery of a lost watch mechanism by Pierre Jacquet-Droz has given the watchmakers of the current workshop La Chaux-de-Fonds, the chance to study, restore and re-imagine the very finest work of the master watchmaker. BY

ELIZIA VOLKMANN

Pierre Jacquet-Droz Museum piece the Age of Enlightenment was the era when alchemy and magic became science. Reason and engineering may have swept away superstition but it brought in new marvels and wonders born not of the sleight of hand of conjurors but from skill, learning and invention. Timekeeping was central to the processes of research and discovery. Without careful and accurate marking of time neither Newton’s Laws nor Longitude could have been discovered. If one device can be cited as the machine of reason it must be the

age surely it must be great watchmakers such as Pierre Jacquet-Droz. Pierre Jacquet-Droz began his watchmaking career in 1738 in La Chauxde-Fonds. He was not just a watchmaker but an engineer of dreams. He elevated the watchmakers craft to a high art. His perfect dexterity in both sculpture, innovation and inventions in clockwork mechanisms created astounding automata that charmed kings and princes from London and Europe to as far afield as India, China and Japan. So skilled was he in the magic of the mechanism

His famous ‘Writer’ automaton worked on a mechanism that is lauded as being the earliest computer, predating the Babbage Engine which is heralded as the birth of the modern computer. For those interested in computing the points of interest are that the Writer has an input device to set tabs that form a programmable memory, 40 cams that represent the read-only programme and a quill pen for output. Still preserved in museums, it is only in retrospect that we understand their importance. At the time Pierre and his son Henri built the automata to

pocket watch and if one group of people are to be lauded as the godfathers of the modern

that he was able to incorporate music into his Rococo androids.

promote and sell watches. Now they are a part of the history of

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technology that has led to the generations of robots and mechanoids that have revolutionised the 20th and 21st centuries. Pierre’s life was not always one of quiet creative diligence. In 1758 he suffered the tragic of loss of both his wife and daughter. After this he dedicated himself to watchmaking and that alone. Following tragedy, Pierre had a stroke of good fortune in the form of an encounter with George Keith, Lord Marischal, Governor of the Principality of Neuchâtel, a meeting that would prove to be the making of him as a world-famous master

Spain where he could help introduce Pierre to the court. Backed by a patron, Pierre JaquetDroz, his father-in-law and a young assistant named Jaques Gevril, built a special carriage designed to carry six clocks and left for Spain in 1758. He returned a rich man. With his fame and reputation growing Pierre, in 1774 set up a workshop London which not only had grown as a centre of commerce but was beginning to rival Paris as a centre of taste and fashion — under the management of his son Henri-Louis. With his client list growing Jacquet-Droz entrusted his

oversee the business relationship with the prominent trading company James Cox London, whose agents in Canton opened up the Far Eastern market for the Jaquet Droz Company and for many years represented it in China, India and Japan. In the heart of 18th-century Beijing, the emperor himself and the Mandarins at the Imperial Court collected masterpieces by Pierre JaquetDroz. Qianlong, the fifth emperor of the Qing Dynasty, was engrossed by his interest in European mechanical clocks and automata. He set up his own national office

watchmaker. Lord Marishcal advised him to present his creations abroad, in particular in

London operation to Jean-Frédéric Leschot. One of Leschot’s responsibilities was to

with hundreds of employees to import and trade these watches and automata from

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HOMAGE TO ARTISANS

Europe. However, China was to prove to be the atelier’s undoing with unpaid drafts and orders. Finally the doors of this most wonderful of watchmakers closed in 1791. For two centuries the heritage of the Jacquet-Droz brand remained frozen in time until 2000 when the brand was bought by the Swatch group and the legacy of Jacquet-Droz was resurrected with a range of fine watches that adhere to it’s namesake’s passion for elegant precision. The brand has returned the workshop to its town of origin moving into the new 2,500-square-metre Atelier de Haute

further the art of watchmaking yet remaining true to its roots creating exquisite pieces of perfected simplicity such as the pocket watch-inspired Grande Seconded range to the miniaturised opulence of Ateliers d’Art with its lifelike sculpted elements of birds and exquisite enamel paintings. For watch enthusiasts and admirers of the work of the man himself, there’s a surprise discovery of an internal mechanism designed and made by Jacquet-Droz and his team. The antique movement was found in a private home and given to the current workshop.

casing has been lost over the course of time, but this discovery has meant that the current watchmakers were able to study and restore the original mechanism in fine detail. This style of escapement was originated in the 13th century and remained central to the horological world until the mid19th century and is characterised by an escapement wheel that cuts across the verge of the balance perpendicularly, maintaining its beat. The first step in the six-month restoration process was to completely dismantle the mechanism and clean it. The

Horologie in 2010. The new state-of-the-art building has the facilities for the artisans to

The movement included the crown wheel, or verge, escapement. However, the outer

pivot holes were re-bushed and the pivots re-polished so as to preserve the gilt finish

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MOVEMENT Jaquet-Droz movement with balance cock dating from 1790. Crown-wheel escapement, fusee. Hand-winding.

on the plate and bridges. One of the most exacting challenges for the watchmaker was to reconstruct and replace a missing tooth. This process required immense patience and perseverance to complete. The original winding key had been lost so this too had to be designed and fitted in the workshop. The tiny key is inserted just below the two o’clock index to wind the mechanism just as it had been wound nearly three centuries ago. The enamel painters, engravers and jewel-setters of the Jaquet Droz Ateliers d’Art have created a new casing for the watch, bringing together some of the artisan and jewellery techniques used in watchmaking during Jacquet-Droz’ lifetime. These included decorative symphony observing the conventions of the châtelaine watch and those of the brand featuring its secret

INDICATIONS Hours and minutes POWER RESERVE 30 hours CASE Special 18-carat gold alloy. Blue, paillonné-enameled and guilloché back. Diameter 61.76 mm, height 24 mm Gem-set bezel and back. 60 pearls. 60 rubies. DIAL White Grand Feu enameled, dome-shaped, on a copper base. Roman numerals with Arabic numerals at the quarters. JD signature in black Grand Feu enamel. HANDS Hours and minutes with curved contours, “fleur-delys” type. Blued steel. BUCKLE Winding and setting key. JD cloverleaf shape. Stainless steel and special 18-carat gold alloy. Blue, paillonné-enameled.

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signature of a four-leaf clover and the same combination that Jacquet-Droz used of Roman numerals for the hours and Arabic numerals for the minutes on the dial. The dial was painted by hand and finished with a compass. The hands are elegant with their sinuous feminine curves and handcrafted from polished, flame blue steel with a fleur-de-lys motif. As was the fashion at the time, the case is crafted from 18-carat gold and embellished with rubies and pearls reflecting the tastes in jewellery during the 18th century. The back of the watch is a rich deep blue achieved through painstakingly applying thin layers of enamel to build the richness and depth of colour that only the finest of timepieces boast. The pallions of gold are delicately positioned and guilloché adds the final touche to these works of art.

THE BAG ACT Channel all the charm and sophistication of Hollywood’s elite with Tod’s smart new Script Bag B Y C H A R L O T T E VA N D E N B R O U C Q U E

Gone are the days where a gentleman carried bulky documents in a rigid, oblong briefcase. In the last decade a new generation of luxurious bags designed specifically for the male market have taken the shops by storm and redefined this classic accessory. Recognising that the needs of the modern man have changed when it comes to his luggage, designer brands strive to meld form with function and deliver iconic pieces.

tablets and other gadgetry now dominate the contents of the man bag. Consequently streamline, refined bags now take centre stage as the gentleman’s accessory of choice. A man’s choice of bag has become just as important as the watch or shoes he wears, speaking volumes about the essence of his style. Renowned for its elegant leather goods, Tod’s is a brand that excels in quality,

the helm of this brand, nurturing it with an attention to quality and practice that forms the foundation of its success. A century of tacit knowledge is bestowed upon each and every item, exuding a heritage of leather mastery at its finest. The antithesis of fast fashion, every piece is expertly researched and developed with the discerning gentleman in mind. Whilst other luxury brands have succumbed to relocating their factories to cheaper

Whereas in the past briefcases teemed with papers, the rise of laptops, mobile phones,

craftsmanship and aesthetics. For nearly 100 years the Della Valle family has been at

economies, Tod’s remains proudly steadfast in its ‘made in Italy’ philosophy. Impeccable

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THE BAG ACT

Script side pocket

Techinical fabric lining

Inside Detachable double pockets

Italian craftsmanship is evident in each step of the production process resulting in a truly superior hand-made final piece. The connoisseur knows that to own a Tod’s item is to have a luxurious, understated wardrobe staple that will stand the test of time, both in style and longevity. Its no wonder that years of producing exemplary wares have generated a loyal following of enthusiasts. Hard to impress and with an eagle-eye for detail, Tod’s strive to consistently meet their expectations and delight with their latest offerings. As such the brand’s designs do not come into fashion one moment and fall out the next. Subtle detail alterations characterise the change from season to season, such as a modification to palettes, a change of finish to the leather or an adjustment to the size. The level of careful manufacture results in timeless pieces that

collection for men combines a contemporary look with the brand’s distinguishing design excellence. Launched in 2013 the aim of this smart design offers versatility with a bag that is seamlessly appropriate from one situation to another; from daytime to nighttime, professional to recreational and from business to leisure. Buttery calfskin leather is cut and tooled by hand to ensure a result where form meets function. Each piece exhibits an understated final embellishment of the double leather stripe for which the range was named. As part of this line and new for 2014, the Script Bag pays homage to the life of an actor who travels between sets and requires his script easily at hand. The streamlined design will appeal to those who travel light, requiring only their essential items at business meetings or in social situations.

the refined design allows space for other essential items. The script of the actor remains easily accessible in a side pocket. Signature rubber pebbles found on the sole of Tod’s shoes emboss the base of the Script Bag, which combine with strong double stitching to ensure significant resistance to everyday wear and tear. Bolder colours such as contemporary red, green and blue make for a stand out accessory whereas rich chocolate browns and classic blacks make for a more sober, urban look. Customers are able to choose from a leather or suede finish in their preferred hue. For a truly bespoke experience, the double stripe embellishment comes in 12 different colours so the design of each bag can be made to individual specifications. As a final flourish monogrammed leather labels are hand stitched to the leather so there’s

can be enjoyed for years to come. True to form Tod’s Double

Clever design features allow belongings to be held in removable, inner pockets, whilst

no mistaking the owner of this undeniably sophisticated article.

