Signe - Edition 35 by Signé

AED 30 KWD 2.5 QAR 30

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REFINED FOR THE SLOPES

R ICHAR D MILLE HONOURS FR ENCH SK IER ALEXIS PINTUR AULT WITH ITS L ATEST R M 67-02 TR IBUTE VERSION

ROOTS GO DEEP IN VALLÉE DE JOUX

OLIVIER AUDEMARS ON WHAT MAKES THE AUDEMARS PIGUET BR AND UNIQUE AMONG ITS PEERS

SHARING THE FAMILY TRADITION

THE NEW QUELLENHOF LUXURY RESORT AT LAZISE, ITALY - THE ONLY LUXURY FIVE-STAR RESORT ON THE EASTERN SHORE OF THE LAKE GARDA

THE EVOLUTION OF AN ICON The eighth generation of the timeless and ever-evolving Porsche 911

OWN YOUR PIXEL on Reem Island

L i ve in a neighb ourho o d w i t h 26 exci t i ng a m eni t i es . E n j oy the b each, i ndul ge in t h e b es t o f gl o b a l cui s i n e… t h e re’s a lw ays more to exp l o re @ M a kers D i s t r i ct .

LE AR N MORE AND RE GISTE R AT TH EPIXEL . AE

8 0 0 IM K AN

08.18am on Dubai. N 25° 15’ 57’’ E 55° 17’ 29’’.

Diver Collection

The Dubai Mall 04 339 8883 - Burj Al Arab 04 348 9000 - Mall of the Emirates 04 341 1211 Atlantis 04 422 0233 - Jumeirah Beach Hotel 04 329 1320 seddiqi.com

TAKING STREETWEAR TO THE HEART OF LUXURY-WEAR

We talk to the current patriarch and head of A. Caraceni where the art of tailoring has been handed down through the generations

A sneak peek at Davide de Giglio and what he is up to at the New Guards Group

BACK TO THE ECLECTIC NINETIES

FRAGRANCE FILE

Editor’s selection of fragrances for the season

BESPOKE MATTERS

A review of Givenchy men’s wear Fall-Winter 2019-20

RISING TO NEW HEIGHTS

Rituals Cosmetics’ new Ritual of Samurai collection for men

40 OF EXCELLENCE & INNOVATION

Our top product pick is a Corneliani Briefcase

LATEST

Decoding LVHM’s strategy for the men’s luxury goods sector

Rolls-Royce celebrates 115 years at the pinnacle

THE EVOLUTION OF AN ICON

DECONSTRUCTING A REVOLUTIONARY

SNEAKER PICKS

Meet the eighth generation of the timeless and ever-evolving Porsche 911

Stay on trend with the best sneakers to own this season

The unusual tale behind OTB’s Maison Margiela

LEADING A MAMMOTH

A METALLIC MATTER

THE STYLE EDIT

Fashion-forward buys, picked by Signé for you

A CONCOCTION OF ANCIENT, ORGANIC AND AROMATIC

LINEN

The story of Linen, the most luxurious of summer fabrics

Manfred Bräunl, the CEO of Porsche MEA, speaks about the automotive market in the region

A look at the exciting new collection of accessories by Tateossian of London

TIME INSTRUMENTS FOR URBAN EXPLORERS New BR 05 collection

Automatic

40mm

100m water-resistant

bellross.com

BETTER PERFORMANCE THROUGH INNOVATION HRE Wheels unveils Version 2 of HRE3D+

OBJECTS OF DESIRE

We bring you a selection of our favourite must-have possessions

ROOTS GO DEEP IN VALLÉE DE JOUX

LIVING UP TO A GREAT HERITAGE

The 2019 Giulia Quadrifoglio embodies all specialities of an Alfa Romeo

Olivier Audemars opens up on what makes the Audemars Piguet brand unique among its peers

Meet Chef-Restaurateur Richard Sandoval, the man behind the Toro Toro and VaKaVa Restaurants in Abu Dhabi

A VALLÉE EXPERIENCE IN BASEL

EXCEPTIONAL PIECES INSPIRED BY NATURE

Christian Lattmann, CEO of Jaquet-Droz, talks to us about the rich heritage of the brand and what makes them stand apart

REFINED FOR THE SLOPES

Richard Mille’s latest interpretation of the RM 67-02 honours the achievements of French skier Alexis Pinturault

A VIEW THROUGH THE WAVES

Ocean photographer Ben Thouard joins the Ulysse Nardin’s team of marine adventurers

Audemars Piguet pays homage to the brand’s heritage and its latest Code 11.59 collection at this year’s Art Basel

CELEBRATING 50 YEARS OF HIGH-OCTANE HOROLOGY Tag Heuer is commemorating 50 years of its iconic Monaco with five limited editions

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SHARING THE FAMILY TRADITION

A review of the new Quellenhof Luxury Resort at Lazise, on the shores of Italy’s Lake Garda

AN UNPARALLELED SEASON OF ART

A brief summary of the exhibitions lined up for the upcoming season at the Louvre Abu Dhabi

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Villamoré beachside restaurant, a venue for those who prefer laid-back luxury

AN EMPEROR’S TALE COMES TO LIGHT

A TASTE OF THE RIVIERA IN DUBAI

A background to Taschen’s recently published book: “Freydal. Medieval Games”

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Vanitas at Palazzo Versace Dubai is a gourmand’s delight

AN ARTFUL IDENTITY Exploring the Kamon tradition of Japan

THE PAN AMERICAN SPECIALIST

EXPERTLY CRAFTED ITALIAN FLAVOUR

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DESIGNED TO REJUVENATE

THE CAVALLI DREAM YACHT - FREEDOM

Roberto Cavalli and Tommaso Spadolini bring forth their second and latest collaboration

Saray Spa at JW Marriott Marquis is a health and wellness haven at the heart of the world’s tallest hotel

FA S H I O N • TA K I N G S T R E E T W E A R T O T H E H E A R T O F L U X U R Y W E A R

Davide De Giglio, Co-Founder, New Guards Group

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TAKING STREETWEAR TO THE HEART OF LUXURY-WEAR A sneak peek at Davide de Giglio and what he is up to at the New Guards Group

“It’s not a Maison yet, but it is a hub of innovation and creativity; where pace and direction is determined by social media and not by the catwalks of the season; where the primary market place is online and not Milan or New York; where the shareholders are “friends” and customers are “kids.” It is the way New Guards Group (NGG) works, and it is proving to be a real disruptor of the luxury fashion industry. Last year, according to NGG, it generated revenues of €235 million and a net proﬁt of €60 million. This year it expects to reach €420 million in sales with zero debt. Its current portfolio of brands includes Marcelo Burlon County of Milan, Off-White c/o Virgil Abloh, Palm Angels by Francesco Ragazzi, Unravel Project, Heron Preston, A Plan Application, Alanui, and Kirin by Peggy Gou. One of the key drivers behind this little known, but increasingly influential group, is a publicity-shy Italian named Davide De Giglio. Born and raised in Milan, Davide studied architecture at the Polytechnic University of Milan. He

began his foray into the luxury fashion world through the most unlikely of avenues. With a starting capital of just USD 700, he would make trips to New York to procure second-hand denim pants and T-shirts, which he would then sell in Italy. By 1997, he was 22-years old and had an accumulated capital to USD 20,000, with which he founded his first company - Vintage 55 - and began printing his own T-shirts. Even though he sold the brand to DGPA Capital, an Italian private equity firm, the lessons he learned in terms of procurement, manufacture, marketing and distribution would prove invaluable when NGG happened. To say that NGG ‘just happened’ is in many ways appropriate. The story begins, not with Davide, but with the other two cofounders of NGG. One is Marcelo Burlon, an immigrant from Argentina’s Patagonia region who made a name for himself as a DJ, model, art director, publicist and designer. The other is Claudio Antonioli, the Milanese native who founded Antonioli, one of Italy’s first and most significant multi-brand boutiques, as well as being an e-commerce pioneer.

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Marcelo had made a name for himself as a DJ in Milan and counted the likes of Riccardo Tisci among his close friends. Marcelo approached Claudio to promote his concept for a t-shirt collection which drew inspiration from his native Patagonia and the 1990s club scene. Claudio could handle the marketing side of the project, but Marcelo’s designs required the printing to be done on the entire surface of the t-shirt and not just the front and back. So, Claudio approached Davide, who was attracted by the challenge of working on something that had never been done before. The three of them collaborated to successfully launch the Marcelo Burlon County of Milan brand in 2012 with each one contributing in his area of expertise. In the first season, they managed to sell over 10,000 t-shirts, each priced at €160, through some 90 outlets. The primary channel for publicising the brand was not the traditional ones but through the word-of-mouth on Social media, still a fledgling concept. The trio formalised their collaboration with the founding of NGG in 2015.

FA S H I O N • TA K I N G S T R E E T W E A R T O T H E H E A R T O F L U X U R Y W E A R

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Currently, Davide and Claudio each own 46 per cent of the business, while Marcelo has seven per cent and the remaining one per cent is held by Andrea Grilli, the chief commercial ofﬁcer. NGG is essentially a holding company that shares the ownership of the brands under it with its creative directors. For example, County of Milan is jointly owned by NGG and Marcelo, while in the case of Off-White, it’s NGG and Virgil Abloh. Each brand is wholly independent and under the control of its respective creative director with separate teams. However, at the NGG level, they share the administration, ﬁnance, production and some logistics functions. Claudio focuses on sales and marketing, and Andrea oversees the smooth functioning of the global network of retail and wholesale real estate. Davide refers to himself as a personal assistant to the creative directors. It is his responsibility to procure and arrange whatever they need to put together a collection, from sourcing raw materials

to setting up production facilities or organising an event. Although the brands under the NGG umbrella have been mostly either European or American, there is an intentional desire to include brands from other regions as evidenced by the latest brand to join NGG: Kirin, helmed by Korean Peggy Gou. Davide has, on several occasions, mentioned that there would be a greater focus on the African market and brands, which he sees as a tremendous untapped potential. The ultimate goal is to grow NGG into something more than a luxury streetwear company; to one day be a rival to the large French luxury holding companies. This August, NGG was acquired by Farfetch for USD 675 million worth of cash and shares. Farfetch, founded in 2007 by Portuguese entrepreneur José Neves, is an online luxury fashion retail platform that sells products from around the world. It also owns Brown’s Department Store, and earlier this year, acquired sneaker reseller Stadium Goods.

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Following the acquisition of NGG, Davide De Giglio will continue as its CEO. In a statement, he outlined the logic behind the move: “We started New Guards Group because we had a vision to build a platform that could support the best creative talent in the world and build iconic brands. Creative visionaries need to be empowered with best-in-class design studios, industrial capabilities and global distribution channels. Farfetch has the technology, expertise and vision to take our business to the next level and unleash the talent of the future.” Neves echoed the sentiment from Farfetch’s perspective: “The addition of New Guards’ brand platform brings a creative and industrial dimension to our suite of capabilities which, combined with our community of more than 650 boutiques, enables us to power and promote both new and existing creative names in the luxury industry to build the brands of the future.”

FA S H I O N • B A C K T O T H E E C L E C T I C N I N E T I E S

BACK TO THE ECLECTIC NINETIES Givenchy men’s wear Fall-Winter 2019-20

Brimming with contrast and eclectic pairings, the Fall-Winter 2019-20 men’s wear collection presented by Givenchy is a nod to the radical individualism of the Nineties, recast in a modernized way. The brand Artistic Director, Clare Waight Keller’s standalone collection showcases her new vision of a complete day to evening wardrobe. The mood of the era comes through in a series of colour-blocked suits while embellished pieces in embroidered leather underscore a sense of specialness. Others, sleek and generous shapes rooted in the Seventies, mingle with transparency, luminosity, bold texture and innovative treatments. Slim suit jackets and boxy coats pair with carefree flares or loosen up with karate trousers. Iridescence dominates the palette through bold hues of violet, fuchsia and electric blue; contrasted by a mix with more classic shades of black, navy, and camel. Textures include crinkled leather, bonded fabric, and panels of stubbly micro-glass hand-beading. White plastron shirts are given the couture treatment. Traditional checks are tailored into coats and jackets with mother-of-pearl buttons and occasionally embellished with leopard spots. A waffled coat in bonded wool reverses from a black and white motif to lustrous black ‘raffia’-textured wool. A windbreaker in couture technical fabric has the sheen of moiré. A white jacket shines with transparent sequins, puffers layer atop one another. A hybrid garment, the down parka, offers a new expression. “Collage” shirts made from signature Givenchy prints, including this season’s ‘Pegasus’ theme are complemented by graphic text t-shirts and outerwear. Innovative seasonal finishes include a slick, petrol-finish leather worked as a trench, biker trousers. Footwear bridges classic styles and younger, more experimental shapes such as a three-buckle monk boot and a mid-calf boot. Thick, flat-soled sneakers from the Givenchy pre-fall collection are back, as are slightly higher biker boots on rock-inflected looks complete with talismanic charms and signet rings. Patent leather derbies lend a sophisticated finishing touch to dressier looks. A short line of accessories range from small leather pouches to triangular cross-body bags and roomy weekenders.

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FA S H I O N • B A C K T O T H E E C L E C T I C N I N E T I E S

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FA S H I O N • R I S I N G T O N E W H E I G H T S

RISING TO NEW HEIGHTS We explore how manoeuvring strategies has maintained LVMH’s dominance in the men’s luxury goods sector

In April this year, at the annual shareholder meeting held at the Carrousel du Louvre, Paris, LVMH’s Chairman and Chief Executive Officer, Bernard Arnault, was upbeat during his address to the more than 2,000 shareholders in attendance, along with analysts, investors and family trust managers. He had a good reason to be optimistic, as most indicators on their financials were positive, with one of the growth drivers being the above average performance of the men’s luxury goods, particularly in the relatively new markets of Asia. Arnault summarised the reasons for his optimism in the group’s annual report: “LVMH scaled new heights in 2018: our revenue exceeded €46 billion, up 10%, while profit from recurring operations crossed the €10 billion mark, up 21%. This excellent performance, to which all our business lines contributed, was buoyed by momentum in each of the regions where we operate. In particular, Asia and the United States saw strong growth.”

