Signe - Edition 36 by Signé

AED 30 KWD 2.5 QAR 30

S I G N É

‘GENEROUS CAPITALISM’ IN PRACTICE DECODING THE GROW TH A ND EVOLUTION OF THE KER ING GROUP

A CLASSIC REBORN WITH NEW DNA

CHOPARD’S ALL-NEW ALPINE EAGLE COLLECTION INSPIRED BY THE ALPINE BEAUT Y

THE OPULENCE OF NATURE

WE EXPLORE THE AZULIK RESORT’S HOLISTIC APPROACH TO LUXURY

THE NEW DOLCE VITA Ferrari Roma: Maranello’s new V8 2+ coupé

BIG BANG UNICO SANG BLEU II Titanium case. In-house UNICO chronograph movement. Limited to 200 pieces.

hublot.com

ESCAPE FROM THE CITY TO A LUSH COASTAL COMMUNITY Nestled along the breathtaking Sahel Al Emarat coast between Abu Dhabi and Dubai, AlJurf Gardens offers villas and plots designed to integrate with the raw beauty of the location. Your sanctuary of calm includes abundant open spaces, a private beach and plenty of wildlife for company.

NAT U R E I S A LU X U RY

#AlJurfLife

800 IMKAN

www.al-jurf.com

OWN YOUR PIXEL on Reem Island

L i ve in a n eighb ourho o d w i t h 26 exci t i n g a m en i t i es . E n j oy t he b each, indulge i n t he b es t o f gl o b a l cui s i ne… t h ere’s a lways more to exp l o re @ M a kers D i s t r i ct .

L E ARN MOR E AND RE G ISTE R AT THE PIXEL . AE

8 0 0 IM K AN

ALPINE EAGLE With its pure and sophisticated lines, Alpine Eagle offers a contemporary reinterpretation of one of our iconic creations. Its 41 mm case houses an automatic, chronometer-certified movement, the Chopard 01.01-C. Forged in Lucent Steel A223, an exclusive ultra-resistant metal resulting from four years of research and development, this exceptional timepiece, proudly developed and handcrafted by our artisans, showcases the full range of watchmaking skills cultivated within our Manufacture.

ATYPICAL DESIGNER

A sneak peek at Olivier Rousteing, Balmain’s Creative Director, and the freshness he brings to the Parisian fashion scene

STREET-MEETSSARTORIAL

FOR THE SAKE OF WILDLIFE

Hublot’s limited-edition Big Bang Unico SORAI to raise funds for protecting endangered Rhinos

Our top product pick is a Berluti Travel Bag

LATEST

A review of Tommy Hilfiger x Lewis Hamilton Fall-Winter 2019 Collection

HORLOGERIE RENOUVELER

BESPOKE MATTERS

We talk to Richard Anderson for an insight into his savoir-faire and the future of Savile Row

WatchBox x Ahmed Seddiqi & Sons partnership to benefit haute horlogerie enthusiasts in the UAE and the region

Decoding the growth and evolution of the Kering group

A delve into Gucci’s long-term commitment to Carbon-neutrality

Fashion-forward buys, picked by Signé for you

‘GENEROUS CAPITALISM’ IN PRACTICE

COMMITING TO GREEN

THE STYLE EDIT

ALIGNING THE PAST WITH THE FUTURE

Patrick Pruniaux, CEO of Ulysse Nardin, talks to us about the brand and its way forward

SNEAKER PICKS

Stella McCartney and LVMH Team-up for Sustainability

Signé’s conversation with Julien Tornare about Zenith watches and his role since he took over as its CEO two years ago

Loro Piana’s story of the origin of their iconic fibre ‘Cashmere’

We pick our favourites from Tateossian of London’s latest collection of accessories for men

46 FIVE STAR SKINCARE

REBUILDING A STAR

Stay on trend with the best sneakers to own this season

SUSTAINABILITY THROUGH DESIGN

IN A FARAWAY LAND

HOLIDAY STYLE GUIDE

A CLASSIC REBORN WITH NEW DNA

Sodashi’s new products in the Mankind Range

MOHAIR

FLIGHTS OF FANCY

FRAGRANCE FILE

We look at what makes Mohair a diamond among fibres

Editor’s selection of fragrances for the season

Chopard unveils its all-new Alpine Eagle collection inspired by the Alpine beauty

The tale of the aviation and literary legend, Saint-Exupéry, and the watch he inspired

ALL ABOUT HOROLOGY A brief look at what to expect at this year’s Dubai Watch Week

NURTURING INNOVATION

A brief overview of the Audi Innovation Awards and a personal insight into the awards from the 2018 winner, Elias El Soueidi

FERRARI ROMA: THE NEW DOLCE VITA Maranello unveils a new prancing horse inspired by the spirit of Rome in the 1950s and ‘60s

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RITUALS OF THE ROYALS

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Meet the new Lotus Evija through the words of Russell Carr, the Design Director of Lotus Cars