Stripe

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S T R AT UM

SPUN GOLD Revered by the Incans for their soft wool the South American vicuña faced extinction by the 1960s. After careful conservation their wool is back on the market and is the most expensive fabric in the world. This edition of Stratum we discuss the prestigious wool, the process of shearing and the particularity of the high mountains where the vicuñas roam around. B Y C H A R L O T T E VA N D E N B R O U C Q U E

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THE WOOL The Incans were the first to recognise the value of vicuña wool, which was reserved only for royalty. Vicuña were given sacred status, protected under law and sheared at annual religious ceremonies called Chaccu. At this time there were an estimated two million vicuña roaming the wilds of Peru, Argentina and Bolivia. Alas the importance the animals were given by the Incans was extinguished along with the rest of the empire during the Spanish Conquest in the 1500s. The warm fur that had ensured their survival in the harsh climate for thousands of years

by the 1960s, numbers of this once revered animal plummeted to just 6,000. Peru faced the extinction of their national animal and the species was declared endangered in 1974. It became illegal to trade vicuña wool and the material disappeared from the market. A conservation project was launched and game wardens from Peru and Bolivia were trained in order to prevent the animals from being poached. Under their watchful eye the population has somewhat recovered to around 350,000 across South America. In 1993 the trading regulations on vicuña wool

the globe, albeit at an eye-watering price. It is easy to appreciate why vicuña material is so very rare and subsequently extremely expensive. Just one kilogram of raw fleece sells for over $300 on the global market. After it has been spun into yarn then woven into fabric the resulting bolts are literally worth their weight in gold. Each season’s harvest of wool varies in colour and the most dedicated vicuña enthusiasts join waiting lists for the privilege of owning a bespoke coat or jacket to be made from the latest run of harvested wool. Because of the microscopic diameter of the Vicuña fibres it is difficult to dye or

became their downfall. The vicuña were tirelessly hunted by the new invaders and

were relaxed and once again the fibre became available to luxury market ateliers across

treat the wool and is thus left in its natural cinnamon colour.

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S T R AT UM

HARVEST FESTIVAL Fine vicuña wool continues to be harvested annually during a sacred Incan ceremony called the Chaccu. Even nearly 600 years ago the Incas recognised the value of the vicuña’s soft wool and the animal was

corralling of wild herds of vicuña into an area surrounded by a human chain holding a rope decorated with flags and ribbons. The animals were funneled into a pen and carefully shorn before being released back

communities come together in a single chant in an effort to calm the countless vicuña. As a symbol of the Andean indigenous people, a rainbow-colored wiphala flag flies ahead as the animals are sheared. A Peruvian

revered across the empire. Only Incan royalty were allowed to wear this ‘fibre of the gods’ and the animals were protected under their laws. Vicuña were believed to be the reincarnation of a beautiful maiden who was gifted a pure gold coat by a king who was courting her. The fable explained why the vicuña were blessed with such fine

to the wild in a group. Despite the time and effort taken to attain only small amounts of this sacred wool, the Incan royalty would wear garments made from the silky fibres only once. The occasion has become a huge three-day long fiesta where locals dress in brightly coloured, traditional outfits and act out Incan rituals involving actors dressed

dressed as the Inca king holds the first bundle of fur high above his head to a round of applause from the spectators. Because vicuña fur grows so slowly care is taken to shear only animals with fur longer than two-and-a-half centimetres. Each animal will only be shorn every other year and, at most, only five times during their life. It is a

fur. A sacred ceremony involving the whole community called Chaccu took place every four years to harvest the precious fibres. Chaccu, meaning “round up” in the highland indigenous language Quechua, involved the

as royalty and their servants. Tourists are encouraged to join in the festivities and partake in the corralling of the animals by joining the throng along the kilometres of decorated rope. Hundreds of local

credit to the community, conservationists and the Peruvian government that the vicuña have been bought back from the brink of extinction and the gentle ceremonies of their Incan ancestors reestablished.

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MOVING MOUNTAINS It is only fitting that the most expensive animal-derived fabric on the planet is produced against a backdrop of the stunning landscape of the Andes. This is the longest mountain range in the world, snaking its way along the entire 7,000-kilometre west coast of South America. The undeniably spectacular scenery masks a harsh environment where only animals that have managed to adapt to the inhospitable surroundings have been able to successfully make this their home. The range extends through Venezuela, Colombia, Ecuador, Peru, Bolivia, Chile and Argentina, with the latter four of these countries playing host to the greatest populations of vicuña. But it is Peru that has the largest number of

species. The Vicuña National Park of Pampa Galeras is located 90 kilometres from the city of Nasca at an elevation of 4,200 metres. This is the prime habitat of the vicuña and here reside the largest concentration in Peru, with a population size surpassing 6,000 animals. Despite their successful rehabilitation in this area their illusiveness still pervades and it can be difficult to spot them. The flocks, made up of one male, up to 15 females and their offspring, move in tight waves as if they are one fluid animal. Interestingly, the way they

vicuña in the entire region, with approximately 70 percent of the total population of the

eat the grass – cutting it with their teeth rather than pulling it up by the root – has actually aided their survival, as their food source is not destroyed when eaten. Also their padded feet are gentle on the land, unlike sheep and cows whose hooves churn up the ground. They occupy the scrubby plains of the Andes by day and then move to rocky outcrops come nightfall to protect them from falling prey to pumas. Despite the destruction of the empire, Incan blood still runs through the veins of a large part of the Peruvian population. The vicuña are an important part of their heritage and it is heartening to see that through ceremonies such as the Chaccu, the spirit of the Incas lives on today, and so do the animals that they held most sacred.

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SignĂŠ Selection

SIGNÉ SELECTION

THE FIRST DOOR

THE FIRST DOOR The first door to the discreet gentleman’s club known as the Cavalleresco Ordine dei Guardini delle Nove Porte, is the cigar. In an age of smoking bans, cigar smoking has, ironically been elevated to a form of art. We spoke with the Ordine’s founder and Gran Maestro Giancarlo Maresca about his love of the cigar and what it means to be a gentleman in today’s world. BY

CAMERON BAILEY

“The gentleman is a very educated person — deep. The cigar gives him the possibility to express his talent in taste. A cigar needs a certain degree of attention, in choosing, conserving, cutting, lighting, smoking, and is an instrument that allows the gentleman to show how much he knows about taste,” says Giancarlo Maresco. In the mid 1980s in Italy, sourcing top quality cigars was still an adventure. “Let’s say that our objective then was to have access to the product that was not available in Italy.” The cigarette is like a shot of cheap vodka whereas cigars are complex like great wines or cognacs. To gain the depth of knowledge to fully appreciate them, there is need to travel to the point of origin. “Then we felt the necessity to go deeper into knowing this product. That is why we started organising a lot of related events,

sizes, new tobaccos (less commercial). Here in Italy, we used to organise tasting, to deepen our knowledge about cigars.” When the European ban on smoking in bars and restaurants was introduced in 2005, it changed the whole context for the serious cigar smoker and how people smoked. “The cigar is also an essential part of the world of elegance. It acquires its real sense if it is combined with a matching way of living.” Gran Maestro tried to gather together associations of interested parties to better explain what smoking was about but his efforts failed as other representatives of smokers acquiesced and accepted the law, something that Gran Maestro expresses disdain for. “I believe the reason those people accepted that law, is because there are plenty of “fake smokers” who don’t smoke inside their homes.” The ban effected a radical change to the way

it anymore, to give space to the dignity of smoking. That is why we smoke during all of our events and instead of talking about it, we just smoke. The real smoker is the one who is able to smoke inside his house freely.” Smoking in its most refined form is both an art and a study in taste. It is something that grows within the smoker. “Smoking, especially smoking Havana cigars, is a very refined pleasure. To appreciate it, one needs to have an experience of taste. At 18 years old we cannot appreciate a cigar like a 40- year- old. You need a learning period.” Gran Maestro describes the three different levels of cigar smoking. “Smoking: when you do other things, you use the cigar as a companion. You are not only focusing on the cigar. The cigar gives you security and comforts you like a friend would.” “Savouring: when you focus on your

travel to Cuba, experiments. We had some cigars made especially for us. We tried new

that the Ordine’s events ran. “I made the choice of not talking about

cigar. You choose a moment in which your mouth is ready to taste the cigar and you

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SIGNÉ SELECTION

THE FIRST DOOR

“A good cigar is as great a comfort to a man as a good cry to a woman” E D WA R D G . B U LW E R - LY T T O N

will focus on it. First you need to choose it

ride. The smoke goes along and improves

emphatic about the journey to becoming

with care and you focus on every aspect of that moment between you and the cigar.” “Tasting: this is almost scientific. When you try, compare the quality, analyse, classify, take notes and study the product.” His idea of the companionship of a cigar echoes that of great cigar smokers of history such as the writer Ernest Hemingway who wrote passionately about Spain and bullfighting in his novel Fiesta about the annual pilgrimage to Pamplona in Spain for La Corrida or bull running where runners dressed in white race ahead of angry young bulls. Like Hemingway, members of the Ordine travel to this fiesta accompanied by their beloved cigars.” “Smoking is a pleasure that you can combine with a lot of other pleasures. During Corrida traditionally we smoke, because Corrida is for people who enjoys very strong flavours, sensations. Smoking goes well with gambling, or playing snooker. I cannot play a good snooker game if I am with a nice lady, I wouldn’t be concentrate on my game, but I can play and smoke at

other pleasures. Almost all other pleasures need a moment dedicated exclusively to it.” This idea of a life with cigars he believes is the only true way to understand tobacco and cigars. “Only by living by the product, understanding its evolution, are you able to call yourself a connoisseur. Only with the experience will you learn how to identify the moment of the life of a cigar and know if this cigar will improve or not with time.” He describes the secret of having a good collection as being: “Very important to own a lot of them. Different kinds, different ages. Each cigar should be able to tell you a story, of where you bought it, when you bought it…When you open a cigar box, it is a bit like opening a picture album.” Beyond the romance there is a practical reason for holding a large collection “The humidor works well only if it is full of cigars. The cigar likes the company of other cigars they exchange information and humidity between them and mature in a better way. Then with time, also the humidor gets its own flavour.”