Listing the “successes” that reinforced LVHM’s leadership position in the global luxury market last year, he said, “Louis Vuitton’s continued series of triumphs, Christian Dior’s very strong first year as part of LVMH, creative renewal at Celine and in Menswear for Louis Vuitton, Dior and Berluti, the enthusiastic reception for Parfums Christian Dior’s innovations, Bvlgari’s new market share gains, Sephora’s enriched offering and innovative services, Rimowa’s bold collaborations with designers.” LVHM currently has 70 brands under its management, 4,592 stores spread across 70 countries worldwide, and just over 156,000 employees. Of the €46 billion in revenue, 36 per cent came from Asia, followed by Europe at 29 per cent and the US at an impressive 24 per cent. ‘Fashion and Leather Goods’ was the highest revenue generating segment at 39 per cent or €15.5 billion. In terms of men’s luxury goods, which includes ready-to-wear, shoes, watches and leather goods, Louis Vuitton and Dior lead the way with about a

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(L to R) Russian model & entrepreneur Natalia Vodianova, Berluti Creative Director Kris Van Assche, LVMH Chairman & CEO Bernard Arnault and CEO of Berluti Antoine Arnault at Berluti’s Fall-Winter 2019-2020 show

quarter of their respective sales coming from this category. While this is still a small portion of the overall figures, it is a growing portion, fed by the swell being experienced across the industry with some analysts estimating growth figures in excess of ten per cent in the coming years. It would be incorrect to say that the growth in LVHM’s men’s luxury goods sales is only because of an upward market trend. LVHM has been, and in particular last year, making strategic moves to maximise returns on the growth in the men’s luxury goods market. Virgil Abloh, the founder of streetwear brand Off-White, was brought in to head Louis Vuitton, replacing Kim Jones, who moved to Dior. Hedi Slimane arrived at Celine with a brief to introduce a menswear line to the brand. Clare Waight Keller at Givenchy, who replaced Riccardo Tisci in 2017, unveiled her first full menswear collection for the brand at this year’s Pitti Uomo. What’s driving the growth in the men’s luxury goods market? The answer is generational and regional. The Millennial and subsequent generations are more fashion conscious and trend driven in their consumption than the older generations who tend to have a preference for a particular style. The trend-driven consumption of the Millennials has only accelerated with the arrival of social media; a tool used effectively by premium streetwear brands such as Supreme, Off-White and others to maximise hypedriven sales. In the streetwear world, sneakers and t-shirts are preferred to loafers and dress shirts, bomber jackets over trump dinner

jackets, sweatshirts over sweaters. Celebrity collaborations, pop-up stores and “drops” are preferred over high-street boutiques. “Teasers” on Instagram and Facebook replace TV and print ads. Streetwear culture has its origins, as the name suggests, in the youth culture of the 80s and 90s – hiphop, surfers, skateboarders, nightclubs and boybands. Over the years, streetwear has become more mainstream and has moved upmarket. The Asian market is the other great driver of growth in men’s luxury goods sales. One of the reasons cited for this growth is that Asian male consumers have a higher propensity to follow fashion trends than their European or American counterparts. They are also more likely to spend on accessories. The popularity of Asian pop-bands, particularly in China, cannot be understated. They have a tremendous influence on the consumption habits of their young fans; what they wear, their fans want to wear. Studies have shown that Asian youth, in general, start purchasing at an earlier age and spend more than their Western counterparts. LVMH identified and tapped into the Asian market’s potential early on. It makes no secret of the fact that when Fendi Man was relaunched with a collection heavily inspired by Streetwear back in 2011, its focus was on the Asian consumer. It has paid dividend because Fendi now has a strong presence in Asia. More recently, we have the example of Kim Jones’ collaboration with the K-Pop band BTS. LVHM prides itself on preserving the unique identity and heritage of its brands, the oldest of which - Le Clos des Lambrays, one of Burgundy’s oldest and most prestigious vineyards - can

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FA S H I O N • R I S I N G T O N E W H E I G H T S

Taiwanese Actor, Model and musician, Jasper Liu at Givenchy Men’s RTW SS’20

Chinese Actor and Model, Liang Jingkang at Givenchy Men’s Ready to Wear SS’20

trace its origins back to 1365. On the fashion side of the business, each brand, under its respective creative director, has come up with its own strategy to deal with the market dynamics facing the men’s luxury market. At Louis Vuitton, Virgil Abloh was brought in to further the brand’s Streetwear aesthetics by building on the successes of his predecessor Jones and his pioneering collaborations with brands such as Supreme. Although Virgil’s marketing and sales skills are exceptional, his designs are yet to win over the critics. Jones, meanwhile, continues his collaborations in an effort to create an identity for the newly launched Dior Man brand while his strength in accessories has already resulted in success. Hedi Slimane at Celine has a similar challenge to that of Jones. He has to apply his signature slim silhouetted tailoring to create a menswear identity at a brand that does not have one. Clare Waight Keller, known for her colour and tailoring, has to perform a balancing act between retaining her predecessor Tisci’s streetwear clientele, finding her own signature and staying true to the Givenchy heritage. Going by the response to her debut menswear collection, the outlook is positive. Fendi Man, since 2011, has become an increasingly important component of the brand, particularly its accessories. Berluti and Loro Piana, the most conservative brands in LVHM’s portfolio seem set to continue their heritage of discreet luxury.

No doubt LVHM faces challenges ahead, as a group and in the menswear section. In addition to the potential geopolitical challenges in the years ahead, there is the risk of a streetwear saturation, leading to a waning of the streetwear tend in luxury as some analysts are predicting. If this proves to be true, the likes of Virgil and Jones have a knack for having a finger on the streetwear pulse and have shown a willingness to experiment. “In 2019, LVMH will again demonstrate its strong focus on innovation,” says Arnault. “I remain optimistic about the Group’s medium- and long-term outlook. For the short term, conditions at the beginning of this year are buoyant, but we will keep a close eye on developments in light of persistent geopolitical uncertainties. We are therefore cautiously optimistic for 2019 and have set ourselves the ambition of further strengthening our global leadership in high-quality products.” Arnault’s optimism seems to be well-founded. This July, Bloomberg’s Billionaires Index listed Arnault as the secondrichest person in the world with a net worth of $107.6 billion, overtaking Bill Gates by more than $200 million. The moveup was driven by an increase in LVMH’s shares by 0.7 per cent following a series of gains. This comes on the back of Arnault becoming only the third person to join the $100 billion club, a month earlier. As of July, his net worth has risen $39 billion in 2019 alone.

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FA S H I O N • D E C O N S T R U C T I N G A R E V O L U T I O N A R Y

DECONSTRUCTING A REVOLUTIONARY The unusual tale behind OTB’s Maison Margiela

Terms such as upcycling, recycling and street aesthetics are moving to the centre-stage of high-fashion these days. Back in the 1980s, these were uttered at the very fringes of society, let alone being influential in high-fashion. There was a designer nonetheless, who held his shows in Paris’ derelict playgrounds, abandoned metro stations and in supermarkets instead of the Louvre. He used subway station posters, flea market finds, and old theatre costumes as elements of his couture which featured avant-garde silhouettes and stitching. When critics derided his collection as being worthy of the Salvation Army store, that’s where he staged his next show. Today, considered one of the fathers of conceptual fashion, Martin Margiela (born 1957) is a Belgian fashion designer and the founder of the Paris based fashion house Maison Margiela. A graduate of Antwerp’s Royal Academy of Fine Arts, he is often mistakenly counted as one of the Antwerp Six fashion collective that also presented a distinct, radical vision for fashion during the 1980s. Martin graduated in 1979, thus predates the group by a year, and was already working when the group made their debut. After graduation, Martin moved to Paris and worked as a freelance designer for five years, followed by a stint with Jean-Paul Gaultier between 1985 and 1987. Then in 1988, he teamed up with his business partner Jenny Meirens and founded the Paris based Maison Martin Margiela, which was

later simplified to Maison Margiela. Between 1997 and 2003, he was the creative director of the Hermès women’s line. In 2010, Chambre Syndicale de la Haute Couture made him a Guest Member. Martin’s distinct aesthetics, as well as those of the Antwerp Six - which had a lot of commonalities given that they both emerged from the Antwerp scene of the early 1980s and therefore the confusion – were both heavily influenced by the Japanese avant-gardists such as Yohji Yamamoto and Rei Kawakubo, the founder of Comme des Garçons and Dover Street Market. The Japanese movement had influenced the fashion industry on a global scale, including high-profile names like Alexander McQueen, Viktor & Rolf, Donna Karan and Jean-Paul Gaultier. Martin and the Antwerp Six, however, took the eccentric and ground-breaking design philosophies of the Japanese and made it the centerpiece of their revolt against the orthodoxy of the world luxury fashion. Today, the movement is collectively recognized as being part of the Deconstruction movement of the 1980s; characterized by an absence of harmony, continuity, or symmetry. They gave the appearance of objects, constructed using traditional rules, broken into pieces and then reassembled in a random structure. To understand Deconstructionism is to understand Martin Margiela’s design philosophy, which produces garments with unorthodox proportions, construction and

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Photo credit: Barneys New York

materials. For example, extra-long arms; linings, seams and hems on the outside; using wigs and canvases in couture and so on. Anonymity is the most prevalent word when discussing the life of Martin Margiela and the maison he founded. Highly secretive, there is not even a single confirmed photograph of him. He never greeted the audiences after his shows and is known to have given just one interview early in his career. All communication with Martin was done through fax. Formal interviews were handled collectively by the design team and official correspondence signed with ‘we.’ The trademark consists of a piece of cloth with nothing more than product reference numbers

from 0 to 23 on it. The stores were not listed in the phone directory, and the brand’s name did not appear outside. Critics of the brand dismissed the anonymity as a publicity stunt, while the brand has always insisted that it was to highlight the fact that the focus of the fashion industry must always be on its true objet d’art, the clothes, and away from the personas behind them. In 2002, after Maison Margiela’s shares were offered to the public, a majority of them were acquired by the OTB Group chaired by the Italian entrepreneur Renzo Rosso. Dubbed the LVHM of Italy, the group now comprises, in addition to Maison Margiela, Diesel, Marni, Paula Cademartori, Viktor & Rolf and Amiri

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FA S H I O N • D E C O N S T R U C T I N G A R E V O L U T I O N A R Y

Maison Margiela Fall 2019 Couture (Photo credit: Giovanni Giannoni / Courtesy of Maison Margiela) 24

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Maison Margiela Low-top Fusion Sneaker in calfskin, mesh and mixed fabrics with rubber soles

brands, as well as two specialist readyto-wear production and distribution companies: Staff International and Brave Kid. However, unlike LVHM, which is publicly traded, OTB is privately owned by Rosso and his family. The other area of departure between the two is corporate culture. While LVMH cultivates a refined and formal atmosphere, OTB is proudly unpretentious. The group’s headquarters, located in Rosso’s rural home region north of Venice, boasts a gym, a kindergarten, and a bar, and nurtures a “punk-rock” work-culture that is far from the corporate norm in Italy or anywhere else in Europe. OTB, which stands for Rosso’s lifemotto ‘Only The Brave,’ derives its group attitude and culture from its founder. Rosso was born on a farm near Brugine in 1955. A town, which at that time, boasted just one car and two televisions. Rosso’s origin is humble, to say the least, and he has stayed true to his working-class roots in spite of being listed as the 10th richest man in Italy by Forbes with an estimated asset of $4.1 billion. So, on paper, OTB and Maison Margiela seem like a perfect fit.

The Maison Margiela produces a wide range of high-fashion goods from haute couture-inspired artisanal collections and ready-towear collections to menswear, fine jewellery, footwear, objects, fragrance, and home goods, among others. In late 2004, the maison moved into its new headquarters located in an eighteenthcentury convent in Paris. The interior and furniture were painted entirely white with emulsion for an aged look. All employees, regardless of title, wear the white coats traditionally worn by couture craftsmen, both as a nod to history and as an equalizer. By the summer of 2008, the number of boutiques had increased to 14. Despite the positivity, there were persistent rumors in the industry press that Martin was uneasy since the acquisition. It was also reported that he had attempted to hand over creative responsibilities to Raf Simons and then to Haider Ackermann, but both had declined. Then a press release in December 2009 announced that Martin “has left the business,” and that “no replacement creative director will be appointed,” while giving no explanation for the departure. The

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creative responsibilities fell, somewhat fittingly, on the collective design team at the Maison. Then in 2014, John Galliano was announced as the new creative director, following his tenure at Givenchy, Dior, and his eponymous brand. Given Galliano’s notoriety and Martin’s anonymity, the choice may have seemed rather odd but has proven right since. Galliano, a four-time British Designer of the Year award winner, presented his debut collection in January 2015 to a generally positive review. By the end of the year, sales had risen by 30 per cent, according to the brand, while revenues had crossed $126 million with 50 directly owned stores. Galliano’s debut collection coincided with the dropping of “Martin” from the name to symbolize a new chapter in the Maison’s story. Quite fitting, given that Martin had reportedly advised John to make the brand his own. Galliano’s continued success at Maison Margiela will come from stamping his signature on the brand while retaining its core aesthetics and philosophy. He rarely gives interviews these days and keeps a comparatively low profile.

THE STYLE EDIT

EDITOR’S PICKS

Glasses, Prada

Calf Leather Travel Bag, Billionaire

Wool Blazer, Hackett

Umbrella, Hackett

Knitted Pullover, Billionaire

Black Leather Belt, Dolce&Gabbana

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Sunglasses, Tom Ford

Gloves, Ermenegildo Zegna

Pitti Polyester Jacket, Z Zegna

Backpack, Tod’s

Trouser, Berluti

Knitted Cap, Dolce&Gabbana

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FA S H I O N • B E S P O K E M AT T E R S

Carlo Andreacchio

BESPOKE MATTERS Meet the current patriarch and head of A. Caraceni where the art of tailoring has been handed down through the generations

The A. Caraceni tailoring house was founded by Augusto Caraceni, born in Ortona, in 1893. He learnt the art of tailoring from his father and was, by the 1930s, an independent and successful tailor in Paris with prominent celebrities among his clients. World War II forced him to return to Italy. In 1946, he opened a shop in Milan and was later joined by his son Mario. Mario retired in 1998, succeeded by his daughter Rita Maria and his son-in-law Carlo Andreacchio, both of whom had been at the company for 20 years. Carlo became part of the Academy of Tailors in 1997 and was awarded a gold medal by the Union of Milanese Tailors in 2002. He was kind enough to give us an insight into A. Caraceni’s core ethos. Take us through A. Caraceni’s process of creating the perfect suit. Our suits are completely handmade. The process starts by taking 30 measurements from which we can draw the pattern of our customer. We need at least three fittings during which we sew and draw again until we realize the “perfect pattern”. Once the first suit is made, the customer’s pattern is conserved and used for his future suits. We change the pattern if our customer experiences physical changes. What would you say are the essential ingredients of a great suit? First is quality and attention to the details, which means careful selection of the best English and Italian fabrics, including silk for the lining, to give our suits an elegant and luxurious finish. For this reason, we seek out the best manufacturers directly. We meticulously research the canvas, horsehair and other details, to ensure that we only source natural, high-quality materials. Second is craftmanship: each A. Caraceni garment is made entirely by hand, by professional tailors who take care of every detail.

Even the shoulder padding is made by hand starting from the wadding, and it is made according to our customer’s preference. The third is family tradition: from the founder Augusto Caraceni through to the young Massimiliano (his great-grandson), four generations of tailors have passed down the secrets of an unmistakable style. Do you feel that bespoke tailoring can appeal to the new generation? Yes, because there will always be people in this “world” who would like to stand out from the others choosing the comfort that only a bespoke suit can give; in the last few years so many young people have come back to appreciate and approach bespoke world. What according to you makes Italian tailoring one of the best in the world? Italian 100% bespoke tailoring stands out from the others for its secular traditions, for its elegance and sobriety. What advice would you give our readers who may want a bespoke suit made for themselves? We suggest a bespoke suit because you will not realize you are wearing a suit and you will always feel comfortable in any circumstance. But pay attention when someone uses the word “bespoke,” because to realize a real bespoke suit, it needs at least 15 measurements to create the pattern and at least three fittings before the suit is finished.

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SARTORIA A. CARACENI Via Fatebenefratelli, 16, 20121 Milano - Italy info@a-caraceni.it Instagram: @sartoria_a.caraceni

Carlo Andreacchio

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FA S H I O N

THREADS

THE LINEN EXPERIENCE We take a brief look into the story of Linen, the most luxurious of summer fabrics

Linen is a textile made from the long fibres of the flax plant. The fibres, very strong and absorbent, dry faster than cotton. As a result, they offer exceptional coolness and freshness in hot and humid weather. High-quality linen is laborious and expensive to manufacture, which is why they are produced in relatively small quantities. These factors have combined to make linen a high-value material catering mainly to the luxury fashion industry. The word ‘Linen’ traces its origin to the Latin name for the flax plant, Linum. The oldest examples of woven linen fabrics were found in Georgia and date back to around 30,000 years ago. By the time we arrive in Ancient Egypt, the fabric is much finer and woven from hand-spun yarns on an industrial scale. Its valuation has risen such that it was sometimes used as currency, was a symbol of wealth

for the living, and was a symbol of light and purity in mummiﬁcation. Through the Phoenicians, linen cultivation and production made its way to Ireland, which became the epicentre of linen production by the Victorian era. A signiﬁcant volume of linen production has today shifted to Eastern Europe and even China. However, Normandy in France and Belgium are considered the best climates for growing the flax plant while the mills that create the best linen fabrics are in Italy. The shorter ‘tow’ Flax fibres are used for coarser fabrics while the longer fibres are used for finer fabrics. The standard measure of the quality of bulk linen yarn is called Lea. The higher the Lea, the better the quality of yarns used. For example, the fine linen used to make high-end handkerchiefs would be around 40 lea. The thread

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count is not an indication of quality for linen as the finest linen may have a lower thread count when compared to average grade cotton. Linen feels cool to the touch, gets softer the more it is washed, is lintfree, a very durable and strong fabric. It has a high natural lustre, and its natural palette includes shades of ivory, beige and grey. Pure white linen is produced through heavy bleaching. Linen can withstand high temperatures and experiences only moderate initial shrinkage. It has poor elasticity and therefore wrinkles easily, which is considered by some to be part of its charm. Another characteristic of linen is the presence of slubs, or small, soft, irregular lumps which were traditionally seen as defects, but are now considered as part of its aesthetic appeal.

LATEST

CORNELIANI Soft Briefcase Woven Leather AED 8,550

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FA S H I O N

BALLY From the High Galaxy Collection. Comfy combat high-tops flaunt a deconstructed look with leather upper and camo-printed platform. Features a side logo detail and back pull tab.