a true connoisseur. “Only by living by the product, understanding its evolution, are you able to call yourself a connoisseur. Only with the experience will you learn how to identify the moment of the life of a cigar, know if this cigar will improve or not with time.” For Gran Maestro there can be only two cigars — a Havana or an Italian ‘Toscano’: “I think it [the Toscano] is one of the most interesting cigars in the world, but it is not being valued in the right way by its producer. I feel like they don’t see the potential that this cigar has.’ “The difference with a Havana cigar is that a Havana is an orchestra and for that it needs a director who knows how to create a very complex music, with a great harmony. The Toscano is a single instrument, like a guitar. It doesn’t need a director. He only needs someone that knows how to play it well. A man and a guitar can play almost all the songs.” “The cigar gives you the possibility to elevate yourself. The cigar, the smoke, is a symbol of elevation. That is why the smoke is

the same time. Cigar goes well along with eating, drinking, in the car, enjoying a nice

“You cannot become a cigar expert by smoking only 12 cigars a year.” He is

used as a symbol in many religions, because it guides the eyes towards the sky”

SIGNÉ ◊ EDITION 07

S PR E Z ZAT UR A BY

MR PORTER

WORD: SPREZ·ZA·TU·RA PRONUNCIATION: /ˌsprɛtsəˈt(j)ʊərə / sprāt-tsä-ˈtü-rä DEFINITION: rehearsed spontaneity, studied nonchalance and wellpractised naturalness. The winter is upon us, so does all the winter activities, holidays and business trips. Stay and travel in style during any of these activities with our selection of looks, carefully curated by MR.PORTER. All the products mentioned in this section are available through mrporter.com I L L U S T R AT I O N S BY : M AT T H E W M I L L E R

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S PR E Z ZAT UR A

SUIT YOURSELF 1. Alfred Dunhill - Sterling silverplated horse cufflinks 2. Bottega Veneta - Intrecciato leather briefcase 3. Brioni - Grey wool and silk, blend suit 4. Mulberry - Brown Grain Leather belt 5. John Lobb - William leather monk-strap shoes

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STAY SHARP 1. Czech & Speake - Leather-bound Manicure set 2. Perricone MD - Photo plasma moisturiser 3. Baxter of California - Want Les Essentiels de la Vie grooming set and wash bag 4. Baxter of California - Shave kit 5. Aesop - Resurrection duet hand wash and balm 2 x 500ml

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S PR E Z ZAT UR A

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AROUND THE WORLD 1. Paul Smith - Woven-leather wrap bracelet 2. Ray-Ban - Aviator sunglasses 3. James Perse - Slub linen and cotton blend polo shirt 4. Oliver Spencer - Regular fit cotton trousers 5. Tod’s - Gommino suede driving shoes 6. Mulberry - Clipper leather holdall bag

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S PR E Z ZAT UR A

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S PR E Z ZAT UR A

VERY CASUAL 1. NN.07 - Clay spot-print cotton oxford shirt 2. Persol - Steve McQueen folding acetate polarised sunglasses 3. Folk - Regular fit washed Denim shorts 4. NN.07 - Marco cotton-Blend trousers 5. Paul smith - Leather belt 6. Rivieras - Rubber soled woven slip-on Shoes

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FOR HER

LVCEA Bulgari watches combine the extraordinary creativity and emotional impact of Italian design with traditional Swiss expertise. They are made to the highest levels of precision and to the most stringent quality standards adopted in Swiss watch making.

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FOR HER

MVSA BRACELET Bulgari MVSA pink gold bracelet is pure luxury created by the combination of precious and innovative materials and distinctive designs, for a glamorous and exciting piece that fuses classic and contemporary. An unmistakable creativity that transcends time and passing trends.

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SERPENTI SUNGLASS Serpenti Scales sunglasses channel a rock and baroque vibe, skillfully drawing inspiration from the distinctive snake décor. Vibrant contrasts give a 3D effect to the metal and enamel details.

SERPENTI FOREVER Flamant rose calf leather shoulder bag with brass light gold plated black and white enamel Serpenti head closure with malachite eyes. Medium with one gusset and precious snake body chain.

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SIGNÉ SELECTION

THE DESERT FOX

The

Desert Fox NO MATTER WHERE HE LIVES, TRAVELS AND WORKS, THE ELEGANCE OF A MAN LIES IN HIS APPRECIATION OF THE ROOTS AND HERITAGE WHILE CLIMBING THE SOCIAL LADDER. SIGNÉ PORTRAYS THE MAN WHO APPRECIATES THE STYLE FOR WHAT IT IS WITH A TRUE LOVE OF TO THE HISTORY AND THE LAND

PHOTOGRAPHER ADAM BROWNING-HILL FA S H I O N S T Y L I S T : D R E S S C O D E B Y FA R A H H A I R A N D M A K E U P : K AT H L E E N S U M N E R S MODELS: BRUNO FERNANDES A S S I S TA N T P H O T O G R A P H E R : M O H A M E D R A M Z E E N L O C AT I O N C O U R T E S Y : B A B A L S H A M S R E S O R T S A L U K I S : FA U S T, C O U R T E S Y O F S H A R J A H C AT S A N D D O G S S H E LT E R , A N D M O N T Y, C O U R T E S Y O F A R A B I A N S A L U K I CENTRE OF DUBAI

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Suit : Dolce & Gabbana Shirt : Glanshirt at Bloomingdale’s Tie : Giorgio Armani Necklace : Etro Shoes : Christian Louboutin

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SIGNÉ SELECTION

THE DESERT FOX

Suit : Etro Shirt : Moschino Tie : Hermès Scarf on head : Fendi Shoes : Christian Louboutin

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Blazer : Emperor 1688 Shirt : Emperor 1688 Neckpiece : Etro Scarf on head : Hermès

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SIGNÉ SELECTION

THE DESERT FOX

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Jacket : Etro Trousers : Etro Shirt : Thomas Pink Tie : Hermès Pullover : Zanone at Bloomingdale’s Head Scarf : Hermès Shoes : Christian Louboutin

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SIGNÉ SELECTION

THE DESERT FOX

Jacket : McQ Shirt : Emperor 1688 Trousers : Sandro Shoes : Santoni

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Cape : Emperor 1688 Shirt : Armani Collezioni Belt : neckpiece by Etro Trousers : Salvatore Ferragamo

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SIGNÉ SELECTION

THE DESERT FOX

Blazer : Emperor 1688 Shirt : Bottega Veneta Tie : Hermès Head Scarf : McQ

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Blazer : Hardy Amies at Bloomingdale’s Shirt : Theory at Harvey Nichols Trousers : Hardy Amies at Bloomingdale’s Scarf as Cravate : Hermès Scarf as belt : Etro Shoes : Santoni

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F O S T E R I N G I N T E R C U LT U R A L D I A L O G U E

Philanthropy

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F O S T E R I N G I N T E R C U LT U R A L D I A L O G U E

Fostering Intercultural Dialogue The collaboration between BMW and the UNAOC to promote intercultural innovation across the globe encourages young entrepreneurs in creating intercultural activities and organisations. This year the award ceremony was held in Bali in the presence of UN Secretary General Ban Ki Moon.

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F O S T E R I N G I N T E R C U LT U R A L D I A L O G U E

Social

commitment

promotes

dialogue

between

politics,

of Civilizations (UNAOC).

and corporate social responsibility have been defining aspects of BMW ’s corporate identity. The renowned Bavarian automaker has focused its commitment on intercultural innovations and social inclusion and has emphasised on projects where it can achieve specific and measurable improvements for a substantial and lasting effect.

academia, science and society. It serves as a tool for transferring academic analysis and practical competences from various sectors and regions of the world to other areas where they may be used. The Eberhard von Kuenheim Foundation works with partners to develop and test projects in areas of society where action

The UNAOC is an initiative of the UN Secretariat General and aims to improve understanding and cooperation among nations and people across cultures and religions. The Alliance is a global network of partners including 114 States, 25 international and regional organizations, civil society, foundations, and the private sector.

For 40 years now, BMW has initiated and engaged in many international cultural cooperations and has placed the main focus of its long-term commitment on modern and contemporary art, jazz and classical music as well as architecture and design. The BMW Group also exerts efforts in the field of road safety, at the local level where

needs to be taken. It sees itself as a provider of best-practice approaches for society. Part of BMW’s initiatives geared towards intercultural dialogue and social inclusion are the LIFE concept in collaboration with the State Institute for Quality in Schools and Educational Research, The Sauze Project — A Ski School for Disabled People in Italy, the

Since 2011, the BMW Group and the UNAOC have entered into a partnership and launched the award to strengthen their efforts in bridging cultural and religious gaps and in fostering social peace in multicultural societies. The annual Intercultural Innovation Award (IIA) jointly given by the UNAOC and BMW, is aimed at innovative grassroots and

it focuses on traffic safety programmes for children, teenagers, and young drivers. The prominent automaker has two foundations, the BMW Foundation Herbert Quandt and the Eberhard von Kuenheim Foundation, which are both dedicated to socio-political issues. The BMW Foundation Herbert Quandt

BMW JOY Home Children’s Care Program in China, the Light Up Hope Program in China, the LoveLife Centre in Knysna, South Africa and the Hope Sharing School in Korea. Another great project for BMW that has been successful throughout the years is the Intercultural Innovation Award in partnership with the United Nations Alliance

sustainable projects from worldwide nonprofit organisations that promote dialogue and intercultural understanding, while contributing to peace and prosperity in global societies. The finalists share cash awards totalling $100,500, including the $40,000 prize to the top winner. All finalists receive a year-

UNAOC high representative Nassir Abdulaziz Al-Nasser, Cirquenciel representative Johnny Girges and Bill McAndrews BMW Group Vice President Communication’s strategy, corporate & market communications.

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long programme of managerial, marketing and other consulting help principally from UNAOC and BMW Group and have an opportunity to participate in training activities and workshops covering the most diverse subjects such as further development, financial sustainability and marketing. All finalists also become members of the “Intercultural Leaders” group with access to an online exchange platform and knowledge base for leaders committed to encouraging intercultural understanding and respect. This year, UNAOC and BMW Group received more than 600 entries from grassroots organisations worldwide. A jury composed of scholars, practitioners and representatives of the award partners narrowed the entries down to a ‘short list’ of 25 for review. An important criteria for each of the finalists was the potential of the programmes to expand and be replicated successfully

Bosnia-Herzegovina for its ‘Ordinary Heroes’ retrospective, which recalls individual acts of moral courage responsible for saving life during times of ethnic violence and genocide worldwide.

elsewhere. The top prize of $40,000 went to the Post-Conflict Research Center (PCRC) in

the first formal circus school in the Middle East.

ABOUT CIRQUENCIEL Cirquenciel is founded on the belief that every human being has the right to grow and expand in a friendly and fun environment.The main objective is to educate the masses regarding circus arts and to enroll them in the discipline of performance, leaving behind discrimination in a mass effort to entertain the masses. Through their constant activity on Lebanese and greater Arab territories, cirquenciel’s fields of service include society and culture, education and training, as well as corporate entertainment and live production. Through these activities cirquenciel is growing with steady steps, while gaining the experience and credibility to launch

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The second prize went to All Together Now from Australia and its ‘Everyday Racism’ app. The application for smart phones exposes users to prejudice and racial discrimination on personal terms as experienced by culturally disadvantaged groups in their daily routine. The third prize was awarded to Manav Seva Sansthan SEVA from India, Facilitating Informed and Safe Migration among Vulnerable Nepalese Migrants along the Indo-Nepal Border. SEVA’s project aims to provide efficient help to migrants, to promote their rights and to prevent human trafficking and illegal immigration. The fourth prize was given to Welcoming America from the United States of America for its Welcoming Cities and Counties Initiative. The project specially designs welcome plans and creates amicable and attractive environments as location incentives for talented immigrant arrivals. Finally, the fifth prize was awarded to Arcenciel in Lebanon, a Circus School in the service of intercultural dialogue. Its project

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F O S T E R I N G I N T E R C U LT U R A L D I A L O G U E

UN Secretary General Ban Ki-moon addressing the audience during the Intercultural Innovation Award Ceremony 2014, Bali.

helps through a circus workshop socially

that an important part of the Intercultural

50 different nations, working together. It is

deprived and marginalised young people from differing cultural backgrounds achieve mutual understanding and respect through dialogue and cooperation. The finalists presented their projects within the framework of the 6th Global Forum of the UNAOC in Bali, Indonesia in the presence of UN Secretary General Ban Ki-moon and were awarded their prizes in a ceremony chaired by UNAOC President Nassir Abdulaziz AlNasser and Bill McAndrews, Vice President Communications Strategy, Corporate and Market Communications of BMW Group. A native of the United States, McAndrews was eager to emphasise the BMW Group’s commitment in going beyond financial support to include every relevant resource the company can offer. McAndrews also added that the issue of intercultural dialogue has been in existence since 1997 within the BMW group. “It’s been here a long time and I think we have been learning and growing and now I think we have taken it to another level with the UNAOC. I think we are a lot broader and

Innovation Award is helping the finalists be sustainable and go beyond with their projects in a business-frame of work. When it comes to Corporate Social Responsibility in the luxury industry, McAndrews thinks that companies need to have a clear distinction between donating money for charitable causes and being involved in various projects with a long-term philosophy. “I think it is something that we have learned. You can give someone money and you say ok that’s it but that is not really seeing what they are doing or what effect they have on the society, so you have to be more engaged,” he said, adding that the key for a company is to focus on a maximum of three to five areas and find a niche that will fit. The communications expert also explained that the BMW Group chose to focus on intercultural dialogue and social inclusion due to the brand’s identity and the diverse nationalities of people working there. “If you went to our research and development centre, you would find people

amazing what binds us. We are very different, we come from different backgrounds, different educational levels, but at the same time everybody is passionate about one thing. The common denominator is the fantastic brands that we have. They motivate people,” said McAndrews. Another crucial aspect for companies to look at in their CSR work is what their roles are in society and in a community from a global perspective in order to find a balance between the various stakeholders involved, said McAndrews. “To be in it for the long run, I think you need to be committed and I think that’s where the credibility comes in. I think we are now seeing a traction that we didn’t have. More people are interested in this project. I think for us the corporate image over the long run it is very positive,” he said. He also added that passion is an essential component to achieving credibility in any project. “I don’t care what you are doing but if you are not passionate about it, if you are not in

I think that the awareness now is more global than it initially was,” said McAndrews, adding

from all over the world working together and if you went into the factory you have

love with it, you are not going to be fulfilled and I think people notice that.”

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THE COMMITMENT IWC SCHAFFHAUSEN INVOLVEMENT IN THE FILMMAKING INDUSTRY AND ITS SUPPORT FOR ASPIRING FILMMAKERS TRULY REASSERTS THE BRAND’S POSITION AS A PIONEER IN SOCIAL AND COMMUNITY-RESPONSIBLE PROJECTS.

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THE COMMITMENT

Since 1868, the Swiss

helped sponsor the work of the Charles

campaign ‘For the Love of Cinema’ it has

luxury manufacturer IWC Schaffhausen has been creating fine watches with exclusive designs of haute horologie at its finest. Stemming from the passion for innovation and technical inventiveness, American founder Florentine Aresto Jones began the legacy of International Watch Company better known as IWC, in the

Darwin Foundation (CDF). The international non-profit organisation focuses on the protection of the Galapagos Islands and advises the Ecuadorian government on the preservation of the archipelago and natural World Heritage Site. Moreover, IWC has worked closely with the Cousteau Society since 2004, a society

aimed to help aspiring filmmakers follow their dreams by supporting international film festivals in New York, Tribeca, Zurich, London, Dubai and Beijing. In addition to being the official ‘FestivalTime’ Partner of these events, it also presents the IWC Filmmaker Award, which includes a grant to a filmmaker to further establish him

Schaffhausen town of Switzerland. The brand has since gained a reputation as one of the world’s leading brands in the luxury watch segment. Appealing to a variety of characters and passions, the products of IWC each represent a different theme of rich and evocative expressions of the brand in its inspiration and

founded in 1973 that continues the scientific work of the famous marine researcher Jacques Cousteau and is committed to the protection of marine life.

or herself and pursue their art. Each winner receives an IWC timepiece with a special engraving as well as funds to continue their filmmaking work. Past recipients of the award include renowned Emirati director Waleed Al Shehhi and Iraqi film director and producer Maysoon Pachachi.

exclusive partnerships. In addition to introducing timeless and crafted masterpieces, the renowned Swiss brand is ecologically and socially responsible. IWC is committed to sustainable production and supports institutions around the globe in their work with children and young people but also maintains partnerships with organisation dedicated to climate and environmental

“I am thrilled to help cultivate the bright young talent of the film industry, continuing IWC’s long-standing tradition of supporting the art of filmmaking,” said Georges Kern, CEO of IWC Schaffhausen. “Films are about storytelling and so are IWC watches. Today, people don’t buy a luxury watch because it tells the time. They buy it because it inspires them, because it

protection. As part of its involvement with the international community, IWC promotes numerous social, cultural and sporting activities in the town of Schaffhausen in northeastern Switzerland, where the company was founded. It has also since 2005 been the main sponsor of the Laureus Sport for Good Foundation, a global initiative which uses the power of sport to coach disadvantaged young people or give them an education to surmount social challenges. IWC has also had a cooperation agreement since 2005 with The Antoine de Saint-Exupéry – d’Agay Foundation, an organisation that promotes education for children who grow up in difficult environments. The foundation upholds the humanist and spiritual legacy of the French writer and aviation pioneer with work that includes providing reading material in an effort to increase literacy. The luxury watch brand has cultivated partnerships for many years with various

In addition to its involvement with great causes and foundations, IWC Schaffhausen is also committed from within its company to Corporate Social Responsibilty (CSR) and has introduced measures to protect the environment. The company has covered all its energy needs with ecological hydroelectric power since 2007, is CO2neutral and strictly complies with national, international regulations and standards when sourcing raw materials. By upholding its high standards of CSR, IWC Schaffhausen has long been committed to create a product with a soul that stirs emotions and inspires, similar to the production of a motion picture. The brand has from an early stage recognised the similarities and shared values

tells a story.” To strengthen its commitment to the art of filmmaking, IWC has established close relationships with numerous Hollywood stars. Kevin Spacey, Cate Blanchett and Ewan McGregor are among the celebrities chosen to be part of the group of Friends of the Brand (FoB) who represent IWC on the red carpet. The luxury brand also works with directors and producers to determine which watch best reflects a character’s personality. For instance, in The Bourne Legacy, the protagonist wears a Pilot’s Watch Double Chronograph. Also in films like “Ocean’s 13”, Wall Street: Money Never Sleeps or Miami Vice, IWC watches distinctively shape a character. “IWC always seems to be able to merge arts and culture with the brand itself,” says Kevin Spacey, who currently stars in the popular TV series House of Cards. “There’s a real relationship between the way they view what is important – which is great photography, great film and great

institutions that support ecology-related projects worldwide. Since 2009 IWC has

between the world of luxury and film. Under the guiding principle of

theatre – and things that really have to do with our culture.”

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its

Ali Mustafa attends the IWC Schaffhausen FOR THE LOVE OF CINEMA IWC Filmmakers Award

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S TA R T AU C T I O N

START... AUCTION MICHAEL JEHA, CHRISTIE’S MANAGING DIRECTOR AND HEAD OF SALES IN THE MIDDLE EAST DISCUSSES THE IMPORTANCE OF MIDDLE EAST ART MARKET AND THE INTERNATIONAL APPRECIATION TO THE LOCAL ARTISTS.

Many people ask me what I see as when I look to the future for the Middle Eastern art market. As in any business, you always need to respond to what your clients are looking for and try to ensure your business mirrors their lives. Our business is no different and has been evolving since 1766 so we must be doing something right! We held our first sale of art from the region in 2006 and have been holding auctions regularly, every spring and autumn ever since. The consistency of this approach has really paid off as now we have helped to establish a really thriving art scene and we are proud to have been part of this from the beginning. This year has already marked a

business continues to adapt to our everchanging environment. In March we moved our spring auction season to coincide with Dubai Art Week and the Art Fair. This made great sense as many of our clients who are not Dubai-based only needed to make one trip in order to see the very best art in the region. The sales were a great success, both for our watch sales and our auction of Middle Eastern modern and contemporary art. We have also been adapting our sale make-up, amalgamating our parts I and II sales, formerly divided across two catalogues and two sales, into a single sale with younger contemporary artists, as well as more affordable modern works set to be offered in a regular online-only sale each

sale format to our art category last October and it was very well received, reaching a predominantly new client group, with a fairly even spread of buyers nationally and internationally. This season we will offer around 60 lots online – it appeals to those who can’t physically attend the Dubai viewings with clients bidding from all over the world. All property auctioned on-line is treated with the same hightouch dedicated cataloguing, inspection, and review as any property offered by Christie's. The same team authenticate, catalogue and choose which sale the work is best suited to – online or traditional auction. This ensures that the same quality is consistent throughout all of our sales in

departure for Christie’s in the region as our

October. We introduced this new online

this category wherever they are held.