PHILIPP PLEIN These mid-top sneakers are made of a variety of materials, like deerskin, suede, woven nylon, canvas and rubber. The iconic skull is embossed on a rubber tag on the sole and upper.

BERLUTI Crafted with durable and light nylon skit, the sneaker’s rubber outsoles boast a ﬁrm grip and extreme flexibility, with details carved from emblematic Venezia leather.

LOEWE Ankle-high multi-tone yellow calfskin hiking boot with thick tread sole. Featuring lace-up closure in white with padded tongue and collar, a pull-loop at heel collar and silver tone hardware. 32

Z ZEGNA TECHMERINO™ A-Maze sneakers are made of wool that undergoes an advanced technological process to produce TECHMERINO™, a product line with innate performance properties. Naturally regulating heat and breathability, and providing superior fit and comfort, ideal for active casual wear. These sneaker’s feature a slip-on running shoe design and elasticated laces for a comfortable fit. Innovative perforated rubber sole with see-through maze construction with Wash&Go technology: machine washable on the wool cycle.

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DIOR This round toe, low top “B22” sneaker by Dior is made of a combination of calfskin, canvas and suede. Features a thick white and black rubber sole, yellow and white technical knit, black canvas toe cap and lace-up front.

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FA S H I O N • A M E TA L L I C M AT T E R

A METALLIC MATTER An exciting new collection of accessories by Tateossian of London Tateossian has just launched their new Spring-Summer 2020 collection. With gunmetal and black rhodium continuing to grow in demand, the new collection is threaded together with sleek updates on their classics with modern platings.

BRACELETS Antique Black Duo Slim Bracelet Tateossian’s chain accessories experiment with proportions to create innovative designs that reflect the emerging trend for chunky chains. An enduring classic style which can be worn alone or perfect for stacking is the sterling silver curb chain with an antique black finish. This bracelet comes in two styles; duo which fuses together a thick single chain and two slimmer chains available in either wide or slim.

Gear Briolette Bracelet The epitome of minimalistic and chic, this effortless style has been made from black rhodium plated sterling silver. Constructed using a briolette box chain and finished with Tateossian’s signature button gear clasp, it is perfect for a powerful stripped back look.

Gear Anchor Bracelet The black rhodium plated sterling silver bracelet has been created using a distinctive long link chain. Featuring a classic gear loop closure, this piece is a style essential which can be worn as a triple wrap around the wrist or also works beautifully as a necklace.

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CUFFLINKS Skeleton Gear Faceted Cufflinks These gunmetal cufflinks are limited to 350 pairs and are a modern update to the Tateossian classic Skeleton cufflinks. These feature a contemporary geometric, faceted case with windows around the sides which allow you to view the intricate inner workings of the vintage skeleton movement. These are a perfect accessory for a watch enthusiast. This unique design fits in nicely to the Tateossian mechanical collection and is bound to be a conversation piece for any event they are worn for. These are also available in Rhodium or 2 Micron rose gold plated base metal.

Engine Cufflinks Inspired by the turbine engines of the Boeing 777, these mechanical cufflinks feature rotating fans with colourful enamelled blades that spin when touched. Making these a fun and playful design perfect for the engineer or mechanic. Available in Gunmetal with red enamel and rhodium with blue enamel with matching pin.

RINGS Catena Classic Ring This unique ring is created by setting an oxidised curb chain into the recess of a ring with a sleek brushed finishing and dark oxidised colouring. Perfect for stacking or can be worn alone.

Catena Chain Ring An oxidised curb chain has been skillfully moulded into a contemporary ring with an antique dark brushed colouring. This Sterling silver ring with oxidisation is perfect to wear alone and also is the ideal ring to stack.

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FRAGRANCE FILE

EDITOR’S PICKS

L’Homme Ideal Cool, Guerlain Arabian Desert, Dunhill

A lively zest of citrus fruit, bergamot and orange heighten the natural liveliness of mint, while star anise reinforces its aromatic and slightly spicy character 50ml – AED 400

Sleek notes of bergamot paired with spicy pink pepper and saffron that concludes with precious notes of oud. Created under the direction of perfumer Alexandra Monet 100ml – AED 600

UOMO Urban Feel, Salvatore Ferragamo A burst of lemon paired with clary sage enhances the heart notes of cedarwood, spicy cumin and in the base sits a combination of labdanum, patchouli, ambrox and incense 100ml – AED 460

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Abjar, The Spirit of Dubai Top notes of fresh pine, grapefruit, saffron, bergamot and clove meet the middle notes of leather, Indian agarwood oil, labdanum with base notes of tobacco, amber, sandalwood and sweet vanilla 90ml – AED 3,565 Eros Flame, Versace Fresh Italian fruits such as lemon, bitter orange are warmed with wild rosemary with heart notes of pepperwood and geranium ending with base woody notes of patchouli, vetiver, sandalwood and tonka bean 50ml – AED 356

Velvet Oriental Musk, Dolce&Gabbana Spicy aromatic cardamom and cumin paired with rose and cypriol oil with an overdose of creamy sandalwood, saffron and tonka bean reveal a sensual dry down of musks 50ml – AED 900

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G R O O M I N G • A C O N C O C T I O N O F A N C I E N T, O R G A N I C A N D A R O M A T I C

Body Lotion Face Cream

A CONCOCTION OF ANCIENT, ORGANIC AND AROMATIC

Shower Foam

Unlock the ultimate grooming experience with a new range of bath and body products for the discerning man by Rituals Cosmetics

The Ritual of Samurai is the latest collection of grooming essentials for men by Rituals Cosmetics which, according to the brand, is inspired by the grooming traditions of the ancient Japanese warriors. The collection is available in all four range of products offered by the brand – Classic, Shave, Face and Sport. The Ritual of Samurai Shave Collection consists of the shaving cream, aftershave soothing balm and aftershave lotion. Enriched with ingredients such as basil, red shisho and ginseng, they are formulated to not only keep the skin feeling soft and smooth but also to keep it healthy by boosting the immune system. The Shaving Cream is formulated to create a

cushion between the face and the razor to minimise cuts, soften the hairs and moisturise the skin. The soothing balm is meant to reduce redness, prevent ingrown hair and make the skin feel comfortable post-shave. It is complemented by the aftershave lotion to neutralise any lingering shave-related irritations. The Face Collection is enriched with ingredients such as organic bamboo, ginseng and wakame kelp which contain high concentrations of essential minerals and vitamin B. The formulation is meant to provide a moisturising effect, improve suppleness and elasticity, and help protect the skin against the adverse effects of pollution. The Face Cleansing Foam rids the skin of dirt, impurities and clogged pores. The Charcoal Scrub

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Face | Beard Oil

After Shave Refresh

Face | Cleansing Foam

24-hour antiperspirant spray

After Shave Cream

deep cleanses the skin and allows for a better shave. The Energy & Anti-Age face cream and the 24h Active Hydration face cream are skin hydration and nourishing creams that are formulated to reduce signs of fatigue and ageing. The Beard Oil, with its non-greasy formula, is meant to tame the beard and hydrate the skin underneath. The Anti-Fatigue eye lotion refreshes and deflates puffy eyes. The Classic Collection features ingredients such as organic bamboo, cedarwood, sandalwood and deep-sea minerals. It comprises twelve products: bath foam, shower foam, shampoo, antiperspirant spray, antiperspirant stick, hair wax, hair shaper paste, hand gel, hand lotion and organic black tea with lapsang

souchong, which has the distinctive and aromatic taste of smoke, chocolate and caramel. The Sport Collection is developed for use after an intense workout with long lasting and refreshing fragrances. It features ingredients such as organic bamboo, cypress, Japanese mint and cedarwood. It comprises foaming shower gel, ice shower gel for a cooling sensation, the 2-in-1 cooling shampoo and shower gel, the 24-hour antiperspirant spray, antiperspirant stick and body lotion. The Ritual of Samurai collection formulated with the ﬁnest high performing ingredients comes in an elegant, masculine design of anthracite grey and wood.

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A U T O M O T I V E • O F E X C E L L E N C E & I N N O VA T I O N

The Rolls-Royce Spirit of Ecstasy

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Sir Charles Rolls, Co-founder of Rolls-Royce

Sir Henry Royce, Co-founder of Rolls-Royce

OF EXCELLENCE & INNOVATION Rolls-Royce celebrates 115 years at the pinnacle

The month of May, this year, marked the 115th anniversary of the founding of Rolls-Royce, following the very ﬁrst meeting between Charles Rolls and Henry Royce at the Midland Hotel in Manchester. They would no doubt be astonished by the cars being produced today under the marque they founded; cars that have not only stayed true to their founding ideals but, in many respects, surpassed them to become a global standard for automotive luxury and innovation. The meeting at the Midland was, in effect, a meeting of two similar minds from very dissimilar backgrounds. Charles Stewart Rolls was the third son of Lord and Lady Llangattock, schooled at Eton, studied mechanical engineering at Trinity College, a motoring enthusiast and aviation pioneer, and founder of one of the earliest car dealerships in Britain. In contrast, Henry Royce started working at the age of nine, selling newspapers and delivering telegrams, followed by an apprenticeship with the Great Northern Railway Works. He taught himself algebra, French and electrical engineering, and co-founded a company that innovated, manufactured and sold electrical devices. Rolls wished to sell high-quality, British-made cars instead of imported ones, while Royce, dissatisﬁed with his French-made

Decauville, had designed and built his own car, the Royce 10hp by 1903. Driven by his philosophy: “take the best that exists and make it better,” Royce had built an exceptional automobile. One of his shareholders, Henry Edmunds, raved about the car to his friend Rolls, and arranged for Rolls and Royce to meet at the Midland. Within minutes of seeing the 10hp, Rolls knew he had found what he was looking for, and after the ﬁrst drive, the two men shook hands to manufacture and sell cars under the Rolls-Royce name. The task of publicising the quietness and reliability of the Rolls-Royce cars fell on Claude Johnson, often referred to as “the hyphen in Rolls-Royce.” It was he that orchestrated many of Rolls-Royce’s headline-grabbing adventures, including the famous record-breaking 14,371 miles journey by the Silver Ghost in 1907. Following this success, Johnson came up with the tag line that has become synonymous with the marque: “Rolls-Royce – not one of the best, but the Best Car in the World.” In the past hundred-plus years since the founding of the marque and the establishment of its guiding philosophy by the three pioneers at its helm, the Rolls-Royce name has delivered some remarkable vehicles; each an icon and often associated

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A U T O M O T I V E • O F E X C E L L E N C E & I N N O VA T I O N

Rolls-Royce Sweptail

Rolls-Royce Cullinan 42

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with royalty, heads of state, actors and rock stars. This is not including its contributions to the world of aviation, such as the ‘R’ engine which set a world air speed record before evolving into the Merlin engine of the Spitfire and Hurricane fame, as well as playing a leading role in powering the jet age. The past hundred years also saw Rolls-Royce acquire and divest in other entireties, change owners and management cultures; but the one thing that remained consistent throughout was its sheen, its mystique. The most robust and creative period, since the marque’s early days, began with the BMW group acquiring the rights to produce Rolls-Royce cars in the 1990s. The Rolls-Royce renaissance had begun, starting with an all-new interpretation of the Phantom (VII), a car that redefined what it means to be an ultra-luxury car. The Phantom was followed by the Drophead Coupé and the hardtop Coupé in quick succession. The current line-up includes the Ghost, named after the Silver Ghost of 1907, is a smaller sibling to the Phantom; Wraith, a four-seat luxury grand tourer; and Dawn, a fourseat luxury convertible. Last year saw the launch of the latest generation of the Phantom (VIII). Last year also witnessed Rolls-Royce realise T. E. Lawrence’s assertion that “a Rolls in the desert is above rubies,” with the launch of the Cullinan super-luxury SUV. Not just a pretty face, the Cullinan was put through a gruelling 12,000-mile proving run through some of the harshest terrains and environments, and it passed with flying colours. It is a Rolls-Royce that can certainly traverse the desert in style. “We are deeply conscious of our heritage: it is a tremendous privilege to be continuing and building on work that began 115 years ago,” Torsten Müller-Ötvös, CEO of Rolls-Royce said recently. “But we also understand that our founders were visionaries, always looking to do things in new and different

ways. It’s that spirit of excellence and innovation that RollsRoyce Motor Cars embodies and celebrates today.” In its endeavour to rediscover its heritage and bring it into the twenty-first century, Rolls-Royce has unveiled new programmes that will also take the concept of ‘luxury as individualistic choice’ to the next level. For one, the marque made a return to coachbuilding in 2017; a practice not seen since the 1960s. And what a triumphant return it was in the form of the ‘Sweptail’ – a fully bespoke, coachbuilt commission for a customer seeking “the ultimate grand tourer.” Black Badge is another customisation service catering to a new generation which has its own understanding of luxury. The Black Badge models are darker, edgier, and more performance-oriented variants of standard models. We have already seen captivating Black Badge variants of the Wraith, Ghost and Dawn. In 2018, Rolls-Royce delivered 4,107 of its ultra-luxury models to customers in over 50 countries. These included not only standard models but also the many bespoke creations. To facilitate the exalting demands of its customers, RollsRoyce has developed a common platform that underpins all its new models. Known as The Architecture of Luxury, it comprises an aluminium spaceframe scaled to fit by using different-sized floor pans and cross members. This, coupled with new production processes, ensure stiffness and integrity while delivering the company’s signature “magic carpet ride.” What can we expect, in the not too distant future, to roll out of the award-winning, state-of-the-art Rolls-Royce manufacturing facility and headquarters in Goodwood? “Imagine a future,” says the marque, “where each RollsRoyce is as unique as your own fingerprint. Dimensions, form, space and materials – the drawing board is limitless, and you are the architect.”

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AUTOMOTIVE • THE EVOLUTION OF AN ICON

THE EVOLUTION OF AN ICON Meet the eighth generation of the timeless and ever-evolving Porsche 911

Most casual observers would be hard-pressed to tell the difference between the new 2020 Porsche 911 and its predecessor, but differences there are. With the model designation 992, the 8th generation of the Porsche icon has undergone a subtle evolution in its exterior design. The real difference, however, is in its performance. A 992 Carrera S completed a lap of the Nürburgring Nordschleife in just 7:25 minutes, that’s an impressive five seconds faster than its predecessor. It can hit 60 miles per hour (96.5 kmph) from standstill in just 3.5 seconds, while the Carrera 4S, with all-wheel drive, takes 3.4 seconds. Each model is 0.4 seconds quicker than its respective predecessor. The optional Sport Chrono Package reduces this time by a further 0.2 seconds to 3.3 seconds for the 911 Carrera S and 3.2 seconds for the 911 Carrera 4S. These pronounced improvement in 992’s performance figures are, as usual, to be found in the evolution that has taken place underneath the exterior facade. This does not mean, however, that the chassis of the 992 has been left untouched. It has an entirely new body structure constructed from a mix of materials. Steel usage has been reduced to just 30 per cent. Most of it, ultra-high-strength, hotformed steel, is used in the construction of the passenger cell, the A and B pillars and side roof frame. These parts absorb the main loads to meet crash requirements. The outer skin and the newly designed doors are now made entirely of aluminium. This mix of materials, coupled with the design tweaks, has resulted in five per cent higher torsional and bending rigidity. The 992 has a new adaptive rear spoiler. It is now significantly larger and wider with 45 per cent more aerodynamically effective area to offer an improved balance between drag and reduced lift at the rear axle. The chassis modification was also done to accommodate the new staggered wheel and tire dimensions: 20-inch wheels on the

front axle and 21-inch wheels on the rear axle while, as before, the tires on the rear axle are significantly wider than on the front wheels. This combination delivers improved wet grip and dry handling, as well as better rolling resistance. The twin-turbocharged flat-six engine is the same as in the previous models, but numerous components have been either optimized or upgraded altogether. The engine itself has a completely redesigned intake system and charge air cooling system. The wastegate valves are now electrically controlled. The Piezo injectors deliver better responsiveness, power, torque build-up, efficiency and free-revving nature. In addition to the resulting power increase from 420 hp to 443 hp at 6,500 rpm, the engine offers 30Nm more torque than the previous S model, developing 529Nm over a broad powerband between 2,300 rpm and 5,000 rpm. The twin symmetrical turbochargers have larger chamber volumes, increased diameter of the turbine wheels, a newly developed lightweight cast manifold and modified turbine housings. Together these changes have resulted in improved airflow conditions, turbine wheel outflow and responsiveness. This, in turn, contributes to the engine’s increased efficiency, torque and power. The unmistakable engine sound of the 911 is a significant part of the driving experience that makes the 911 so unique. The engineers seemed to have this in mind while developing the 992. The twin-branch exhaust system now includes map-controlled and fully variable exhaust flaps. This control system ensures both optimum power output as well as an emotional sound. In addition, there is a “sound symposer” with a switchable second channel behind the rear trim panel to accentuate the classic flatsix sound organically. A Sport Exhaust System with two oval tips, in either silver or black, is available as an option.