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Rendition of the village of Malula - Louay Kayyali (Syrian, 1934-1978).

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“There is no formula in selling art - Each piece is unique and each collector has individual taste. ”

The confidence of our Middle Eastern clients buying online is mirrored by clients across our business. Globally 27% of our new buyers come to us via our online sales

region are internationally recognised and not categorised by their country of origin – a great tribute to the quality of the works being produced and the commitment of the

with visitors from 170 countries. What is particularly interesting is that 11% of buyers who were new to Christie’s via our online sales continued to our real time auctions. We are seeing this trend begin to emerge from our sales in Dubai too. This will be only our second online sale season so statistics are a little vague but anecdotally I can see this happening already. As an example of how important it is to embrace this new way of buying art – in April 2013, our fourth highest selling lot was bought online by a collector transacting with Christie’s for the first time. In addition, last October we reintroduced our watch sales and this proved a great success, selling 96 per cent by lot and making almost $1.6 million. We have just closed the sale for this October but early indications suggest another strong sale. We have s charity lot and are offering pens for the first time. The other reassuring trend is the international interest in Middle Eastern art today. When we started to hold sales in Dubai most of our clients came from

bought by international clients. In our sales we generally have registrants from 25 different countries, which is in line with important Christie’s sales taking place around the globe. Whenever I travel to see the international art fairs in Miami, Europe or the Venice Biennale, each time I go, more and more Middle Eastern artists

artists themselves. This international interest is matched by the very rich, vibrant art scene in the Gulf. In the UAE there are the two important fairs in Dubai and Abu Dhabi, art schools such as Tashkeel, artists establishing their studios in Dubai plus the great art publications, events such as the DIFC art nights which act as important convening moments for those passionate about art…..and the Christie’s auctions twice a year – these all make for a full, year-round calendar. The combination provides us with a reassuring depth and strength to the market place. It is also reassuring to work with an increasing number of young collectors who are coming to us to buy their first piece at auction. On the whole they are a really wellinformed group. They attend the openings of museums and galleries and they take an active interest in the artists themselves…. many are the same generation and they speak a similar language. As I said above, the success of the online sale is so exciting because it provides us with an additional

the neighbouring region. Today we can say that over 40 per cent of the lots are

and galleries are represented. Increasingly the leading contemporary artists from the

sale platform to reach an even wider audience, many of whom are this next

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generation of buyer. However, it is important to remember that collectors, young or experienced, are never predictable. Our job is to bring the very best works available and provide highquality catalogue notes and an estimate and, where necessary, help to guide and advise them. There is no formula to

In order to continue to grow this market we, as an industry, need to continue to work together, collaboratively, to carry on providing a stable environment for the arts to flourish. There is still a need to nurture the collective enthusiasm with solid content and to that end, for the second time, we have invited our education department,

variety of subjects covering the local and the international art market to coincide with our sales. I would encourage your readers to come along to the pre-sale exhibition. We hold our sales at the Emirates Towers Hotel in Dubai and this year will have public viewing from Sunday, 19 October until the

selling art – each piece is unique and each collector has individual taste.

Christie’s Education, to run a special twoday course this October to introduce a wide

sales themselves – on 21 and 22 October. Do come along and take a look…

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F O R T H E L O V E O F V I N TA G E

for the love

of vintage

The increase in watch collectors in the UAE has signalled a new appreciation for vintage watches. Tarik Malik, Co-founder of Momentum Dubai, discusses the UAE’s rising community of vintage watch collectors.

BY REBECCA ANNE PRO CTOR I L L U S T R AT I O N S BY M AT T H E W M I L L E R

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The growth of the Middle East’s luxury market is one of the reasons for the increasing interest in high-end timepieces. As a recent watch collector stated: “The market has one of the highest concentrations of high-net-worth individuals in the world.” An increase in more sophisticated tastes has also helped expand the market for vintage watches in the Middle East. “Residents and local Emiratis now understand that vintage is more fashionable than it used to be,” says Frederic Watrelot, Head of Department for watches at Christie’s Hong Kong. The vintage watch market is now a multi-milliondollar market taking place primarily within the hubs of New York, London, Hong Kong and Geneva, largely through auction houses. “Vintage is not a mere sub-culture or trend anymore; it’s a lifestyle,” says Tarik Malik, the owner of Momentum, a concept store for vintage and classic watches in the Dubai International Financial Center (DIFC). “We

or in luxury,” adds Malik. “There is now an interest and demand for vintage cars; fashion and accessories, especially handbags; and of course watches.” But why is vintage so important? Vintage luxury items expound on the history of a luxury object; the inherent history and craftsmanship of an item a dds value and prestige and this is the direction in which the UAE watch market is going. Christie’s recently held its auction for watches on 20 March featuring Patek Philippe’s iconic emerald-set reference 5971 – a production with no more than 10 versions ever made. It is one of the most lavish and sophisticated dials to ever be produced and is fitted with 42 emeralds weighing approximately 3.33 carats. The sale of such a stunning timepiece with so great a heritage is itself testament of the growing market for luxury watches in Dubai. It is a timepiece that cannot only be bought and understood, but appreciated and

in the early ‘90s. “Swatch had just launched at that time with limited edition collections that turned almost every single watch into an instant collectible item,” he recalls. “That’s how I started, by collecting Swatch watches. Towards the mid ‘90s their premium was gone and so was the value of my collection.” But all was not lost. Malik had caught the watch collecting bug. “I had embraced a collector culture,” he beams. “It’s a community of people who have a passion for watches and an appreciation for vintage.” A trip to Dubai in 2007 to visit Malik’s childhood friend Anas Halabi, who had just moved to the UAE from Germany, signalled the start of something. “I am a watch guy; wherever I travel I look for vintage watch shops,” says Malik. “I love to browse through showcases to find those special pieces.” When he came to Dubai he visited the city’s many malls and was impressed by the luxury watches offerings. “But while

see people appreciate more and more things from the past, be it in design, in pop culture

understood for years to come. Malik first became interested in watches

I was surprised, I was also disappointed that there wasn’t a single outlet offering vintage

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“It is about the story behind a watch and at Momentum we share these stories” MALIK

watches,” he says. It was then that Malik had an idea: to introduce Dubai to the world of vintage watches. He thereafter set about launching the first vintage watch store in Dubai: Momentum Dubai. The company opened its doors in 2011 in DIFC. As Malik explains, it is not

just starting out. “We have also noticed more and more ladies who are building up vintage watch collections as well,” says Malik. Among Momentum’s most important models is the Rolex. “The vintage Rolex hype has not reached its peak, but is steadily reaching world-record results on international

currently have our hands on a 1978 Rolex GMT Master with the inscription ‘Mohammed Bin Rashid Al Maktoum’ on the dial,” beams Malik. “This watch was gifted by His Highness back in the years and was manufactured in very small numbers especially for the Palace. Not to mention that the value of it is much

a second - hand watch shop. “We don’t only buy and sell watches,” he explains. “We carry almost all the big watch brands, starting from Rolex, Omega, Vacheron Constantin, Patek Philippe, Cartier, IWC, and many more. However, when working with vintage watches, you need to make sure you provide the entire eco-system around the watch.” Malik tells how they wanted to create a platform whereby watch enthusiasts were offered all the needful provisions, including watch maintenance, servicing and repairing, watch accessories, evaluation and consultation services. As Malik explains, the most important element of vintage watch collecting is education. With over 24 years of industry experience, Momentum meets with a client, then they take their time to sit with the client and talk about watches. “It is about the story behind a watch and at Momentum we share these stories,” says Malik. It is these stories that they must impart to their diverse clientele who range from serious watch aficionados in their fifties and sixties

watch auctions,” says Malik, who explains how most of their clients are interested in vintage Rolex Sports Models, like GMT, Submariner, Daytona and Explorer. “We

higher than common GMTs and is in the range of $100,000-plus.” Momentum also has a 1958 GMT Ref.6542 that was launched in 1954 as a pilot’s watch for Pan Am. It was called back to the Rolex factory after a few years because the authorities found out that the so-called ‘Bakelite’ Bezel was radioactive. The ‘plastic’ bezel was then replaced by an aluminum bezel, at least on most of the watches. Hence the number of the models still preserving the original bezel became extremely rare and sought after since most of the existing ones broke over the years. “This piece is a watch you would mostly find at watch auctions for tremendously high prices,” says Malik. It is a rare find, indeed. As Malik continually seeks to emphasise, it is the stories behind the watches that make them desirable. “We want to be the destination for watch collectors in the Middle East, a platform where people can share their passion,” says Malik. “Vintage watches mark the personal experiences of their owners. Our role is to help in preserving

with lots of experience to those who are

those histories.”

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TIPS FOR BUYING A VINTAGE WATCH It is important to understand that not every expensive watch increases in value. It makes a difference if a watch is expensive because it is manufactured in precious material with a diamond setting or because of the craftsmanship of the movement. A few more points to consider along these lines are the brand, model, provenance and history. When planning to buy a watch it is good to set a budget since the range for luxury watches is wide. Pieces start from $10,000 and can go up to millions for Grande Complications. Make up your mind what kind of watch you want to buy: an elegant dress watch, a sports watch, a piece you want to store in the safe or wear on your wrist. When spending serious money make sure you buy a watch with a good re-sell value. Brands which have been around for a while, for example: Patek Philippe, Rolex, Audemars Piguet, Jaeger-LeCoultre and A. Lange & Söhne. Not all models of these brands are interesting. Take your time to select the right piece since you want to enjoy your investment on your wrist. For example, iconic watches such as the Patek Philippe Nautilus, Audemars Piguet Royal Oak or Rolex Daytona in steel have been on the market for decades and increased in value over time, so you will be on the safe side. An investment-worthy watch should be in original condition, so be on the lookout for irregularities that indicate it’s been played with. Your vintage watch should look old. If it looks like it just came from the factory, it’s not necessarily because someone took good care of it – it’s because something is probably not right. The watch you want will have its original finish, scratches and all, not be polished until all signs of age have been buffed out. The patina on the dial and hands should match and the overall condition should be indicating the age. Use the serial number to check the watch’s age and make sure that the movement number matches. The internet is a good source of information if you’re familiar with the product, but you’re better off buying it from a physical store. That way you will have peace of mind. It is very important that the seller is someone who can provide a warranty and maintenance. If you want to invest your hard earned money in a watch, then vintage is a great option. If you want to stand out with a watch without missing out on the big brands, even models, then do look at their vintage ranges. High-end vintage watches are considered as top investments gaining more and more in popularity.

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H E R I TA G E

L O S T G E N E R AT I O N

LOST GENERATION The Roaring Twenties, an era of major societal and cultural change reflected in the modern day lifestyle. Also known as the Jazz Age, the Age of Wonderful Nonsense and ‘Annes Folles!’ (The Crazy Years), this was a time where the emphasis was on the development of social, artistic and cultural dynamism that included glamour.

Following the aftermath

with. Today it is maintained Ellington put

and machine age imagery, accentuated with

of World War I, the beginning of the Roaring Twenties marked a transition from wartime to peacetime. As ‘the chains had been thrust aside and eyes eagerly peered towards the future,’ the previous years of rationing and destruction were brought to a halt and it was time to celebrate shameless decadence, resulting in ‘the formation of Modern American Mass culture.’

together ‘the best-known orchestral unit in the history of jazz.’ Their influence brought on the likes of Bing Crosby, who’s baritone voice gave him an edge and an opening into the jazz world where he was recruited into ‘the Rhythm Boys’ by Paul Whiteman, a band leader who carried the title of ‘the King of Jazz’ arguably with the most dignity and poise. Crosby’s jazz remake of ‘Ol Man River’

rich colors, bold geometric/symmetric shapes and extravagant embellishments. As much as redesigning interiors became crucial, so did revamping architecture. The Chrysler Building in New York was built with an Art Deco spire, designed by William Van Alen, 1928. Where decorating one’s home and surroundings became a popular trend, so did clothing oneself in modern, dapper attire. Men

Literature during this time took on startling changes. Ernest Hemingway revolutionized the idea of what American Literature was with his underrated style of writing simple declarative sentences as opposed to the expansive style at the time. His novels are long established classics, the first of them being ‘The Sun Also Rises’ published in 1926, the manuscript introduced to the literary world by none other than F. Scott Fitzgerald, who was largely impressed by Hemmingway. The music industry did an about face when both Americans and Europeans adopted Jazz, a musical genre originated by Negroes, a race which they regarded as culturally inferior in a highly racially segregated time. Louie Armstrong established himself as one of the greatest solo jazz musicians of all time, both as a vocalist and a musician. Duke Ellington, another iconic African American jazz icon, gained national recognition as a bandleader of jazz orchestras, making regular appearances at ‘the Cotton Club.’ He brought together collaborations and

gained him recognition that skyrocketed him to fame, launching a career that set a precedent of influence for Dean Martin, Frank Sinatra and Perry Como to name a few. The music and entertainment industry gained a new level of power when the radio was introduced, entering most American homes and when movie theaters mushroomed everywhere. The airwaves replaced the printed word as the fastest medium for news and entertainment. This contributed to jazz gaining widespread influence, and furthermore allowed the movie industry to have a greater impact on audiences. Regarding art and design, in Europe expressionism became very popular, referred to as ‘a movement to revel in just ‘being alive.’ However America took on a preference to Art Deco, the fast, luxurious and opulent representation of their lifestyle advertised in their homes on display. The emerging of the lush, ornate style of Art Deco (originated in 1925 at the Great Exhibition of Arts Decoratifs in Paris, presented as the successor of Art Nouveau) influenced a change in furniture and

like Fred Astaire and Gary Cooper were seen as fashion icons. Hats were a social necessity, ranging from the Fedora, Boater or Panama hat required to be worn at all social functions. Suits were also expected to be worn at all times, the exception being in the countryside where men could wear a light suit or sports clothes inspired by baseball legend Babe Ruth’s style of plus sixes, fours and eights and Fair Isle Sweaters. Shirts were expected to be long sleeved and light in color. Fashion did take on an edgier turn, the suit jackets tailored to be more boyish and tight with slope shoulders. The Brooks Brothers clothing stores made their mark during this era. Burberry also became extremely popular, the plaid print becoming a recognizable symbol of elegance with a chic twist. Braces, not suspenders, were to be worn by this modern gentleman to complete the outfit. An era when mass consumption was taken on with glamour and style, the Roaring Twenties was exactly that: roaring with vigor. A pulsating time when war was shelved to make way for social and cultural changes

composed thousands of pieces tailored specifically for whomever he was working

interior structure. The style was characterized by eclectic compositions of traditional motifs

accelerated by the boom in communication technology.

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THE STROKE OF GENIUS

THE STROKE OF GENIUS The history of the wristwatch is the history of Rolex, it’s not just the story of building a global brand, the singular vision of it’s found Hans Wildorf changed the way we tell the time forever. BY CAMERON BAILEY

Iconic and utterly original, the Rolex watch is the benchmark by which all wrist watches are measured. When Hans Wilsdorf began his watchmaking career in the 1900s in Chaux-le-Fonds, in Switzerland pocket-watches were still the norm. Wristwatches were regarded as mere jewellery and wholly inaccurate and unreliable. However, Wilsdorf foresaw that the wristwatch was the future of timekeeping, and now there is no other make of wristwatch more famous, more desired or more intrepid than the Rolex. Worn by great men across recent history from revolutionaries such as Che Guevara to great Hollywood actors such as the super cool Steve McQueen, Leonardo di

as Great Britain’s Prince Harry Rolex is synonymous with success. The history of Rolex is one if threes. The success of Rolex is down to conquering three problems. The first being chromatic accuracy, the second: waterproofing and thirdly resolving the rather annoying matter of having to wind it and reset it’s time accurately with the invention of the self winding mechanism. The Perpetual Rotor launched in 1931 changed the wristwatch finally and forever from being a novelty item to being an everyday wearable item. By resolving these three problems Wilsdorf made the name if Rolex synonymous with revolutionary innovation, reliability and endurance all encased in beautiful design. The

Caprio and Tom Cruise to crowned Princes such

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other trinity is the trinity of design, innovation and

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1908 R o l e x o r i g i n a l c e rt i f i c at e a unique material called Rolesor first trademarked in1933. This is the unique union of good and Steele that was developed specifically for Rolex watches unifying the beauty of gold with the durability of steel. The final trinity that has shaped the legacy of Rolex are the three key men in the history of Rolex. Firstly it’s founder who had the vision who put his faith into developing the wristwatch. Secondly was his successor, André J. Heiniger, who took over in 1963,continuing his legacy and through rapid business development elevated Rolex to being a global brand recognised as the superlative watchmaker. Through his work Rolex’s have become the watch that entrepreneurs buy when they make their first million as a benchmark of success. After Heiniger’s death his son Patrick restructured the company in order to safeguard the future integrity of Rolex by buying their component suppliers so that every piece in a Rolex is a Rolex. Rolex is synonymous with exploration in testing conditions the

most famous of all Rolex wearers’ adventures was in 1953, when Sir Edmund Hillary and Tenzing Norgay, were the first people to reach the summit of Mount Everest. From the highest heights to the deepest depths Rolex watches have been worn by the brave such as in 1960 by Swiss oceanographer Jacques Piccard and Lieutenant Don Walsh, reached the deepest point of the oceans in the Mariana Trench, a record depth of 10,916 metres. Attached to the exterior, an experimental Oyster, the deep sea special, withstood without damage the massive pressure of over 1 tonne per square centimetre. These brave adventures number amongst the many extraordinary men and women who, by strength of character, endurance and perseverance have achieved the near impossible, qualities treasured by Adventures in extreme scenarios have become the very essence of what Rolex has come to stand for with Rolex’s watchmakers rising to the challenge of making a watch for every extreme and peril.

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1926 OYS T E R , C U S H I O N S H A P E D The Rolex Oyster is invented and an iconic design born. It is the first waterproof wristwatch in the world thanks to an ingenious patented system of a screwdown bezel case back and winding crown which perfectly seals the watch mechanism. The invention of The Oyster was monumental. It was an elegant, accurate timepiece that could be worn in any weather without its ability to keep time being affected.

1931 OYS T E R P E R P E T UA L The revolutionary Perpetual Rotor is launched, the world’s self winding watch and precursor to contemporary self-winders. The revolutionary design solved the problem not only of having to wind your watch and reset the time but also the problem of beaching the waterproof casing’s integrity by opening it to wind the watch by This innovation consists of a weight oscillating freely in both directions on a central axel. As the wearers wrist moves the watch is constantly being wound. The Perpetual Rotor consigned the hand winding of watches to the past.

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1953 SUBMARINER Rolex begins production of professional watches whose functionality goes behind simply telling the time with the Oyster Perpetual Explorer which is official watch worn by the British Expedition to ascend Everest that resulted in Sir Edmond Hilary and Tenzin Norgay being the first people to conquer the summit of the world’s highest mountain. At the other extreme, from extreme altitude to extreme depths of the ocean. The Oyster Perpetual Submariner was designed and built the then ultimate divers’ watch.

1945 DAT E J U S T The Oyster Perpetual Datejust, the first selfwinder to indicate the date in a window on the dial. the Datejust was equipped with a Jubilee bracelet created specially for it and, with its fluted bezel, was immediately recognisable as an Oyster. Initially made for men, it became available it was later styled in several models for women.

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1955

1956

G M T - M AS T E R

M I LG AU S S

Oyster Perpetual GMT-Master launched in response to the specific needs of airline pilots for a timepiece capable of displaying the time zones simultaneously. This was achieved by an additional 24-hour hand and the rotatable 24-hour graduated bezel. It became the official watch of several airlines including the famous Pan American World Airways, known best as PanAm.

Introduction of the famous Chronograph Daytona and debut of the Oyster Perpetual Day-Date, the first wristwatch to display the date and day of the week spelled out in full in a window, it is the watch of choice for some of the world’s most influential people.

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1963

1971

C O S M O G R A P H DAY TO N A

E X P LO R E R I I

André J. Heiniger takes the reins at Rolex, an expert business strategist he shared Wilsdorf’s vision of a superior wrist watch company. He lead the company from being a respected watch maker to being one of the truly global brands making it the world’s most famous watch company. In this year Rolex introduced the Cosmograph Daytona, a watch that can measure time intervals and allows the calculation of average speeds thanks to its tachymetric graduated bezel.

Life at either of the earths magnetic poles is one of either perpetual day or perpetual night, being able to not only tell the time but also know what is day and what is in fact nighttime is vital to polar explorers and scientists to prevent temporal disorientation which could seriously compromise any project or expedition. The Oyster Perpetual Explorer II, dedicated to polar explorers, allowing them to distinguish day from night thanks to its additional 24-hour hand and its fixed 24-hour graduated bezel.