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Eighth Generation of the iconic Porsche 911

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AUTOMOTIVE • THE EVOLUTION OF AN ICON

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AUTOMOTIVE • THE EVOLUTION OF AN ICON

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The 992 Carrera S and 4S are the first 911 models to be launched with an eight-speed dual-clutch transmission (PDK) fitted as standard. In it, all gears have new ratios: first through to seventh gears are now shorter, while the eighth gear is longer than the previous seventh gear. The longer final-drive ratio lowers engine speeds in the upper gears, which means that the 992 can reach top track speed in sixth gear while potentially reducing fuel consumption. The use of a controlled oil pump and advanced fuel-efficient engine oils further reduce both power losses and fuel consumption. To complement the new transmission, a new Quick Shift function has been developed and is available for upshifts, both in manual and automatic modes, when Sport Plus is activated. It delivers gearshifts noticeably quicker than in previous models as the response times to upshift requests have been shortened even during high engine speeds and loads. The 992 is the first car in the world to feature an innovative system that uses acoustic sensors in the front wheel wells to detect water spray arising from the road; as opposed to other systems that detect rainfall on the windscreen. When a certain amount of water is detected, the car’s stability control and anti-lock brake system are automatically adjusted to suit wet road conditions, while also informing the driver and recommending that the Wet mode be manually switched on. The next generation of Porsche Active Suspension Management (PASM) has active shock absorbers as standard and offers enhanced balance for agile handling and ride comfort suitable for daily use. As an option, the PASM Sport suspension offers a sportier tune, stiffer springs and dampers as well as a lower ride height of 10 millimetres. The 992 also offers as standard the warning

and brake assist system which detects the risk of collisions with vehicles, pedestrians, and cyclists. It also initiates a warning or emergency braking, if necessary. A slew of options is available with the 992, chief among them is the Sport Chrono Package to enhance the car’s performance. It now includes the new Sport Response button on the steering wheel to select the driving mode, along with the dash-mounted chronograph, PSM Sport Mode, dynamic engine mounts as well as the Porsche Track Precision app. The Sport Response button offers the option of setting an engine and transmission responsiveness to maximum performance for 20 seconds. The dynamic engine mounts, which have a new position better aligned to the engine’s centre of gravity, combine the advantages of a hard and soft engine mount. They increase both comfort and stability and are electrically controlled. When driving on enclosed tracks, PSM Sport mode can be activated separately and sets the stability system to a particularly dynamic setting. The Porsche Track Precision lets drivers record lap times and driving data on racetracks. This data can be saved and managed via the smartphone and also shared and compared with other drivers. Other options include Night Vision Assist with a thermal imaging camera which is available on a 911 for the first time. Optional Adaptive Cruise Control comprises automatic distance control with a stop-and-go function and reversible occupant protection. The optional LED matrix headlights each have 84 LEDs and a unique four-point signature daytime running light that extends backwards in a threedimensional form. Comfort options include an Ionizer, which improves the quality of the air inside the vehicle, working in combination with the standard cabin air filter.

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AUTOMOTIVE • LEADING A MAMMOTH

LEADING A MAMMOTH Manfred Bräunl, the CEO of Porsche MEA, speaks about the automotive market in the region

We recently interviewed Manfred Bräunl who assumed the role of Chief Executive Officer at Porsche Middle East and Africa FZE, earlier this year. He worked previously as the Vice President Marketing at Porsche China Motors prior to which he served senior management positions for various automotive giants. With decades of worldwide experience in marketing and sales for premium automotive manufacturers, he is set to strengthen the position of Porsche in this growth region. What does Porsche mean to you? Porsche, for me, is not only the most iconic but also the most authentic sports car brand in the world. The brand balances setting new standards as a premium manufacturer with excelling in motorsports and focussing on future innovation. Meanwhile at the heart of it all, is a constant pursuit of evolution, ensuring that the next range of models continue to carry the unmistakable Porsche DNA, setting it apart from any competitors in the market. This is the spirit that has made Porsche what it is today.

What does your current role as the CEO of Porsche MEA encompass? I lead a team of professionals that cover 20 countries and 65 Porsche facilities across the GCC, Levant, Africa and India. This gives me a variety of responsibilities, ensuring all-encompassing importer support, which includes network development, sales, marketing, customer relationship management, public relations, After Sales and Motorsport. How has the 1st quarter in your current role been like? It has been fascinating and challenging in equal measure. I’ve arrived during our busiest ever year for product launches, which is exciting but requires a lot of energy regionwide. However, this does allow me to see our operation at its best, with everyone working in top gear, all committed to delivering success for our customers. And with all that activity going on, I’m grateful for the warm welcome from the team and the importers. Travelling to the Porsche facilities in the main markets and speaking with local management gives

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me an understanding of their desire to continue improving, and what is required to achieve that. What exciting projects are you working on currently and in the near future? The evolution of our brand icon, the timeless 911, is currently being introduced across the region. And, we are gearing up for the global unveiling of our Taycan this September. It will be a milestone in Porsche’s history with our first ever fully electric car. It will represent a key moment in our E-Performance strategy and, following this, we expect to launch our all-electric sports car in this region in 2020. With acceleration from 0 to 100 km/h in considerably less than 3.5 seconds and a range of up to 500km on a single charge, it will be a game-changer. It has also been confirmed that the Formula E season will begin in November in Saudi Arabia, a date which also marks Porsche’s debut in the championship. So, we have a full plate, and around that, I am focussed on taking stock of my responsibilities and then building a strategy for the Middle East for the short, medium and long term.

Manfred Bräunl, CEO, Porsche MEA

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A U T O M O T I V E • B E T T E R P E R F O R M A N C E T H R O U G H I N N O VA T I O N

BETTER PERFORMANCE THROUGH INNOVATION HRE Wheels recently unveiled the next generation of their breakthrough HRE3D+ technology

HRE3D+ wheel on 2019 Ford GT

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The second-generation HRE3D+ Wheel

HRE Wheels, the San Diego based design and manufacturer of bespoke wheelsets for racing, performance and luxury cars, and SUVs, has unveiled the second generation of its revolutionary HRE3D+ titanium. The new version of the HRE3D+ not only makes possible new designs that are impossible to create with traditional manufacturing systems but also revolutionizes the wheel manufacturing process itself. The second-generation HRE3D+ was made possible by HRE’s partnership with GE Additive, courtesy of which, HRE gained access to two unique 3D-printing manufacturing systems. The first is the Direct Metal Laser Melting (DMLM), which utilizes laser technology to melt ultra-fine layers of titanium powder on top of each other to gradually build complex forms with extremely fine detail. The second process, known as Electron Beam Melting (EBM), is a refinement of the method used to create the first generation HRE3D+ and uses a beam of electrons to heat and fuse raw metals in a vacuum. The result: the ability to produce more complex designs, a significant decrease in weight, and improved performance. The new process reduces the overall materials waste in the manufacturing process from 80 per cent to 5 per cent of raw titanium material by weight, which translates to a wheel that is significantly lighter than its equivalent predecessor. For example, the 20 and 21-inch wheels of the first-generation HRE3D+ weighed 20 and 23 pounds respectively, while the second-generation equivalent weighs only 16 and 19 pounds. However, both generations are mated to a carbon fibre barrel. HRE further reduced weight on the second generation HRE3D+ by redesigning the centre area to reduce the part count to five printed sections from the six parts, including a centre cap and lug seat section holding the spokes against the vehicle. This approach synchronizes perfectly with HRE’s universal objective of minimizing unsprung mass and rotational inertia for optimal acceleration, handling and braking performance. “We’re proud to be breaking new ground in wheel manufacturing with the updated HRE3D+ wheels,” said HRE President and CEO Alan Peltier. “Working with GE Additive has given us access to some truly cutting-edge technology, and we’re exploring the future of wheel technology together with tools that will continue to evolve over the next few years. We can’t wait to see what we’re able to accomplish next.” At HRE, each wheel is built-to-order, and there is a seemingly infinite number of fitments, colour, finish and design options available to the customer. HRE debuted the second generation HRE3D+ wheel on a 2019 Ford GT in GE Additive’s booth at RAPID + TCT 2019, North America’s largest additive manufacturing trade show, at Cobo Center, Detroit, in May 2019.

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A U T O M O T I V E • L I V I N G U P T O A G R E AT H E R I TA G E

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LIVING UP TO A GREAT HERITAGE There is something special about an Alfa Romeo; the new Giulia Quadrifoglio embodies it.

In 1923, Enzo Ferrari, Antonio Ascari, Giulio Masetti and Ugo Sivocci were on the mountains of Sicily preparing for the Targa Florio then one of the toughest and most prestigious of endurance races. They were driving for an Alfa Romeo team that had, until then, shown great potential but had failed to deliver. Sivocci, the man who discovered and recruited Ferrari into the team, was a driver of great competence but had earned the tag of “l’eterno secondo” (the eternal second). Desperate for a win, Sivocci had painted a green Quadrifoglio (four-leaf clover) within a white square on the nose of his car. Towards the end of the race, Sivocci was in second place, a longdistance behind his teammate Ascari. Despite an engine failure close to the finish line, Ascari had enough time to get the car fixed and cross the line first; only to be disqualified because his mechanics had hitched a ride in his car. He had to redo the last leg and finished second. Meanwhile, Sivocci, despite such incredible odds, had crossed the line to give Alfa its first prestigious title. The following year, Sivocci was tragically killed in an Alfa that did not bear the Quadrifoglio, thus cementing its place in Alfa folklore. The Quadrifoglio emblem, with the white square replaced by a triangle to signify Sivocci’s absence, has graced each of the Alfas that won the 5 World Championships, 11 Mille Miglia, 10 Targa Florio, 4 24-Hours of Le Mans, 3 Giro d’Italia automobilistico, 2 Trans-Am Championships and 47 various Touring Car Championships along with numerous other regional and national events. In 1963, the Quadrifoglio emblem appeared for the first time on the side of a production car, the Giulia TI Super. Also known affectionately as the Giulia Quadrifoglio, it was a production Giulia sedan upgraded for the racetrack as well as being sold to the public as a road-legal car. Since then every performance version of production models has borne the

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2019 Alfa Romeo Giulia Quadrifoglio 56

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Quadrifoglio badge while some have even officially borne the name. In the 1970s and 80s, model variants with the most powerful engines carried the Quadrifoglio Verde (green) badge, while the most luxurious variants carried the Quadrifoglio Oro (gold) badge. Just over 50 years since the first Giulia wore the Quadrifoglio badge of honour, a new Giulia Quadrifoglio made its debut in 2015. The high-performance compact executive saloon was the first saloon offered by Alfa Romeo since the production of the 159 ended in 2011. It was also the first rear-wheel-drive Alfa in 25 years. Giulia Quadrifoglio is part of Alfa’s decade long revamp strategy that aims to make each of its models the best-in-class. The strategy is guided by the five elements of “Meccanica delle emozioni” (the mechanics of emotions): “distinctive Italian design, state-of-the-art innovative engines, perfect 50/50 weight distribution, unique technical solutions and the best weightto-power ratio.” The 2019 Alfa Romeo Giulia Quadrifoglio’s distinctiveness pivots around delivering an authentic Alfa driving experience with sensitive steering, responsive acceleration and prompt shifting and braking. Additionally, the rear-wheel-drive not only pays tribute to the legends of yesterday but also delivers dynamic performance. At the heart of the Giulia Quadrifoglio’s dynamism is a powerful 510hp six-cylinder 2.9-litre turbo petrol engine, developed in collaboration with the folks at Ferrari. The engine is to become the brand’s new benchmark. With such a powerful engine, the Giulia Quadrifoglio can achieve a top speed of 307 kmph, acceleration from 0 to 100 kmph in just

3.9 seconds, peak torque is 600 Nm and has best-in-class emission levels with 198 grams of CO2 per kilometre. The engine is complemented by the perfect 50/50 weight distribution across the two axles, an exclusive suspension system and torque vectoring for outstanding stability control, an integrated braking system capable of decelerating the car from 100 kmph to 0 in less than 32 metres thus considerably reducing the braking distance. The active aero splitter offers active high-speed downforce management. To obtain the best weight-to-power ratio - lower than 3 – the Alfa uses ultralight materials such as carbon fibre, aluminium, aluminium composite and plastic, enabling it to achieve a dry weight of just 1,524 kg. Like all the best Alfas, the Giulia Quadrifoglio boasts a strong identity drawn in a few simple strokes. A line gouged along the sides marks the doors and envelops the handles. The front is characterised by the legendary trefoil nose, the headlights and the large intakes. The rounded angles and the enveloping pillars convey momentum to the car, creating a ‘drop-shaped’ profile that is reminiscent of the Giulietta Sprint, one of the most beautiful Alfas ever made. It has a long bonnet, very short overhangs, a very generous wheelbase - the longest in its category. Inside the car is clean, sporty and designed to be driver centric. The controls and instruments are logically distributed, and the materials used include carbon fibre, wood and fabrics. Press the start button, and the Alfa Giulia Quadrifoglio comes alive with a spine-tingling gurgle from that V6 monster, and all the stats and figures are forgotten. All that remains is a desire to hit the road.

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WA T C H E S • E X C E P T I O N A L P I E C E S I N S P I R E D B Y N A T U R E

EXCEPTIONAL PIECES INSPIRED BY NATURE Signè spoke with Christian Lattmann, CEO of Swiss watch brand – Jaquet-Droz, about the rich heritage of the brand and what makes them stand apart

“When we create something, it’s not for the short-term, our focus is on creating something that will stay in a collection for a very long time or in a museum. So, we are not creating watches, we are creating works of art that we strongly believe in,” says Christian Lattmann, CEO of Swiss Haute Horlogerie brand - Jaquet-Droz. Now part of Swatch Group’s Prestige and Luxury range, the brand traces its origins to the mid-seventeenth century, and to Pierre Jaquet-Droz, a watchmaker extraordinaire. To support his passion for watchmaking, he designed and built exceptional animated dolls or automata, three of which - The Writer made of 6,000 components, The Musician 2,500 components, and The Draughtsman 2,000 components - survive to this day in working condition and are on display in the Musée d’Art et d’Histoire in Neuchâtel, Switzerland. Pierre’s mechanisms fascinated not just the kings and emperors of Europe but of lands as far away as China, India and Japan. The Swatch Group acquired the Jaquet Droz legacy at the turn of the century. Manuel Emch, as its first CEO, was given the responsibility of discovering the

brand’s design heritage and developing the product lines that form the basis of its collection today: exceptional finishing, sensual case shapes and astonishing dials, in particular, the signature 8-shape. Christian Lattmann became the CEO of Jaquet Droz in 2016 and has spearheaded its steady growth ever since. He gave us an insight into the level of craftsmanship that goes behind bringing a Jaquet Droz watch to life and what makes them and their clients stand out. How does the 280-year heritage of the brand weigh and influence its philosophy today? The 280-years legacy of the Jaquet-Droz name, which makes us one of the oldest Swiss watch brands, I would say is more of an opportunity to talk about the future of the brand. What we have done in the past is very important. What we keep from the past is the value of our brand, which is very unique and very different from most of the brands. Also, what we try to take from the past is the creativity inspired by nature. We see ourselves as being in the middle of our history, perhaps in the beginning, but for sure, not at the end.