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1992 2007

YAC H T - M AS T E R The Oyster Perpetual Yachtmaster is the first watch in the Professional Oyster collection to be available in three sizes – 29, 35 and 40 mm. This new Rolex Oyster family member further strengthened the ties between Rolex and the sailing world.

YAC H T - M AS T E R I I The Oyster Perpetual Milgauss was launched. This watch resistant to the effect of magnetic fields, particularly useful if you’re a cutting edge research physicist working working with subatomic particles. This model was worn by scientists at the European Organisation for Nuclear Research (CERN) in Geneva home to world famous large Hadron Collider in which the Higgs Bosun or “God” particle was identified.

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2008 2012

ROLEX DEEP SEA The Oyster Perpetual Rolex Deep-sea, water proof to the extreme depth of 3,900 meters thanks to new ring lock case architecture.

S K Y - DWE L L E R The Oyster Perpetual Rolex Deep-sea Challenge, an experimental divers’ watch was specially developed for Filmmaker James Cameron’s Deepsea Challenge expeditionn which he conducted in collaboration with the Royal Geographic Society. The expedition’s submersible descending to the bowels of the ocean wearing the watch on its manipulator arm.

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HAUTE SOCIÉTÉ

HACKETT LONDON R E TA I L When a gentleman goes shopping, a lot depends on the atmosphere provided. Most importantly he must feel at home when he walks into a store and it must reflect his personality. Hackett London has well understood this and executed the idea of making any gentlemen feel at home. The new store in the Fashion District of Mall of the Emirates, a high-end shopping mall in Dubai is a bold physical reflection of its standing home city of London; home city of gentlemen.

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FRIOUL BISTRO DE LUXE R E S TAU R A N T Located in the Souk Madinat Jumeirah, Frioul Bistro De Luxe has boldly taken over the challenge of unconventional French fine dining and successfully implemented. Guided by the talented, passionate chef Brian Hughson, Frioul focus on ingredients of exceptional quality, served in a simple and elegant way. Classic dishes with a twist of French Mediterranean cuisine with subtle inspiration from Italy, is the unique feature of the bistro menu. Frioul Bistro de Luxe’s design brings the outside in, featuring a casual dining, main dining and cocktail bar, allowing diners to fully engage with the waterfront setting whist stepping into an episode of the South of France.

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WINTER PALACE SUMMER OR WINTER, THIS FIVE-STAR MOUNTAINTOP DESTINATION GIVES THE IDEA OF A MOUNTAIN RETREAT A WHOLE NEW MEANING.

If a winter vacation conjures up images of battening down the hatches in a cozy warm chalet surrounded by snow-capped peaks and pristine sheets of grade-A powder, there can be few locations in the world better suited than a trip to the Swiss Alps and a stay in Gstaad Palace hotel’s splendid Walig Hut. Now, you may be thinking that the words ‘hut’ and ‘palace’ do not belong in the same sentence, but this wonderful piece of beautifully restored alpine real estate, perched a jaw dropping 5000 feet above Gstaad and Saanenland is as stunning a holiday chalet as one can imagine. Built by a Swiss cattle farmer, who would take up residency at the hut each summer bringing with him his cattle for their summer pasture in 1789, it is one of only a few of its kind remaining today in Switzerland. Under the ownership of the Gstaad palace, the hut has been carefully and studiously restored, maintaining its bucolic, old-world charm. While it could easily have been thoroughly modernised and made completely luxurious by its current owners, the hut has in fact been left largely unfettered by modernity or the modern conveniences that go with it. It does have running water but only the cold variety, and should the temperature drop, there is a gorgeous log burner. The only hint of the modern age is seen in the sustainable solar-powered electric lighting system, but that is not to say that the hut is in any way devoid of comfort. On the contrary, the cabin retains a definite five-star atmosphere. within its delightfully old-world ambience largely thanks to the clever and beautiful way it has been appointed with plenty of warm tones and lots of thick and comfortingly robust furniture.

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The walls, ceilings and floors are made from exposed wooden panels and boards and maintain the buildings wholly rustic, but completely charming feel. But the building’s major selling point comes from its lofty perch in the mountains where guests can fully appreciate the view from the hut’s absolutely stunning aspect over the mountains and valleys. The hut is also available during summer which opens up myriad opportunities to visitors with plenty of walking and hiking trails, mountain biking, rock climbing, horseback riding, canoeing, river rafting, paragliding, off-road driving and Jeep safaris to keep the most ardent outward-bounder thoroughly and completely entertained. Guests also have access to the Gstaad Palace’s facilities, truly offering visitors the best of both worlds.

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AN ARABIAN DREAM WHILE THE UAE MAY BE ONLY JUST SHY OF 50 YEARS OLD, IT HAS A RICH HISTORY AND ONE WHICH CAN BE REVERED THROUGH ITS MANY CULTURAL LANDMARKS. BY REBECCA ANNE PRO CTOR I L L U S T R AT I O N BY DA M I A N O G R O P P I

When we think of Dubai we think of shiny skyscrapers, gigantic shopping malls and endless construction sites which remake this desert metropolis day by day into a modern-day spaceship-like construction for all things new. What we don’t think of is the heart of the city found in such locations as the gold souk, Al Fahidi Historical Neighbourhood, the Dubai Creek, the Jumeirah Mosque, the old neighbourhoods of Deira, Bur Dubai and Karama alongside the many other landmarks that can be so easily forgotten amidst the city’s unending development. For it is within such landmarks that the real spirit of Dubai can be found. With old-fashioned dhows that criss-cross the glistening seawater creek that cuts through the heart of Dubai, this was once the centre of the city’s pearl industry, which was based primarily on expeditions in the creek. Still one of the most blissful sites in Dubai, this body of water winds its way from the trading port on the Gulf to culminate in the Ras al Khor bird sanctuary. Some sources report that the creek at one time extended as far inland as Al Ain and that the Ancient Greeks called it River Zara. Historically, the creek divided the city into two sections: Deira and Bur Dubai. Members of the Bani Yas tribe first settled along the Bur Dubai Creek area in the 19th century whereby they would establish the Al Maktoum dynasty. During the 20th century the creek maintained an important position in establishing Dubai’s commercial status, given that it was the city’s only port or harbour in the city.

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While Dubai Creek has now diminished in importance with the development of the Jebel Ali Port, the area still maintains itself

Near to the centre is the Old City Wall which was constructed in 1800 from gypsum and coral and served as a defensive wall that

mosques in Dubai, the Sheikh Mohammed Centre for Cultural Understanding organises visits to the Jumeirah Mosque for non-

as one of Dubai’s most significant places for history. It is now surrounded by glittering high-rises such as the Sheraton Dubai Creek, Dubai Creek Tower, the Deira Twin Towers, and a host of embassies, consulates and other high-rises. Yet, still for those that desire a brief and otherworldly escape from the city’s bustling centre, this is the place

surrounded the old town of Bur Dubai within which was the old Grand Mosque and the Al Fahidi Fort. A nearby art gallery of note is XVA, which presents contemporary art by international and regional artists. The gallery also serves as a chic boutique hotel. Also along the same path is Ave Gallery, a space recently opened by esteemed Iranian artist

Muslims, aimed at promoting cultural understanding and first-hand experience as an insight into the Islamic religion. For those seeking a peaceful desert sanctuary, Dubai’s inland exclave of Hatta provides refuge. The area is located in the south-east of Dubai’s main territory and cradled by the Hajar Mountains which was

where one can retreat, hop on a serene abra, or water taxi and glide blissfully into the encompassing waters. Another Dubai site for heritage is the engaging historical neighbourhood of Al Fahidi. Now populated by cultural houses and art galleries, the historical district of Bastakiya, as it was called was originally named after the

Fereydoun Ave, and also the Majlis Gallery, which is the oldest commercial art gallery in Dubai, located in the same place since the 1970s. Visitors can also relish in local culinary delights at the Arabian Tea House Restaurant & Café, which is also housed within a beautiful courtyard, and Bastakian Nights, a restaurant with traditionally decorated rooms

traditionally the summer habitation of Dubaibased families. Hatta has become a popular destination for adventurous expatriates and local families since the 1980s and is known for its cool, humidity-free climate as well as breathtaking mountain landscape. Hatta is also the country’s most popular spot for wadi driving – the driving in the natural water pools

Bastak region of Iran, from where many textile and pearl traders from Iran immigrated to at the end of the 19th century. Renamed last year as Al Fahidi Historial Neighbourhood, known as the Al Fahidi District, the area still retains its narrow lands and tall wind towers which provide a glimpse of what life was like in early Dubai. A picturesque step into Dubai’s past, visitors can attend a cultural

and stunning views of the Dubai Creek from the venue’s rooftop. Meaning ‘burning embers’ in Arabic, Jumeriah is a coastal residential area in Dubai whose early dwellers included fishermen, pearl divers and traders. Since the 1960s it has been inhabited by a wealth of expatriates as well as fancy hotels and luxurious residential centres. Within this area of Dubai

found between the areas rocky crevices and palm oases. Just an hour from Dubai, those wishing to linger longer can take a dive into the pools or peruse the nearby Heritage Village, stop for lunch or an overnight stay at the Hatta Fort Hotel or even spend a night camping in a tent under the night stars. While modern-day Arabia certainly conjures up all sorts of notions regarding the

breakfast at the Sheikh Mohammed Centre for Cultural Understanding, which is housed in one of Al Fahidi’s most elegant buildings, complete with a stunning courtyard, hanging oil lamps and wooden lattice work on the second floor. These breakfasts provide a unique opportunity to meet other Emiratis and learn about the local heritage and customs.

is the Jumeirah Mosque, one of Dubai’s dominant landmarks. Built in the medieval Fatimid tradition, the stone structure is a tribute to modern Islamic architecture. While strolling through the Mosque at sunset, you will be washed in shadows from the intricate design elements of its traditional structure. Considered to be one of the most attractive

desert climate, glistening skyscrapers and a bustling metropolis, these escapades reveal the UAE’s rich heritage and stunning natural landscape. Dubai and its desert surroundings has many stories to tell. They are ones of trade, culture and religion and of days gone by that are still very much present within the hidden gems of this modern Arabian city.