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What inspires the creativity and the craftsmanship that we see in a Jaquet-Droz watch? Jaquet-Droz has always tried to create emotion, what I like to call the art of astonishment. It is the emotion you feel when you see something very different. It is a natural emotion you cannot control. It is the emotion you have when you see, even today, the very famous automata of Pierre Jaquet-Droz like ‘the writer,’ ‘the drawer’ and ‘the musician.’ In the 18th-centuries, it is said that there were two types of watchmakers. One type was looking for precision by inventing the tourbillon and such kinds of complications. The other kind of watchmakers, like Pierre JaquetDroz, were trying to create emotion through animation and copying natural movements. This is what we continue to do today. We are not trying to have a more precise or higher frequency watch. What we create are new automatons, copying life, copying the beauty of nature and doing it by hand, by engaging the highest craftsmanship. All our creations are a result of human creativity. We bring together our designers, technicians, artists and our

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Jaquet Droz Magic Lotus Automaton

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watchmakers, who are among the best, such that they push each other to the limits of their creativity. If you look at all our new products, they are distinct from all the other brands. It’s always easy to recognize a Jaquet-Droz. In the end, what we create has beauty and emotion. It is not easy, but this is what really makes us different and what we stand for. What is the most challenging part of being the CEO of a brand with such a unique heritage? I think the first challenge is to be consistent, to really focus on who we are, what we stand for, and our values. The next challenge is to increase our brand awareness. This is the most challenging part for our brand because there aren’t so many people who know our brand. We don’t have a big marketing budget, so we focus on social media, we focus on directly interacting with our clients, we focus on our PR by meeting the press to explain who we are and where we are going. What are your thoughts on digital media with regards to marketing, sales, customer feedback, and so on? To have a good experience with a brand means to not only have a good product but also to propose the best presentation of the brand. As a growing brand, we cannot

have a weakness anywhere because if someone is discovering the brand for the first time, we have only one opportunity to make a first impression. So, for a brand like Jaquet-Droz, social media is very important. We have invested a lot, not just in terms of money but also in human resources to have the right content. I think, in the end, it cannot only be about the way we communicate but also about what’s inside the brand. Our distribution is a mix of traditional and digital. Here in our Dubai boutique, we can display all our collection, and the clients can touch and feel them, which you cannot do in the digital sphere. However, we are increasingly going the e-commerce way. I think it’s important to be able to sell via the digital platform, but in a very respectful and luxury manner as our clients expect. Another benefit of e-commerce is that clients can go into a boutique look at the physical product and then they can buy it later online when the time and finances permit. Which is the strongest market for Jaquet-Droz and how important is the UAE?

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Our strongest market is China and Hong Kong. This is also due to our history in that country. Jaquet-Droz was the first brand imported into the forbidden city because Emperor Qianlong [17351796] was collecting Pierre JaquetDroz’s watches. The Emperor himself gave Jaquet-Droz its name in Chinese, which is very rare because it implies that the brand had been approved and chosen by the Emperor. So, the link with China and Hong Kong is vital, and we have five boutiques there. Our second market is Switzerland because of tourism. A lot of people who come to Switzerland like to buy Jaquet-Droz. UAE, of course, is a significant market; otherwise, we would not have invested in our boutique in the beautiful Dubai Mall. UAE is a luxury hub, and people here are well aware of the best luxury brands. Also, it’s an essential hub for tourists, and increasingly for Chinese tourists. What are the qualities of a typical Jaquet-Droz client? Our clients are looking for something different. They are not followers; they are explorers. They are people who want to differentiate themselves by their style. They are people who don’t want to have the same brand as all their close friends. They are people who trust themselves, and they trust their sense of style.

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Alexis Pinturault, French World Cup alpine skier and Olympic medallist

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REFINED FOR THE SLOPES Richard Mille’s latest interpretation of the RM 67-02 honours the achievements of French skier Alexis Pinturault

Richard Mille watches don’t just adorn the wrists of some of the best athletes in the world - Rafael Nadal, Felipe Massa, Sebastien Ogier, Pablo Mac Donough, and Bubba Watson to name a few – but are asked by the brand to have them worn in competitions. For one, wearing watches during competition is the best way to test the robustness of the watches, but also because they are designed and constructed for it. Richard Mille’s 67-02, modified from the RM 67-01, are a family specially conceived to be worn by the athletes at all times. It weighs just 32 grams, and sits perfectly on the wrist, thanks to its case design and comfortable strap. It debuted on sprinter Wayde van Niekerk and highjumper Mutaz Essa Barshim, who wore tribute versions of the 67-02 during the 2017 IAAF World Championships at the Olympic stadium in London. The latest tribute version of the RM 67-02 has been unveiled by Richard Mille: the RM 67-02 Alexis Pinturault Edition. Alexis Pinturault, born in 1991, is a French World Cup alpine skier and Olympic medallist. As of March 2019, he has represented France at five World Championships and accumulated 23 World Cup victories, making him the most successful French skier in World Cup history. He has represented France at two Winter Olympics, with four bronze medals in the giant slalom. In the season just concluded, Alexis had a successful one by all accounts. He finished 2nd on the general ranking of the ski world cup, his best result ever, and won the bronze medal in the Giant slalom speciality as well as a gold medal in the combined category. Alexis has been working closely with RM since 2014 and is part of the youngest generation of RM brand ambassadors. He is a perfectionist, and for him choosing a partner is a task taken very seriously. He not only expects the best from himself but from his equipment as well. He says: “During the race, the watch needs to resist not only to the cold temperatures of the mountains, but also the shocks when I hit the slalom doors. I need to be wearing a watch that I can trust 100 per cent, and that doesn’t bother me while being worn.” According to the brand, the motivation to develop the 67-02 came from “the desire to create a watch that was so uniquely adapted, it was practically a second skin for the athlete, permitting a sort of ‘symbiosis’

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WA T C H E S • R E F I N E D F O R T H E S L O P E S

“During the race, the watch needs to resist not only to the cold temperatures of the mountains, but also the shocks when I hit the slalom doors. I need to be wearing a watch that I can trust 100 per cent, and that doesn’t bother me while being worn.” Alexis Pinturault, French Skier.

The RM 67-02 Automatic Alexis Pinturault

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with the athlete... Starting with the idea of lending a sporty feel to the RM 67-01, whose lightness, thinness and ergonomics made it a perfect candidate, the Richard Mille teams reworked its lines to highlight its athletic qualities.” The RM 67-02 Automatic Alexis Pinturault, adding to the over 70 models in the RM collection, can trace its philosophical heritage to as early as 2013, when the brand seized an opportunity to work with Jamaican sprinter Yohan Blake on a tourbillon watch made of a carbon-nanotube composite whose ergonomic design has an asymmetrical shape. The case of the RM 67-02 Alexis Pinturault is made from Quartz TPT and Carbon TPT composite materials that are exclusive to Richard Mille. This combination ensures exceptional resistance to shocks despite the slim profile - a mere 7.80 mm thickness. Quartz TPT is composed of over 600 layers of parallel filaments obtained from separating silica threads. These parallel layers, no thicker than 45 microns, are saturated in a new crimson resin then inserted between layers using an automatic positioning system that changes the orientation of the fibre between each layer by 45 degrees. The top face of the case features wave-like crenations, a signature of the Richard Mille sports pieces that serve to not only distinguish them from the ‘brand’s lifestyle models, but also adds to the structural strength of the case. The skeletal dial is machined from a sheet of titanium just four-tenths of a millimetre thick. It requires a minimum of two hours of milling to create the extreme skeletonisation of the dial. It is

then finished with a black DLC coating and painted by hand in Frenchman Pinturault’s national colours - ‘bleu, blanc, et rouge.’ Above are a pair of minimalist hours and minutes hand. The open horology offered by the dial is a leitmotif of Richard Mille since the very beginning. Enclosed by the case is the seventh in-house designed Richard Mille calibre CRMA7 featuring taut, finely honed lines. The filigree rotor is crafted from Carbon TPT and white gold, and it drives the grade-five titanium movement. The teeth of its gears employ a highly original involute profiling that guarantees the optimal transmission of power from the barrel to the variable-inertia balance wheel for the entirety of its 50-hour running time. The teeth of the wheels are set at 20° pressure angle which provides an excellent transmission of torque to the balance wheel, thus ensuring reliable chronometric performance. Every aspect of this mechanism, we are informed, was subjected to separate and extensive validation tests to ensure optimal strength. The brand has developed a new elastic strap, which it calls a ‘comfort’ band, especially for watches worn by its sportspersons. It is a lighter alternative to Velcro and is entirely seamless. The non-slip and hyperelastic qualities of the strap allow it to perfectly fit the contours of any wrist, thus improving comfort for the wearer. This strap’s unprecedented lightness made it possible to bring the weight of the 67-02 down to 32 grams, making it the lightest automatic watch in the Richard Mille collection.

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WA T C H E S • A V I E W T H R O U G H T H E WAV E S

A VIEW THROUGH THE WAVES Ocean photographer Ben Thouard is the latest to join Ulysse Nardin’s team of marine adventurers

Ben Thouard grew up on the Mediterranean coast of France. His father was a sailor and taught him everything about the ocean. His older brothers introduced him to surfing. An old film camera he found at the age of 15, ignited in him a passion for photography, unceasingly of his friends surfing. Surf photography took him to Hawaii, and on to some of the most exotic locations in the world with professional surfers. At the age of 22, he decided to settle down in Tahiti, where he now lives with his wife and children. Today, he is at the top of his game. His images of the ocean and the lands they caress grace the walls of art galleries, magazine covers and advertising campaigns. Award ceremonies perennially pick them as a finalist or as a winner. Last year, he released his first solo book titled Surface, a 184-pages, hardcover, coffee table book that includes some of his latest and unseen images. This year, the hunter of moving water, light, transparency and poetry joined Ulysse Nardin’s ‘Armada of Explorers;’ alongside sailors Sébastien Destremau, Romain Pilliard and Dan Lenard, snowboarder and surfer Mathieu Crépel and kitesurfing champion Alex Caizergues.

You pioneered the art of photographing ‘landscape through waves.’ How did it come about? I spent so much time underwater over the years that I realized, at some point, with very specific weather conditions, I could capture a landscape picture through a rolling wave. It had been my dream for years. So, for months, I studied and searched for the perfect location with the right angle of swell and light. I was waiting for the right conditions that probably happens only once or twice a year and lasts for 30 or 40 minutes between the morning offshore wind and the regular ocean breeze. And finally, after thousands of photos, I was able to capture what I had been dreaming of. The perfect conditions happened, and all of a sudden, a new series of images were born. I knew it would be the base of my book, which I called ‘Surface’ mainly for that reason. Do you have a team that accompanies you when you shoot underwater? No, I’m always alone. It would be too complicated to work with a team. I usually get to the spot on a jet ski because in Tahiti the reef barrier is located at 2 or 3 km from shore, so you need a boat to get to the spot. The jet

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ski is the best tool for moving fast and bringing equipment. I can be cruising for hours before finding a good spot to shoot, and when I find it, I go out swimming to take pictures. This would be hard for a team, and it’s also why I love this job, because I am by myself out there doing what I love. What was the turning point in your career and when people started recognizing your work? Probably when I started shooting underwater and waves through new angles because I wanted to show something new while other photographers were shooting regular surfing photos for the magazines. I was happy shooting surfing as it’s been my passion since I was young. But my passion for photography brought me further and pushed me to show something different. After 2 or 3 years in Tahiti, I slowly started shooting waves underwater, and that’s when people started recognizing my work. Your book ‘Surface,’ why did you decide to do it in this age of social media? It was my dream for many years, but also a combination of events that pushed me in that direction. When I started shooting waves and underwater,

Ben Thouard wearing the Diver Chronometer Great White by Ulysse Nardin

I realized there was interest in these pictures from magazines and the people in general. So, there was good potential. Slowly my collection of photos grew, and I began to think of the best way to release them. It was a bit challenging and scary to invest that much money and time into the making of a book, but I felt there would be room for a beautifully printed photo book because a good photograph cannot really be appreciated as a small square picture on your phone. So, I decided to go in that direction 100 per cent and put all of my energy into it. And that’s how Surface was born! What other styles of photography have you been involved in? I started photography as a professional 13 years ago and have worked through

a lot of different industries aside surfing. I’ve been shooting aerials with a motorized paraglider after becoming a ULM pilot. I’ve been shooting diving photos after becoming a level-three diver. I’ve been travelling to shoot travel stories and documentaries. But my favourite thing is to document the ocean as I see it and show it to the rest of the world. How did your association with Ulysse Nardin come about? When I was designing my book Surface and was looking for sponsors, I got contacted by Ulysse Nardin who wanted to build a team of “Ulysses” to tell stories about the ocean. I’ve always been fascinated by mechanical watches, but what fascinated me the most was my visit to Ulysse Nardin’s headquarters

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and manufacture in La Chaux-deFonds and Le Locle last June. I found it magical. Imagine a precision instrument giving you the exact time without using any other source of energy than gravity! In our world today, I believe we need to take action to support sustainability, collaborating with a 170 years old company employing extremely skilled workers and which always innovates and reinterprets timekeeping is a great way to help things. I’m also very happy to contribute a little to Ulysse Nardin’s marine heritage, so far it was mainly above the seas now we’ll take it to the other side of the Surface. It is just the beginning of our relationship, but I’m convinced there is an interesting body of work to create and I’m glad we’re teaming up to make it happen.

WA T C H E S • C E L E B R A T I N G 5 0 Y E A R S O F H I G H - O C T A N E H O R O L O G Y

CELEBRATING 50 YEARS OF HIGH-OCTANE HOROLOGY TAG Heuer is commemorating the 50th anniversary of its iconic Monaco with five limited editions

On March 3, 1969, the then Heuer watch brand introduced its Monaco line at simultaneous press conferences in New York and Geneva. Journalists and watch aficionados around the world were all praise for the first-of-its-kind waterresistant square case. It was complemented by Heuer’s in-house Calibre 11 - the world’s first automatic-winding chronograph movement. In the intervening five decades, various versions of TAG Heuer’s Monaco have appeared featuring new complications, designs and materials. To mark the 50th anniversary of TAG Heuer’s Monaco, the brand is launching five new Monaco watches throughout the year that are inspired by the different decades between 1969 to 2019. The first of these models, inspired by the years 1969 to 1979, was unveiled at this year’s Monaco Formula 1 Grand Prix in May, while the second limited edition, celebrating the period from 1979 to 1989, was presented in June in Le Mans, France. Inspired by the 1990s, the third edition of TAG Heuer’s Monaco watch made its grand debut in New York, the day after the city hosted Race 12 of this year’s Formula E Championship on July 13. TAG Heuer, the official timekeeper and founding partner of the FIA Formula E Championship, has supported the series since its inception in 2014. The 1990s Monaco takes its inspiration from the straightforward street-style characteristic of the decade with

an industrial appearance. The stainless-steel square case of the chronograph has a grained rhodium-plated dial in silverygrey. The flange and Heuer logo are in blue, and the indexes and central seconds hand are red. The blue of the Heuer logo and minute and second scales counters provide a bold contrast to the red touches on the hands and indexes and the red motif featured on the dial. The sandblasted subdials also feature blue counters. This colour scheme continues with the blue perforated calfskin strap with red stitching. The hour and minute hands and indexes are luminescent. The stainless-steel caseback is engraved with the “Monaco Heuer” logo as well as “1989-1999 Special Edition” and “One of 169,” as production is limited to 169 pieces. It also features patterns with brushed finishing inspired by the original model. Inside is a modern version of the renowned Calibre 11, the automatic-winding chronograph movement that made its debut inside the original Monaco of 1969. Like the watch, the watch box is also inspired by the original. The 1990s model is packaged in a dark blue box decorated with the Heuer logo and a horizontal check-pattern stripe. The watch is placed on a red cushion and surrounded by a grey interior – the same colours found on the dial. The previous model, representing the 1980s, featured a red sunray dial and two rhodium-plated subdials with curved

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TAG Heuer Monaco Calibre 11 1970’s Special Edition

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• C E L E B R AT I N G 5 0 Y E A R S O F H I G H - O C TA N E H O R O L O G Y

TAG Heuer Monaco Calibre 11 1980’s Special Edition

The TAG Heuer Monaco 1990s Limited Edition (L) with the original TAG Heuer Monaco 1969 (R) 72

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American actor and race car driver Patrick Dempsey unveils TAG Heuer Monaco 1990’s Special Edition

edges. Black and white accents on the dial complement the black-tipped hour and minute hands. The hands and indexes are coated with Super-LumiNova for improved legibility. The watch is presented on a black calfskin strap punctured with holes lined in red. The first of the three – the 1970s model – has a green dial with brown and yellow touches and a Côtes de Genève finishing. The hands are coated with SuperLuminova, and the watch is presented on a brown leather strap with holes lined in light brown. All three designs feature a stainlesssteel case as the original, with the pushers on the right of the case while the crown is on the left – an unconventional

feature that has distinguished the Monaco over the past 50 years. All three also have the same Calibre 11 movement and case-back design. The complete story behind this horological icon is told in the new book Paradoxical Superstar, which includes archive excerpts and sketches of the designs and movements. British author and journalist Nicholas Foulkes, watch expert Gisbert Brunner and American writer Michael Clerizo all contributed chapters that capture the heritage and innovation that defines the Monaco. Prince Albert II of Monaco wrote the book’s foreword. For film buffs, the Monaco was worn by Steve McQueen, the “King of Cool”, in the 1971 movie Le Mans.

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WA T C H E S • R O O T S G O D E E P I N VA L L É E D E J O U X

ROOTS GO DEEP IN VALLÉE DE JOUX Olivier Audemars opens up on what makes the Audemars Piguet brand unique among its peers

“In 2012, Audemars Piguet had a big exhibition for the 40th anniversary of Royal Oak which comprised of different elements. For one of them, we requested the British photographer Dan Holdsworth to come to the Vallée de Joux to take a few pictures. We were shocked by the results,” said Olivier Audemars, Vice Chairman of the Board at Audemars Piguet. “Our image of the valley was of this beautiful place with blue lakes and majestic mountains. But Dan came up with images of bare rocks, of fog, and so on. It looked like a place where you did not want to live. Our first reaction was that this is not Vallée de Joux, but then we had to accept that it was. And because of those images, we realised that artists have the capacity to see things from a different angle. So, we thought it could be a great way to get a better understanding of our world. So, the question was: how to set it up in a way that will maximise the chance that we will be surprised by the outcome? That’s why we set up the Audemars Piguet Art Commission.” Olivier, the great-grandson of Edward Auguste Piguet, one of the founders of Audemars Piguet, was speaking at the brand’s Art Basel lounge at Basel where he shared some of his insights on Audemars Piguet’s unique heritage and ownership structure, how they affect its

decision-making process, and about how art has influenced the Swiss watchmaker’s management philosophy. After a career managing a company dealing with the physics of materials, Olivier joined the brand’s Board of Directors in 1997. “I was very close to my grandfather, Paul-Edward Piguet,” he recalls. “He was the one who taught me how to ski, to build treehouses and those kinds of things. One day, when I was maybe five years old, he came home with a fully assembled movement, and he asked me to touch the escapements. When I did, it became alive, like a beating heart. For me, it was magic. I still remember the impression it had on me.” “My grandfather was profoundly attached to the Vallée de Joux. For him, the company did not belong to individuals but to the region itself. His mission was to ensure that it remained in the valley and was passed down through generations.” Although the story of the Audemars Piguet brand was born from the partnership between Jules Louis Audemars and Edward Auguste Piguet in 1875, the story of its true origin dates back to the beginning of human ingenuity at Vallée de Joux, and thus, to the birth of Swiss horology itself. “I inherited a watch that was made by the great grandfather of my grandfather in the 1760s,” says Olivier.

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The first settlers, according to Olivier, “were a people who decided that it was better to have a difficult but free life, rather than a more comfortable life under the rule of a king or duke.” The Vallée de Joux was the perfect place for them because it had no resources except plenty of limestone rocks and forests of Beech trees, and thus, no one was interested in the area. Furthermore, with a mean elevation of around 1,000 metres, it has some of the longest and harshest winters in Switzerland, and in those days, the heavy snowfall would completely cut off its inhabitants from the surrounding regions. The summer months allowed for some cattle grazing; hence, the people became dairy farmers, but the earnings were meagre. When Iron was discovered in the limestones, they were quarried, and the wood from the beech trees became fuel for the smelter. The quantity of Iron extracted was very limited, so the inhabitants had to specialise in making small objects of high-value such as precision tools. The highlands of Vallée de Joux forms part of the eastern frontier of Switzerland, bordering France, and is the northern neighbour of the Lake Geneva region. This geographical coincidence led to the second component of the valley’s horological story. Starting in 1685, the King of France began repressing the

Olivier Audemars, Vice Chairman of the Board, Audemars Piguet

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Audemars Piguet Code 11.59 Selfwinding

Audemars Piguet Royal Oak Selfwinding Perpetual Calendar Ultra-Thin

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Audemars Piguet factory in Le Brassus

Reformed Church, because of which, its members had to flee. One group arrived in Geneva, and many among them were skilled at making jewellery. Geneva was, in those days, under the rule of the Calvinists who denounced the making and wearing of jewellery. However, watches did not fall in this category because of their functional value. “These jewellers began to manufacture simple watches,” says Olivier. “Some of them then moved to the Vallée de Joux, where they encountered the earlier settlers who knew how to make extremely complex objects.” The two groups began to combine their expertise, “and the long winters of the region gave them the time to develop more and more complicated mechanisms. This is how Vallée de Joux became the cradle for complicated watches.” The birth of the Audemars Piguet brand itself was the result of another important event that happened in the US; when at the end of the 19th century, the Americans industrialised watch production. This would pose another daunting challenge to the people of

Olivier Audemars, Vice Chairman of the Board, Audemars Piguet

Vallée de Joux as mass production of watches spread to Europe and then to Switzerland. The Swiss watchmakers had to decide whether they would adopt the mass production model or stick to a lowvolume high-value ethos. According to Olivier, “the two founders of the company wanted to continue making watches by hand. So, they decided to work together and to set up Audemars Piguet. From their perspective, this was not the beginning, but a way to continue a long tradition that they felt was very important. By joining forces, they would increase the chances of continuing this tradition.” Today, Audemars Piguet is the only Swiss watch manufacturer that is still owned by its founding families. Each successive generation has stayed true to the spirit of independence and artistic excellence handed down by their forefathers. “We want to continue this tradition,” says Olivier. “As a family business, one of our advantages is that we have a long-term perspective. We think in terms of generations, not in terms of quarterly reports. This allows us to make

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decisions that a public traded company wouldn’t be ready to take. A good example is what happened in the 70s with the arrival of the quartz watches.” Without a doubt, the quartz crisis of the 1970s was the most significant disruptor that the Swiss watchmaking industry had experienced to date. In little over a decade, the number of Swiss manufacturers had reduced from around 1,600 to 600, most of whom were forced to agglomerate or were acquired. The Swiss watch industry went from having an 85 per cent share of the global market to less than 20 per cent, nearly two-thirds of the jobs were lost, and a lot of companies disappeared. The few remaining brands were making watches in precious metals with very conservative designs. “It was at this time that we decided to launch the Royal Oak, a watch in stainless steel, with sharp angles, with visible gold screws, with an integrated bracelet and at a price that was 10-times the price of a Rolex,” explains Olivier. “Audemars Piguet had been in a kind of Catch-22 situation. Our forefathers saw the arrival of the quartz watches that could be worn

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Audemars Piguet Code 11.59 Perpetual Calendar

all the time. But we made beautiful and complicated mechanisms which were [inherently] fragile. The solution was the Royal Oak. It was perceived as something that was completely against the rules of horology, but it became a huge success. The point I want to make is that this move was only possible because of the special trust that you have in the family business.” Even though the Royal Oak was designed by the legendary Gerald Genta as a watch fit for an active lifestyle, it was derided by purists when it made its debut in 1972. It took Audemars Piguet over a year to sell the first 1,000 watches,

referred to as the A-series by collectors. However, once collectors and trendsetters began to appreciate the watch for what it was, sales accelerated, and new variants were introduced. The Royal Oak not only became an Haute Horlogerie bestseller and icon but caused a paradigm shift in the industry; design, precision and quality would be the base of Haute Horlogerie, and not necessarily just the use of precious metals. While the Royal Oak was groundbreaking yesterday, today its design and ethos have been heavily copied by others. “I’m a strong believer in the long-term future of the Royal Oak and

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the Offshore,” says Olivier. However, “there is a risk of people becoming fatigued with the design which would have exposed our dependence on only one line.” The solution: the all-new Code 11.59 collection. “It is our second leg,” says Olivier. “It allows us to reach those customers who may not be attracted by the Royal oak shape, and that’s what we are seeing; most of the people buying Code are new customers, and to our surprise also very young customers. So, it has allowed us to diversify our customer base.” On the organisational side as well, Audemars Piguet has witnessed dramatic

Olivier Audemars at the Audemars Piguet lounge installation at Art Basel 2019

changes which have called for innovative solutions. “One of the main challenges we face today is to maintain a family spirit within the company that is much bigger than what it was in the past,” explains Olivier. “When I was born, there were maybe 20 people in the company. When I joined, there were around 150, and today, we are around 1,800 with about 800 hundred of them living in other countries. We want people to take the right decision without having strict guidelines. For that, we have to make sure that everyone understands what the protocols of the company are and that everyone shares in it.” The inspiration for this strategy, according to Olivier, came from the first installation under the Art Commission programme launched in 2015 - Robin Meier’s Synchronicity - which explored natural self-synchronising organisms through a study of fireflies and crickets. Synchronicity is part of a broader “creative dialogue” that Audemars Piguet has been fostering between contemporary art and haute horlogerie since 2012 where

the artist is commissioned to explore the manufacturer’s origins as well as the complexity and precision involved in its craftsmanship. The hope is that these commissions could not only help the management “see things differently” but everyone in the organisation as well. That is why, says Olivier, “we want to engage as many people from our company with these artworks, to maximise the chance that something may happen that slightly changes the company.” One of this year’s art commissions has had an impact as well; that of Norwegian fish-ecologist and sound artist Jana Winderen. “I’m still in shock because of what I discovered two days ago,” says Olivier about Jana’s sound recordings from Vallée de Joux. “We think of it as a peaceful area, but when we listened to her work, we realised that it was a very noisy area. I think we should try to find ways to minimise these impacts on nature.” The brand is already active in the field of environmental conservation through its Audemars Piguet Foundation, which is also a shareholder in the company.

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When we ask Olivier how he perceives the future of Audemars Piguet, and what is being done to ensure continuation, he responds: “I hope that in 200 years it will still be a family business. We don’t want to take this company even partially public because we want to be able to take our own decisions as we have in the past. We went through some really difficult times, but we’ve always been able to find our own path because of who we are.” Like his grandfather before him, Olivier wants “the next generation to be proud of the company, and not see it as a big bag of money at their disposal. We want them to think, not in terms of ownership, but in terms of stewardship. The second very important thing is that we have to make sure that they do not feel that they are being crushed by the responsibility. So, from my perspective, the only way to achieve this is for them to develop an emotional link with the company, so that at one point they feel that this company is important and it’s worth the time they spend on it.”

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A VALLÉE EXPERIENCE IN BASEL Audemars Piguet’s lounge concept at this year’s Art Basel pays homage to the brand’s heritage and its latest Code 11.59 collection

The Vallée is the name of Audemars Piguet’s new lounge concept for Art Basel 2019, designed and built by Brooklyn-based sculptural artist and designer Fernando Mastrangelo. Inspired by his visit of Audemars Piguet’s home in the Swiss Jura Mountains, Mastrangelo’s design invites visitors to experience the Vallée de Joux through seamless gradients of tones and textures, as they are featured on the walls, display cases and furniture. Mastrangelo, a Master of Fine Arts in Sculpture from Virginia Commonwealth University in Richmond, is known for his sculptural furniture using natural granular materials such as sand, salt, and silica. His most notable works include Avarice, Felix, La Salvamara and Al One. He is the founder of the design firm Fernando Mastrangelo Studio (FM/S) and has recently launched a non-profit organisation, In Good Company, which organises an annual exhibition for emerging artists and designers to exhibit their work without commercial or creative restraint. On one of the walls of the Audemars Piguet lounge is Mastrangelo’s “Strata Wall,” composed of sand, rock salt, silica and limestone from the Vallée de Joux’s Combe Noire quarries. “Limestone plays a central role in the whole thing,” Mastrangelo told Signé during the Basel exhibition this June. “We went to these incredible limestone quarries in the valley, and we brought with us some limestone to use in the casting of the wall. I wanted to create a sculpture that represents the quarries. In each of these elements, you have crushed sapphire glass and aventurine, and you have gold, brass, and iron shavings that are left over from the process of creating [the new Code 11.59] watches.” The assembly and decoration workshops of Audemars Piguet are recreated in the “Artisan’s Corner” where a watchmaker demonstrates how to assemble a calibre, or satin brush and polish a case. Inspired by the natural caves of the valley, a watchmaker’s desk replicates their geological flow-lines while a chandelier, made of white crushed glass, reproduces the glitter of limestone stalactites found in the Vallorbe Caves.

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The Vallée, Audemars Piguet lounge at Art Basel 2019

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Fernando Mastrangelo, sculptural artist and designer of The Vallée lounge

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In the middle of the lounge is “a forest of spruce trees” made of sand, silica and glass to showcase the 13 references of Code 11.59. Mastrangelo recalls: “Audemars Piguet took me on a tour of Vallée de Joux, to understand the roots and origins of the brand. One of the first places we went to was this forest of spruce trees because that’s where the whole brand’s heritage started; believe it or not. They used the spruce trees to create furnaces in this particular area to melt limestone because the limestone had metals in them. These metals were extracted and used to create watches. So, I wanted to use that as a metaphor for our watch display case. So, we used actual bark from spruce trees to create moulds in my studio and then we cast them using black sand and silica to create the illusion that you are looking at burned spruce.” The piece de resistance of the whole installation is the “Escape Lounge,” a place for visitors to relax and experience a disconnected moment in a virtual Vallée de Joux. The croissantshaped walls of the lounge space have a smooth, curved interior while the exterior surface is octagonal. This duality is inspired by the case design of the Code 11.59 collection. The black silhouette of the valley’s mountainous terrain is made of sand while a dynamic lighting system faithfully replicates the natural light of the valley that was captured using high-tech drones. “You just feel the sense of peace and serenity of the valley, you get to listen to the sounds of the valley, and you can watch its sunrise and sunset,” explains Mastrangelo. “A one day-cycle, from sunrise to sunset, takes seven minutes. Behind it is a very complicated mechanism. It’s not a single screen, but 15 rows of

LCD lights. Each row can independently change, and each has its own sequence. We have a program for each layer to generate the gradients that give you a perspective of the sky. For accuracy, we had someone go and film the actual sunrise and sunset in the valley, and we used that to replicate the colours here. After we created the installation, the sound artist added the soundtrack so that we could have continuity.” The sound artist is Jana Winderen. With a background in mathematics, chemistry and fish ecology from the University of Oslo, the Norwegian has also attended the Fine Art programme at Goldsmiths, University of London. Her site-specific sound composition titled ‘Du Petit Risoud Aux Profondeurs Du Lac De Joux’ explores the complex nature of the sounds of Vallée de Joux, as well as the “disharmony” between the audible and the visible. It was composed with the lounge’s arrangement and acoustics in mind and invites visitors to experience it through two channels. One is active and focused listening with headphones as an intimate accompaniment to Mastrangelo’s “Escape Lounge.” The other is a more distant listening experience with four speakers mixing with the live ambient sounds of visitors passing by. The installation, as a whole, took Fernando six months to complete and proved to be a substantial learning curve. “We went from 10 people to 17. We had to grow in terms of our creativity because everything in this project is so technical, and there were lots of stuff that we had never done before,” said Mastrangelo, whose design will now travel to Art Basel in Miami Beach, in December, and will “continue its evolution” in 2020.

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AN UNPARALLELED SEASON OF ART A brief summary of the exhibitions lined up for the upcoming season at the Louvre Abu Dhabi

Louvre Abu Dhabi’s 2019-20 season begins this September with a series of four exhibitions that will explore how the arts have channelled and acted as a witness to society throughout history. Each will be accompanied by a programme that will include live performances, world-renowned installations, music, poetry and family events. The four exhibitions are as follows.

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Rendezvous in Paris: Picasso, Chagall, Modigliani & Co. exhibition Juan GRIS (Jose Victoriano GONZALES PEREZ) Man from Touraine September 1918 Oil on Canvas © Jean-François Tomasian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Rendezvous in Paris: Picasso, Chagall, Modigliani & Co. exhibition Amedeo MODIGLIANI 1884, Livourne (Italie) - 1920, Paris (France) Portrait of Dédie 1918 Oil on Canvas © Service de la documentation photographique du MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Rendezvous in Paris: Picasso, Chagall, Modigliani & Co. September 18 to December 7 Inspired by the Paris of the Roaring Twenties, when a group of artists came together to produce some of the most innovative art of the 20th century. Presenting more than 80 works, the exhibition will include masterpieces by Pablo Picasso, Marc Chagall, Amedeo Modigliani, Sonia Delaunay, Giorgio De Chirico, Juan Gris, Constantin Brancusi, Tamara de Lempicka, Brassaï and others. The accompanying Programme, inspired by Picasso’s Cubist artworks and the poetry of Jean Cocteau and Guillaume Apollinaire, will aim to bring Cubism to life across the museum. Between September 18 and 21, visitors will encounter “living machines” that will roam the museum, while choreographer Elizabeth Streb and her STREB Extreme Action Troupe will combine acrobatics, circus arts and contemporary dance to give a performance on giant machines. A unique Family Weekend on 27 and 28 September will feature a series of film screenings inspired by Picasso and Cocteau, curated by Emirati artist Hind Mezaina with a talk by the exhibition curator, Christian Briend. The cultural programme will conclude on November 21 with an electro night where live sets by multiple DJs will be accompanied by Cubist inspired visuals lighting the iconic dome of the museum.