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HERITAGE COLLECTION ESCAPADES FALCONRY AND WILDLIFE SAFARI Practised in the UAE for centuries, falconry is an integral part of desert life. It was originally used for hunting to supplement the Bedouin diet with meat, such as hare or houbara. Through the Heritage Collection escape, the interactive falconry experience will guide you through both ancient and modern training techniques. Guests will have the opportunity to observe the world’s best trained falcons and even experience their hand at swinging the lure or flying a falcon. They will also have a guided tour in a legendary vintage Land Rover through the Dubai Desert Conservation Reserve in search of native animals. An opportunity to view the most carefully preserved wildlife area in the UAE, on return to the camp visitors will enjoy a freshly cooked local snack and have the chance to ride a camel.

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OVERNIGHT SAFARI & BREAKFAST WITH A BEDOUIN An overnight stay at the Heritage Collection’s camp allows guests to step back in time and experience Dubai as it was 50 years ago. A professional guide will escort visitors in a museum-quality 1950s Land Rover for an authentic desert experience whereby guests can spot exotic local wildlife within the pristine Dubai Desert Conservation Reserve. The Bedouin camp, lit with the gentle flames of traditional lamps, is nestled inside a private royal desert retreat. Also demonstrated will be cultural activities such as henna, music, dance, bread-making and Arabic coffee-making before guests are treated to a sumptuous dinner under the stars. After dinner, relax beside a bonfire and enjoy the star-filled night sky. The camp site features traditional Arabic tents complete with a mattress, pillows and sleeping bags. At breakfast a local Bedouin will tell fascinating first-hand tales about life in the desert.

PRIVATE NIGHT SAFARI After the sun has dropped and the temperature cools, the desert comes alive. Explore the desert at night with a professional Safari Guide in search of nocturnal animals. Guests can use high-tech nightvision binoculars to see into the desert landscape. The dark, fresh and quiet desert air creates a relaxing ambience in contrast to the bright lights, heat and noise of the city. After the nature drive, guests can relax at an opened-aired camp and gaze at the stars above.

Platinum Heritage Office 123, 3rd Floor, Oasis Centre, Sheikh Zayed Road Dubai, United Arab Emirates 971 (4) 388 4044 info@platinum-heritage.com

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DINING ETIQUETTE THERE ARE MANY UNWRITTEN RULES WHEN IT COMES TO FORMAL, BUSINESS DINING. HERE ARE SOME HANDY HINTS ON REAL DINNER PARTY ETIQUETTE.

In spite of the hurried nature of most people’s lives today, slowing down long enough to eat a meal in a civilised manner offers a sense of peace and a chance to recharge your energy. Whether you are dining in someone’s home or in a restaurant, using proper etiquette at the table will also help you socially and professionally.

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Before the dinner

Eating

If you are invited to have dinner with someone, it is always a good idea to respond, even if an RSVP is not requested. This helps with planning. Don’t ask if you can bring extra guests if the invitation doesn’t make the offer. However, if your family is invited to someone’s home for dinner, it is okay to ask if your children are included. If they are, make sure your children know good manners before they go.

Table manners were designed to keep people from scarfing food down like animals, so learn them before you eat with others. One of the most important things to keep in mind is that you should never call attention to yourself by blatantly breaking the rules set by society.

ESSENTIAL DINING ETIQUETTE Gift When you are dining at the home of a friend, it is a good idea to bring a host or hostess gift. Don’t expect your gift to be used during the meal. Most dinner parties have carefully planned menu items and your gift may not go with the meal. Getting started Some dinner parties are formal and have place cards where the host or hostess wants you to sit. If not, ask if there are seating preferences. Wait until the host sits before you do. In some cultures, a blessing will be said. Even if you don’t follow the beliefs of the prayer, show respect and be silent. If the host offers a toast, lift your glass. It is not necessary to ‘clink’ someone else’s glass. Napkin As soon as you sit down, turn to your host or hostess and take a cue for when to begin. Once the host unfolds his or her napkin, you should remove your napkin from the table or plate and place it on your lap. If you are dining out, you should place your napkin in your lap immediately. Keep your napkin in your lap until you are finished eating. If you must get up at any time during the meal and plan to return, place the napkin on either side of your plate. After you are finished, place your napkin on the table to the left of your plate. When to eat If you are eating out, you should wait until all the members of your group have been served before picking up your fork. At a private dinner, observe the host or hostess and pick up your fork when he or she does. However, if you are at a buffet, you may start when there are others seated at your table.

Turn off your cell phone before sitting down. It is rude to talk on your phone or text while in the company of others. Never talk when you have food in your mouth. Even if someone asks you a question, wait until you swallow before answering. Taste your food before you add salt, pepper, or other seasoning. Doing otherwise may be insulting to the host or hostess. If you are drinking from a stemmed glass, hold it by the stem. Break your bread into bite-sized pieces and butter only one bite at a time. Compliment the hostess if you like the food, but don’t voice your opinion if you don’t. Keep your elbows off the table. Rest the hand you are not using in your lap. Eat slowly and pace yourself to finish at the same approximate time as the host or hostess. When you finish eating, leave your utensils on your plate or in your bowl.

Silverware One of the most common issues to confuse today’s diners is which utensil to use for each course. A typical rule of thumb is to start with the utensil that is farthest from your plate and work your way toward the centre of your place setting. If you see the host or hostess doing something different, you may follow his or her lead.

After the meal After you finish eating, partially fold your napkin and place it to the left of your plate. Wait until the host or hostess signals that the meal is over, before you stand. After the meal is over, don’t eat and run. If nothing is planned after dinner, stick around for approximately an hour before saying good-bye to the host and thanking him or her for the dinner. If the event is informal, you may offer to help clean up.

Food For dinners where food is served at the table, the dishes should be passed in a counter-clockwise flow. Never reach across the table for anything. Instead, ask that condiments be passed from the person

Later Always send the host or hostess a thank you note or card in the mail and don’t wait more than a day or two after the event. Address the host or hostess, thank him or her for the lovely dinner, and add another

closest to the item. Salt and pepper should be passed together. Always use serving utensils and not your own to lift food from the serving dish.

short, positive comment to show your appreciation. Your note may be brief but heartfelt.

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POWER ON ICE FINLAND’S FORMULA 1 DRIVERS TEST THEIR SKILLS ON ICE. BENTLEY GIVES YOU A DRIVING EXPERIENCE SO COOL IT’S SUBZERO. BY CAMERON BAILEY

Finland lies within the cold embrace of the arctic circle. In winter it’s landscape is covered with deep snow and it’s Great Lakes freeze over. It’s a beautiful, harsh environment that makes even driving to the grocery store a mini adventure. So small wonder that Finland has produced some of the greatest drivers the world has seen including rally champions, F1 champions and champion ice racers. So if you’re a serious petrol head with a taste for real adventure and who wants to put their driving skills to the ultimate test, Bentley have

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created a challenge with four-time WRC champion Juha Kankkunen. He has personally designed the Bentley Power on Ice tracks. Each track has been ‘shaved’ into the icy surface using highly specialised equipment. This is probably the most demanding racing track on earth. Juha Kankkunen is a legend in the world of WRC. He first learned to drive at the age of only seven years old. His father taught him how to drive on ice and rally car driving, what began as a hobby turned into a career as a professional rally driver. He began racing in earnest rallying in 1978 and competed in his first World Rally Championship event at the 1979 1000 Lakes Rally in Finland, finishing 14th in a Ford Escort RS2000. Turning professional in 1983 he won an amazing 23 world rallies and four drivers’ world championship driving for factory teams such as Toyota, Peugeot and Subaru. He continued to race professionally up till 2010. If years of winning races was to enough of an achievement, in 2007, Kankkunen set a new world speed record on ice in his privately owned Bentley Continental GT on the frozen Gulf of Bothnia near Oulu, Finland. He averaged 321.65 km/h (199.86 mph) in both directions on the “flying kilometer”, reaching a maximum speed of 331 km/h (206 mph) smashing the previous record of 296.34 km/h (184 mph) held by a Bugatti EB110 Supersport.

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The Bentley was largely standard except a roll-cage, some aerodynamic improvements and low-temperature fuel and calibration. The special tyres were from Nokian Tyres with spikes. Technical support was provided by Nokian and Bentley Motors. Kankkunen bettered the record to 330.695 km/h (205.48 mph) in 2011, driving an E85-powered Bentley Continental Supersports convertible. Bentley released a limited edition of the Supersports to celebrate the achievement, only 100 models were produced said to have been most powerful road cars Bentley has ever produced with 621 horsepower from it’s 6l twin turbo w12 engine and trimmed down sports designed interior it accelerated 0-60 in 3.7s. Now superseded by the Continental GT Speed, the Supersports is still an impressive car and riding shot gun with Juha is sure to take your breath away. So how will you do on the ice track? On this driving experience holiday you will have two full days of driving and tuition from a dedicated instructor, who will teach you how to master high speed driving on ice and gain the necessary skills to handle turns and steering. The super powerful Bentley you will be driving is fitted with studded tyres to give the best traction on this slippery and difficult to drive on road surface. It may be cold and unexciting outside but inside your Bentley you have all the comfort you would expect from from the hand stitched leather

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to the reassuring heated seat. You will learn advanced skills that make driving on Ice seem like dancing with powerful cars. You will learn the art of drifting sideways gracefully and without losing control, throwing

to believed is full of trolls and Santa Claus and his Elves are not far away, more likely is that you will see the local wild life that has adapted itself to life in the whiter than white frozen north of Europe. If you

up plumes of ice as the scenery flashes by, a blur of green and white. If you want learn from the master of ice racing himself, Bentley Power on Ice, guests also have the chance to experience a fast lap with Juha, in the passenger seat of his record-breaking Bentley Continental Supersports Convertible which is the very same car in which he set the world ice speed record of 205.48mph. After all the driving, you can make the most of the stunning location with a range of activities. For example, there’s a snowmobile safari

want to experience some of the wild landscape in a more traditional way, the organisers are offering a nighttime husky sled adventure. Or if after all that high speed driving your muscles are feeling a bit tense and sore and all you really want to do is relax and unwind you can also enjoy a traditional Finnish smoke sauna, and dinner at an historic reindeer farm. To book your place on the Bentley Power on Ice event call the Bentley Driving Team on +44 (0)1675 445 945 for more information or

across the frozen tundra through evergreen forests which if legend is

to book your place.

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A B U D H A B I , T H E G A L L E R I A , S OW WA H S Q U A R E - D U B A I , M A L L O F T H E E M I R AT E S - D U B A I , D U B A I M A L L , L E V E L S H O E D I S T R I C T