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10,000 Years of Luxury exhibition Armand-Albert RATEAU Ten-panels screen Renards 1921 - 1922 Musée des Arts Décoratifs © MAD / Jean Tholance

10,000 Years of Luxury exhibition René LALIQUE Necklace Noisettes Circa 1900 Musée des Arts Décoratifs © MAD / Jean Tholance

10,000 Years of Luxury October 30 to February 18

10,000 Years of Luxury exhibition Christian DIOR Evening dress Adélaïde 1948 Musée des Arts Décoratifs © MAD / Jean Tholance

Featuring 350 “extraordinary objects” from the fields of fashion, jewellery, art, furniture and design, the show will explore the various ways in which luxury has been interpreted by diverse cultures throughout history - from extravagant offerings for the divine to haute couture - as well as their impact on the evolution of society, the prominent role played by women, and what elevates an object to the realm of “precious.” With the theme “luxuries are what money can’t buy,” the Programme will celebrate the place of the diva as a constant concept in the history of luxury through tribute performances to the great divas Umm Kulthum and Fairuz. Between October 30 and February 1, will be the olfactory art installation “USO The Perfumed Cloud;” USO = Unidentified Scented Object. Created by Maison Cartier’s in-house perfumers, it will be the firstever immersive installation of its kind in the Middle East. USO combines ethereal architecture, the senses and climate technology to create “a magical sensory journey into a perfumed cloud.”

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Furusiyya: The Art of Chivalry between East and West February 19 to May 30 This exhibition explores the unique and extraordinary link between Furusiyya in the East with Chivalry in the West, and how these distinct practices of combat and knightly values led to a specific social class and culture in the Islamic East and largely Christian West. Stories of brave heroes fighting for their sovereign, their religion and their honour; of loss, camaraderie and courtly love are told through 130 rare artworks, most of them seen in the region for the first time. The accompanying programme includes a cultural programme inspired by and exploring the Middle Ages from an inherently Islamic point of view. It will include Trio Joubran performers celebrating the ancient cross-cultural family of Lute-like string instruments with music dating from the Middle Ages as well as contemporary compositions. There will also be immersive, family-focused events that allow visitors to travel back in time to experience the lifestyle of this period in history, including poetry, live performances of traditional instruments, clothes, conferences, activations and more.

Furusiyya: The Art of Chivalry between East and West exhibition Sword of Duke of Milan Milan, Italia, second half of the 15th century Iron, gilded steel, horn France, Paris, Musée de Cluny – musée national du Moyen Âge © RMN-Grand Palais (musée de Cluny - musée national du MoyenÂge) / Jean-Gilles Berizzi

Charlie Chaplin: When Art Met Cinema April 15 to July 11

Charlie Chaplin: When Art Met Cinema exhibition Charlie Chaplin Modern Times 1936 Charlie Chaplin™ © Bubbles Inc. S.A. © Roy Export S.A.S © Roy Export Company Ltd. Digitization of the Chaplin Archives by Cineteca di Bologna. Digitization of certain photographs from the Chaplin Archives by Musée de l’Elysée.

An exhibition of about 100 paintings, drawings, sculptures, photographs, archives and film scenes that explores the connection between the great Charlie Chaplin films and the artistic creations of avant-garde artists of the time, including Marc Chagall, Fernand Léger and František Kupka; artists at the centre of modern art movements such as Constructivism, Surrealism and Dadaism. The cultural programme explores the connection between art and cinema by investigating how practitioners in the visual and performing arts have used silent film as a source of inspiration. The museum will mark the exhibition opening with a subtle blend of art, comedy, circus, dance, classical music and philosophy based on the question of time. A highlight will be Yoann Bourgeois and his short, poetic mime art performances that are a tribute to Charlie Chaplin. Manuel Rabaté, Director of Louvre Abu Dhabi, said: “This upcoming season entitled Changing Societies represents our boldest and most extensive programme to date. Supported by our incredible network of international partners, we are able to bring exhibitions of a quality and scale that are unparalleled in the region.”

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AN EMPEROR’S TALE COMES TO LIGHT A background to Taschen’s recently published book: “Freydal. Medieval Games” Taschen, the Cologne-based art book publisher, founded in 1980 by contemporary art collector Benedikt Taschen, has recently published “Freydal. Medieval Games. The Book of Tournaments of Emperor Maximilian I.” The book commemorates the 500th anniversary of Holy Roman Emperor Maximilian I’s death by collating for the first time, all 255 gold-and-silver-heightened miniature illustrations from “Freydal,” a book commissioned by Maximilian. It is the largest extant tournament book of the Late Middle Ages and is therefore inscribed in the UNESCO Memory of the World program. Maximilian I (1459 to 1519) was officially the Holy Roman Emperor for just over a decade, from 1508 until his death. However, as the son of Frederick III, Holy Roman Emperor, he was the de-facto ruler for the last ten years of his father’s reign starting in 1483. During his effective rule of nearly 35 years, he not only expanded the influence of the House of Habsburg through much of Europe via war and marriage, but effectively laid the foundations for two of Europe’s

most influential future Empires: the Austria-Hungarian and Spanish-Habsburg. Maximilian was a keen supporter of the arts and sciences. He surrounded himself with scholars and artisans, even promoting some of them to important court posts. Several were commissioned to work on a series of projects he called Gedechtnus or memorials, which were intended to glorify his deeds and those of his Habsburg ancestors. These fell into two categories. One was a series of three related monumental woodblock prints titled: The Triumphal Arch, Triumphal Procession and the Large Triumphal Carriage. The second was a series of stylised, chivalric, and largely autobiographical literature, three of which were Weisskunig, Theuerdank and Freydal. The latter, produced under the direct supervision of Maximilian himself between 1512 and 1515, is an invaluable record of late-medieval chivalry. Maximilian treated the spectacle of his tournaments which comprised mainly of hastiludes (martial games) and mummeries (chivalrous folk plays) - as an art form unto

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“Freydal. Medieval Games. The Book of Tournaments of Emperor Maximilian I” by Taschen

itself. So, he commissioned Freydal, the massive, exquisitely detailed and illustrated manuscript of 64 tournaments. The 255 elaborately gilt and silvered miniature illustrations were more than just a collection of jousting scenes from the Habsburg court such as the grand melee and tilting at the lists, foot combat and closing ceremonies. The illustrations were an allegorical epic telling the story of an intrepid hero, a knight errant who is none other than Maximilian himself. In the guise of his literary alter ego “Freydal,” the Emperor jousted to prove his love for a noble lady. The story ends with the lady agreeing to marry the protagonist. The lady symbolises Mary of Burgundy, whom Maximilian wed in 1477 at Ghent. The Freydal of Maximilian is today the essential source on European courtly festivities of the early modern era. Much too fragile to be on permanent display, the miniatures are safely locked away in the vaults of the Kunsthistorisches Museum in Vienna. However, all 255 miniatures have been reproduced in full-colour photographs, making the unique manuscript accessible to all for the very first time. This unique collection is introduced by Stefan Krause, director of the Kunsthistorisches Museum’s Imperial Armoury. Krause studied art history in Vienna and has held, among others, the Paul Mellon Visiting Senior Fellowship at the National Gallery of Art in Washington D.C. (CASVA). His research focuses on the artistic and social significance of armour and weapons, particularly in the late Middle Ages and the Renaissance. Taschen has been a pioneer in making lesser-seen and potentially controversial art available to mainstream bookstores and alongside more mainstream books of comics reprints, art photography, painting, design, fashion, advertising history, film, and architecture as well as calendars, address books, and postcards sets. Miniature illustrations from “Freydal”, a book commissioned by Maximilian

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ART & DESIGN • ARTFUL IDENTITY

ARTFUL IDENTITY The Kamon tradition of Japan, an artistic rendering of one’s identity

What do the logos of Japanese commercial giants such as Japan Airlines (JAL), Yamaha and Mitsubishi, among many others, have in common? They trace their origins to a Japanese heraldic tradition broadly referred to as Kamon: intricately designed emblems, heavy with symbolism, used to decorate and identify an individual, a family or an entire clan. Even though referred to as crests in Western literature, there are some differences between Kamon and their western counterparts. JAL’s iconic “red-crown crane” logo or Tsurumaru logo, first unveiled in 1959, was inspired by a recurring Kamon symbol associated with Samurai families. The crane, in Japanese symbolism, represents loyalty and strength. In contrast, the Yamaha logo, featuring three interlocked tuning forks in a “Y” formation is wholly modern and simply refers to the company’s origin as a manufacturer of musical instruments. The name “Mitsubishi” refers to the threediamond logo of the company, as the word Mitsu means three and Hishi means water chestnut, which is often denoted as a rhombus. The three-diamond logo is a hybrid of the threeleaf Kamon of the Tosa Clan - founder Yataro Iwasaki’s first employer - and the three stacked rhombuses design of Iwasaki’s own family Kamon.

The oldest known Kamon date from the eighth century and their origin are similar to that of European heraldry in that they were initially held only by aristocratic families or nobles at the Imperial court to distinguish themselves. However, unlike their European counterparts, Kamon were initially displayed only as patterns on fabrics, in particular, kimonos. Subsequently, during civil wars, the samurai began using Kamon as army standards to distinguish the two sides. They were seen on flags, tents, and equipment. Even though the usage of Kamon in battles was not universal, their usage by the warrior class as badges of identity or ownership became commonplace with the passage time. The use of Kamon grew exponentially during the Edo Period (1603-1867) when urban commoners, who did not have family names, began to use Kamon as a means of distinguishing themselves or their businesses to a population that was mostly illiterate. Women began to use Kamon towards the end of the Edo Period. They were also used by various organisations, such as merchant and artisan guilds, temples and shrines, theatre troupes, geisha and even criminal gangs. There are no set rules for the design of the Kamon, but it usually consists of a round border encircling stylised motifs

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ART & DESIGN • ARTFUL IDENTITY

The Kamons in the Graveyard Credit: www.patternz.jp

Kyogen: Japanese Family Crest Cutting Workshop 92

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Japanese Traditional Towel Tenugui SENGOKU KAMON

derived from a wide range of subjects: plants, birds, animals, man-made objects, natural landmarks, celestial bodies, religious symbols, geometric shapes and others. All designs being abstract to various degrees. The pallet has traditionally been monochrome, but there are no restrictions on the choice of colour. Kamons are designed by a professional ‘monshō uwae shi,’ who practise a craft that demands attention to the minutest of details and command of several sophisticated techniques in addition to aesthetic sensibilities. A typical professional has to apprentice for five years with a master. There are few rules regulating the use of Kamon, although the traditional social class structure is one important determining factor. The Imperial Chrysanthemum Kamon with 16 petals, the Kamon held by the former ruling clans of Japan - such as the Tokugawa “triple hollyhock,” an icon of Japan - and the official emblem of the Prime Minister of Japan featuring a stylised paulownia plant with “5-7-5 flowers” design are protected from unauthorised usage. However, a Kamon featuring a paulownia with fewer leaves than the Prime Minister’s could be used by anyone, while a chrysanthemum with fewer petals than the imperial 16 are used by junior imperial family members. It is generally considered improper

to use a Kamon already used by another, and offensive if it is of a person of higher social rank. Any disengagements tend to be settled in favour of the one with a higher social rank. It was not uncommon for a patron or employer to grant permission to their underlings to use their Kamon, and such a gesture was considered a great honour by the recipient. In other cases, underlings have modified their patron’s Kamon by adding their own elements; the Mitsubishi logo is a good example. Some business owners, in order to differentiate themselves, designed completely new Kamon; Yahama being a modern example. Today, there are around 20,000 family crests on record, though the actual total is believed to be much higher. However, most Japanese pay little attention to this critical component of their cultural and historical heritage. There are a handful of full-time professional Kamon designers left in Japan. Most work in other professions to support their art. There is a silver lining to the story as some of the Kamon designers have started to collaborate with other disciplines and luxury brands to create bags and other accessories, textiles and corporate presentations featuring Kamon patterns and designs.

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L A D O L C E V I T A • T H E C AVA L L I D R E A M Y A C H T - F R E E D O M

THE CAVALLI DREAM YACHT - FREEDOM Roberto Cavalli and Tommaso Spadolini have joined forces for the second time to deliver something special

“Design me something that Batman would drive!” was the brief given by Roberto Cavalli to architect and designer, Tommaso Spadolini, one of the most celebrated names in Italian, and global, yacht design. “My relationship with Roberto Cavalli goes back nearly 20 years,” says Spadolini, “when we worked together on his former yacht, the 41m Baglietto RC. Our collaboration was renewed in 2016 when he approached me to design a new yacht.” Spadolini began his career in his father’s design office, the famous architect Pierluigi Spadolini, who in 1959 was nominated to the first Italian chair of industrial design. Since the early ‘60s, Pierluigi collaborated with the Cantieri di Pisa Shipyards designing their entire range, including the benchmark Akhir series. In the early 1980s, Tommaso Spadolini began to work independently, first designing for the Barberis brand, followed in 1984 with the first of his 107 designs for the Canados brand. The Canados 70’ of 1984 not only featured some of Spadolini’s signature traits but also went on to become a benchmark in luxury yacht design. It also became the base for Canados’ complete line-up. Then in 1992, Spadolini was chosen to design the forty-three metres long Spanish royal yacht - Fortuna, which brought him international acclaim. “For me, yachts have always been and still are my choice in applied design; here I can bring to bear the accumulation of all our family’s know-how,” Spadolini said last year while commemorating his 40-years of designing yachts. In that time, he has worked with such prestigious brands as Cantieri di Pisa, Magnum and Baglietto. His standout creations, however, have been his one-off custom projects; which brings us to Roberto Cavalli’s new yacht. Cavalli’s first yacht, RC, was designed primarily as a corporate vessel to promote his business and therefore was often hosting VIP guests. Cavalli wanted a new smaller boat, strictly for private

cruising with his partner, with accommodation for up to four guests and three crew members. That gave birth to the concept of his new superyacht “Freedom.” Cavalli wanted to pilot the yacht himself, so he wanted the boat to be closer to the water. This meant a waterline length of 24 m or less. He wanted a yacht capable of hitting 40 knots, so it has three MAN engines coupled to three KaMeWa water jets. The construction is lightweight, using aluminium and carbon fibre. He wanted his suite to be on a raised level behind the pilothouse – a first on a yacht of this size – with all-round sea views and natural ventilation. The main salon is on the main deck aft, just four steps down. There is a cosy sundeck lounge with private access from the owner’s suite in the aft and a 3.8 m tender, housed under a carbon fibre hood, on the foredeck. “The challenge was to maximise contact with the sea while ensuring uncompromised privacy. A mandatory key feature was a very comfortable space, with just a few easy steps and staircases, natural light and air ventilation, and all-round sea views. My cabin is behind the wheelhouse because I also drive the boat myself. The private fly deck is another important feature, as is the home-style galley or dinette below deck and good accommodation for my crew,” explained Cavalli. “I’m a creative person, so I wanted to do the interior design myself, which meant selecting all the materials, finishes and accessories. My style is eclectic, and I chose a lot of African animal-skin prints for the upholstery, cushion covers and bedspreads, which is a theme in some of my fashion collections.” The exterior styling is dominated by two sweeping arches that frame the aft cockpit, which also help shield the space from the wind. To emphasise the yacht’s sporty nature, the hull is metallic black and the superstructure metallic dark grey; giving it the look, and the performance, of “something that Batman would drive.”

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Roberto Cavalli’s superyacht “Freedom” designed by Tommaso Spadolini

Main lounge area in the yacht

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OBJECTS OF DESIRE

RATIO EIGHT COFFEE MAKER BY RATIO It combines precision brewing, highquality construction, and aesthetically pleasing design. It removes variables like water temperature and extraction time from the equation and features a pour over style system with the precision of highend espresso machines. The objective is to simplify the task of making the perfect cup of coffee. It has no plastic screws, tubes, or environmentally harmful pods. It is hand assembled from cast metal, borosilicate glass, and real hardwoods – ebonised, mahogany and walnut. It is backed by a 5-year warranty.

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PINAR CIGAR ASHTRAY BY GIOBAGNARA Handmade in Italy, it is a superb piece of decoration that also has a practical side. The wood base is entirely covered in fine leather. The standard hue is white, but the colour and texture are customisable. The base supports a chrome-finished metal basin and an elevated cigar holder. This object can be paired with the humidor from the same brand. Dimensions WDH in cm: 16.5x7.5 x4

MOMENTUM EARPHONES BY SENNHEISER

BOSTON CHESS SET BY DUNHILL The pieces are hand-crafted ebony and wood atop a fine-grain leather board. The carrying case, embossed with the Dunhill longtail logo, is Boston cowhide leather and has two suede pouches to keep the black and brown counters separate. The Boston leather carrying case makes it ideal for easy travel. Dimensions WHD in cm: 38.5x38.5x6.5.

TUFTON PORTABLE SPEAKER BY MARSHALL

Designed to offer superior stereo sound performance, these premium wireless earbuds are Qualcomm apt-X Low Latency compatible. They feature twomic noise cancellation beamforming technology and Transparent Hearing for better awareness of one’s surroundings. The pairs come in four different ear tip sizes, are lightweight, have splash resistant ear adapter, and intuitive touch interface to control the music, answer phone calls or access the voice assistant with a single tap or swipe. An accompanying App allows the user to control and configure a wide range of functions.

One of the largest portable speakers on the CE market. A full charge delivers more than 20 hours of wireless listening at a range of 10 metres, and twenty minutes of charging is good for four hours. It offers Bluetooth 5.0 connectivity and utilises Blumlein Stereo Sound construction for a multi-directional experience. It has an IPX2 waterresistant rating and flush-mounted corner caps to make it rugged and roadworthy. Colour: Black.

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L A D O L C E V I TA • T H E PA N A M E R I C A N S P E C I A L I S T

THE PAN AMERICAN SPECIALIST Meet Chef-Restaurateur Richard Sandoval, the man behind the Toro Toro and VaKaVa Restaurants in Abu Dhabi

Growing up in Mexico City, Richard Sandoval has fond memories of his grandmother’s kitchen where the family would gather around her large table to enjoy her lively Mexican feasts. From his grandmother, he learned to respect fresh, authentic ingredients, and with them, create vibrant flavours. His father was the owner of Madeiras and Villa Fiore restaurants in Acapulco, from whom he learnt important lessons in service and restaurant management. Following a career as a tennis player, chef Sandoval opened Maya in 1997, his flagship modern Mexican restaurant in New York. Since then, he has served as a culinary consultant, television personality, cookbook author, brand ambassador, developed menus for American Airlines First Class cabin, and for some of the world’s leading hotels. His RS Hospitality is now a leading international restaurant group with over 45 concepts spanning the US, as well as Dubai, Abu Dhabi, Mexico, Costa Rica, Tokyo, Qatar and Serbia. Restaurant Business named the company on their Power 20 List in 2017. Chef Sandoval has been awarded Mexico’s National Toque d’Oro 2003, Bon Appétit Restaurateur of the Year 2006 and Cordon d’Or Restaurateur of the Year 2012 and various other awards for his restaurants around the globe.

career as a chef & restauranteur evenly, my grandmother helped develop my love for culinary arts, and my father taught me the business side of owning and operating restaurants. You play several roles – Chef, restaurateur, a culinary consultant, television personality, cookbook author and brand ambassador. What do you enjoy the most? I think all the roles are equally important to me. I want to make sure that I’m giving my guests a delicious meal and the best experience possible at a beautiful restaurant. We are a chef-driven company - therefore, we always need to stay creative in the kitchen and explore new possibilities. With over 50 concepts around the world, how do you oversee your empire? It almost becomes like a chess game, moving people around your business. I’ve opened two or three restaurants in the last month, but I was able to do it because I have a great team of people. I look at the menu, taste everything and make adjustments. It’s not about me anymore. It’s all about other people and finding the right team with the same passion.

Being a professional tennis player in your early years, how did your journey transition into the restaurant business? I was nine when I started engaging in tennis tournaments in Mexico. I moved to California and earned a scholarship to play tennis. It was very intense, and I wasn’t making much money. I travelled a lot on the satellite circuit and always ended up in the food markets on my days off. Food was my calling. Then I signed up for culinary school and the rest, as they say, is history.

What influences your decision to open a restaurant in a new city or country? Also, what brought you to the UAE? Expanding this way wasn’t my plan, and I never saw it coming, it just happened. My first restaurant in New York was very successful, and from that time, developers started approaching me with new opportunities. Here, what attracted me, was the incredible vision that the leaders of the UAE had for their country. They turned sand into diamonds, and as a leader in my industry, I always want to be in places where there is a vision, growth potential and a very knowledgeable clientele.

What has been the primary source of inspiration for you? I would say both my father and grandmother contributed to my

You have a broad range of restaurants in your portfolio. How do you come up with new concepts? Because of the business, I travel a lot, and that exposes me all the

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VaKaVa Pan Latin Grill & Lounge, Jumeirah at Etihad Towers

Traditional Radizio

Ceviche Huachinango

time to new cultures, new ingredients, new flavours and different people with different ideas. I just try to put it all together, and something new and exciting will come. You recently inaugurated your latest restaurant in Abu Dhabi, VaKaVa Pan Latin Grill & Lounge. How different is it from your much-loved venue Toro Toro that you opened in the capital some two years back? As we like to say, VaKaVa is Toro Toro’s more mischievous sister. It has the same Latin roots, yet a more vibrant, passionate and spirited personality. VaKaVa has a more diverse taste in music, and its gastronomy brings elements from other cuisines. VaKaVa is diverse, it’s colourful, it’s fun! Which would you say is your signature dish at VaKaVa Pan Latin Grill & Lounge?

Definitely our Ceviches and the Parrillada Mixta. Which is your favourite ingredient to work with? I couldn’t live without chillis – they’re very misunderstood. People just relate them to heat, but they are actually very diverse ingredients. I look at them almost like herbs. When not cooking, what is it that you enjoy doing? I enjoy and need a lot of quiet time, I love spending time with my kids, I still play a lot of tennis, and I’m quite a good golfer. Are more restaurant openings on the cards this year? Always, we have a few openings coming in the United States, in the Virgin Islands and Turkey.

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L A D O L C E V I TA • S H A R I N G T H E FA M I LY T R A D I T I O N

SHARING THE FAMILY TRADITION A review of the brand new Quellenhof Luxury Resort at Lazise, on the shores of Italy’s Lake Garda

To most non-Italians, when the phrase ‘Italian lake’ is mentioned, Lake Como is the name that they would recall. However, mid-way between Venice and Milan is lake Garda, Italy’s largest. It combines the charm of the Italian plains on its southern shores with the Alpine character of the Garda Mountains towering over its northern shore. Lazise, a charming old town situated on the south-eastern shore of the lake, now plays host to the only luxury five-star resort on the eastern shore of the Lake Garda, the Quellenhof Luxury Resort. Quellenhof Lazise is only the second property of the familyrun group. The original, in St. Martin in South Tyrol, has grown from a small inn into a renowned, multi-award-winning complex of luxury resorts and residences deep inside Val Passiria region of the Italian Alps. Known for its exceptional service, spa, and gourmet restaurants, the resort also offers a wide range of activities from golf to horse riding, tennis, football, trekking and many others. One of the qualities of the Quellenhof Resort that sets it apart from most luxury resorts is that it is designed to be family friendly. The Dorfer Family’s second resort at Lazise, inaugurated in February this year, sits around 170 kilometres south of the original and shares with its older sibling many of the signature traits, while remaining true to its regional identity. Even though Lazise is located at 46-degrees North latitude, the region experiences mild temperatures from spring to autumn, often complemented by pleasant winds. The mild climate favours the growth of some Mediterranean fauna, including olive and lemon; which explains why the resort is immersed in the middle of hundreds of olive trees. Design is undoubtedly one of the strengths of this hotel with an architecture that is elegant, modern and innovative. Situated at an elevation above Lazise, it features large glass windows that offer views of Lake Garda, the olive groves, as well as the cypress and palm trees typical of northern Italy. The interior, personally curated by Mrs Dorfer, one of the owners of the group, is modern and refined with exceptional attention to detail. The resort offers 60 rooms and suites that range between 40 and 265 square-metres with lake or garden views. All the

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L A D O L C E V I TA • S H A R I N G T H E FA M I LY T R A D I T I O N

Suite Bella Bianca

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Panorama restaurant

rooms and suites come with complimentary spa basket with fluffy bathrobe, towel and bathing shoe, exclusive Dorfer Med care products in the room, a selection of international newspapers, free shuttle service to Lazise’s city centre, underground car parking space, free charging of electric vehicles, WiFi, as well as tea and coffee making facilities. Of the broad selection of suites on offer, the Penthouse Pool Villa is the hotel’s marquee accommodation. Covering an area of 265 square-metres across two floors, it comprises a huge loggia in front of the suite, a rooftop terrace and an infinity pool. It has two bedrooms, each with a walkin wardrobe, flat-screen TVs, wooden flooring throughout, bathrooms with rain shower, a whirlpool and private sauna. Given that the reputation of the Quellenhof brand was built, among other things, on its spa facilities, the Dorfer Family seemed determined to replicate it at Lazise. The new Onda Spa covers 2,000 square-metres and has an ambience in which light, colours and design are wonderfully coordinated to create an oasis of tranquillity. The facility has five modern saunas with several infusions daily. In the adults-only sauna area, there is a Finnish sauna, a steam bath, and a bio sauna with relaxation zones. In the family sauna area - created to allow parents to enjoy

a barcollective spa experience with their children - there is a textile sauna area with Finnish sauna, steam bath, and a spacious relaxation room. There are several treatment rooms and a private spa suite for a choice of exclusive and innovative treatments, from massages and beauty packages to couple treatments, all using high-quality cosmetic products. The facility also has a hairdresser. The resort has a total of four pools that are temperature controlled year-round: a 21 metre adults-only Skypool, a 25 metre sports pool with indoor entrance, a heated pool for children with water slide, wave slide, playground, and a natural swimming lake with vitalized Grander water with direct access from the hotel and the beautiful gardens. Back in the 1920s, the Quellenhof Inn earned a reputation for its cuisine, which made it a popular excursion destination. Quellenhof Lazise’s Panorama restaurant, which has a retractable roof, stays true to this heritage with its gourmet half-board. Guests are spoilt for culinary choice with an extensive breakfast buffet and a 6-course menu of Mediterranean cuisine in the evening, using regional and seasonal produce. During the day, “La Piazza” bistro serves light Mediterranean dishes and snacks, “home-made” cakes, coffee and ice cream specialities.

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L A D O L C E V I TA • R E S TA U R A N T S

A TASTE OF THE RIVIERA IN DUBAI A review of Villamoré beachside restaurant, a venue for those who prefer laid-back luxury Villamoré is an effortlessly chic beachside restaurant and lounge located at the Emerald Palace Kempinski, The Palm, with a beachfront terrace boasting expansive views of Dubai’s skyline. It references the sophisticated yet understated glamour of the Mediterranean, where guests relax into laid-back luxury, whether for lunch on the shaded patio deck, an Aperitivo on the sunset terrace, or late-night soireés. Its interior has a rustic European charm, with blues and whites, wooden tables and ceramic accents. Guests can opt to dine in the main restaurant, or outdoors, on the patio deck. The kitchen serves innovative, yet recognisable dishes drawn from regional Italy, the French Riviera and the Levant. The culinary journey begins at the

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vongole with freshly sourced clams, garlic and olive oil, or risotto nero; Spain is represented by a colourful seafood paella; from the Riviera there is seabass cooked in a salt crust and presented with flair table-side; for meat lovers is a juicy flame-grilled 1 kg T bone. Villamoré’s expansive rooftop invites guests to linger over cocktails watching the sun fade over the skyline of Dubai, or in the evening, playfully mingle to the ambient sounds of the resident DJ. walk-in private Antipasti Room where a range of halal cured meats and tapas tasters are laid out, complemented by the option to order a magnificent spread of cold seafood on a sharing platter, served family style to the table. Highlights include Fine De Claire oysters or 50 g imperial caviar as starters; spaghetti

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VILLAMORÉ Emerald Palace Kempinski, The Palm, Dubai +9714 248 8890

EXPERTLY CRAFTED ITALIAN FLAVOUR Vanitas at Palazzo Versace Dubai is a gourmand’s delight A delectable bowl of pasta, eaten from a Versace plate, at one of the most luxurious addresses in Dubai, at a venue with a charming and elegant interior, and set against the Dubai creek. The perfect backdrop for a romantic dinner or a sophisticated dining experience. Vanitas, the signature Italian restaurant at Palazzo Versace Dubai, offers a range of expertly curated dishes with an emphasis on traditional, rustic Italian food, and served with the finesse that one expects from a Versace brand. The tables are grouped in pairs around the long room, dressed in pressed white tablecloths and set with Versace’s bold blue and gold crockery and a pretty arrangement of fresh roses. The kitchen at Vanitas is headed by Italian chef de cuisine Marco Legittino. During his 20-year career, chef Legittino has previously worked at various venues across Europe and the Middle East. He has also been awarded the Italian Master

Chef de Cuisine from Academia Barilla as well as the Ospitalita Italiana Certificate of Italian Authenticity from the Italian Chamber of Commerce. Legittino enjoys experimenting with fine foods and reinterprets classic dishes with flair. The exquisite menu takes you on a culinary journey through Italy with stunningly hand-crafted dishes like Cured Black Angus Beef Carpaccio with Hon Shimenji Mushroom, Rocket Pesto, Parmigano and Black Truffles or Tuna Tartare featuring Strawberry Gazpacho

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and 25 years aged Balsamico. An array of homemade, fresh pasta dishes caters for every taste. These include Lobster Agnolotti, served with Zucchini Cream and Oscietra Caviar, Duck Tortelli, Castelmagno Cheese Fondue, Crispy Duck Ham and Hazlenut Crumble, a creamy risotto dish such as Fava Beans and Mint Risotto, complete with Pecorino Foam. Meat and fish come in a superb range of flavours, from Grilled Wagu Beef Striploin, served with Caramelized Shallots, Grilled Eryngii Mushroom, Porcini Cream and Rocket Pesto to Sea bass Fillet cooked on aromatic salt, Cannellini Beans and Baby Spinach.

VANITAS Palazzo Versace Dubai +971 4 556 8820

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L A D O L C E V I TA • S PA

DESIGNED TO REJUVENATE Saray Spa at JW Marriott Marquis is a health and wellness haven at the heart of the world’s tallest hotel Caravanserais were oases of rest and rejuvenation located along the silk trade routes. Drawing inspiration from those historic Caravanserais, JW Marriott Marquis’ Saray Spa offers ancient healing techniques combined with locally sourced natural ingredients. All products used in these treatments come from an exclusive line found only at the spa and in the luxurious Saray Spa Boutique. Saray Spa has now curated five exclusive packages for its Dubai clientele. The Just For Men package, celebrating Saray Spa winning the global award for Best Male Spa at the World Luxury Spa Awards 2017, offers seven reinvigorating treatments tailored for professionals looking to de-stress. The treatments range between 30 to 90 minutes and include the Alpha Male Energy Booster, Gentlemen’s Retreat, Executive Indulgence, Energy Reform, Men’s Executive Massage, Fast and Furious or a Skin Purifying Facial. Exclusively Yours is a bespoke 200 minutes holistic treatment that is tailored to the client’s needs and includes a customised and results-focused facial, customised nourishing body wrap, and a choice of massage. The Wellness Hours are offered every Sunday to Thursday, and bookings between 9 am to 2 pm receive a 25 per cent discount. Afterwards, clients can relax at the hotel’s The Lounge, La Farine Café & Bakery or Aqua venues.

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K- Beauty is a Korean anti-ageing and hydrating facial treatment, which uses Diamonds because of their ability to deliver ingredients to the deepest layers of the skin. Girls’ Day at Saray Spa is the ultimate in girly indulgence comprising a 30-minute facial or back massage followed by a complimentary reflexology session, followed by Afternoon Tea at La Farine Café and Bakery. Wedded Bliss is for couples to indulge in handmade chocolates and a bottle of sparkling beverage, while being pampered by a revitalising scrub, glowing facial and a relaxing massage.

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SARAY SPA JW Marriott Marquis Dubai +9714 414 6754

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