A conversation with Alexander Orlov about his experiences, the Bulldozer Group and its global venues

THE GLOBAL RESTAURATEUR

FUTURE-PERFECT RESTORATION

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We unravel the mystery behind the name and logo of the Lincoln Motor Company

We review Lalezar, Dubai’s very first Anatolian restaurant

An introduction to Lunaz, the Silverstone based luxury classic car electrification company

LUXURY HAS A NEW NAME

A review of JA Lake View Hotel, the newest property addition to JA The Resort in Jebel Ali

OBJECTS OF DESIRE

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

A NEW BEGINNING FOR AN OLD NAME

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A MIX OF FLAVOURS

Up close and personal with Samoan born Celebrity Chef Monica Galetti

The Talise Ottoman Spa at Jumeirah Zabeel Saray offers an impressive Turkish hammam fit for Royalty

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A RENEWED SPA CULTURE

AWAY spa at W Dubai transforms the traditional treatment experience into an amped-up social scene

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AN OTTOMAN EXTRAVAGANCE

THE OPULENCE OF NATURE

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The Lladró Medieval Tournament collection is a demonstration of the creative prowess of Lladró’s artists

The celebrated Chinese restaurant reopens with a new Chef and an impressive new menu

Lotusier brings a new quality of storage to a much broader audience with the Tin Humidor

DECODING THE HISTORY OF LINCOLN

IN WHITE GOLD

REDISCOVER ZHENG HE’S

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We explore the Azulik Resort’s holistic approach to luxury

DESIGN MEETS FUNCTION

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ATYPICAL DESIGNER Balmain’s Creative Director, Olivier Rousteing, is bold and offers something fresh to the Parisian fashion scene

“I’m not the typical Creative Director of a major house,” says Olivier Rousteing, the creative director of French luxury fashion house Balmain. He was just twenty-five years old in 2011 when first presented to the world as the Creative Director of Balmain, making him one of the youngest in Paris since Yves Saint Laurent. “I see first-hand how my generation lives and I understand how they want to dress. Most importantly, I’m a privileged witness to the openness, optimism, universality and honesty of this dynamic moment, with so many rapid evolutions in art, communication, popular culture and music. Those changes constantly inspire me and are reflected in my collections,” adds Rousteing. By drawing inspiration from the brand’s rich archives and utilizing its atelier’s mastery of intricate, traditional couture techniques, and overlaying them with his own creative input, Rousteing has introduced a recognizable signature for Balmain. Tech-savvy, a magnet for influencers, and deft at incorporation of an element of showbiz into his presentation, Olivier has also been instrumental in the growth of the “Balmain Army” and the brand’s bottom line.

Born in 1986, Olivier was adopted as a one-year-old and raised in Bordeaux by working-class parents. Until recently, he was under the impression that he was the result of a mixed-race relationship. However, in “Wonder Boy,” a biographical documentary released this summer, Rousteing discovers that his biological mother is Somali and his biological father is Ethiopian. As a teenager, he moved to Paris to study fashion at École Supérieure des Arts et Techniques de la Mode (ESMOD) and graduated in 2003. At just 18 years old, he moved to Italy and Roberto Cavalli where he began his career as an intern. He rose swiftly through the ranks to become the designer for the brand’s men’s and women’s ready-towear collections; a position he held for five years. In 2009, when Rousteing was offered an opportunity to return to Paris and become a member of Balmain’s design team under Christophe Decarnin, he grabbed it with both hands. Decarnin became a mentor of sorts for him. Two years later, when Decarnin decided to leave the brand, Rousteing was picked to succeed him as Head of Design. At that time, Rousteing was relatively unknown, and his appointment certainly caused

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some eyebrows to be raised. Over time, however, he has proved his worth. While he considered Decarnin his mentor and had a soft spot for his aesthetic, Rousteing wanted the house to focus more on the finer aspects of French couture while adding some much-needed freshness of his own. This new aesthetic made the brand more appealing to the Asian market, which comprises a significant portion of the brand’s market. His new aesthetic, combined with his market acumen, also pleased the brand’s retailers. Rousteing is counted among the pioneers of Instagram marketing, particularly his conception of the “Balmain Army” - a group of highprofile men and women influencers that include the likes of Kendall Jenner, Gigi Hadid and Kim Kardashian West among others. It also includes CGI generated models such as Margot, Shudu and Zhi, each of whom has a sizeable following on Instagram. Rousteing’s tech-marketing know-how led to the Balmain app in 2019, accompanied by its online store; developed in partnership with Yoox, Net-a-porter and Mazarine luxury e-commerce platform. Balmain was also among the first brands to launch its Instagram shopping feature in 2019.

Olivier Rousteing, Creative Director, Balmain (Picture Courtesy: Pascal Dangin)

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FA S H I O N • AT Y P I C A L D E S I G N E R

Balmain Spring-Summer 2020 Collection Photo: Courtesy of Balmain

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Puma x Balmain created with Cara Delevingne

Rousteing has elevated the art of presentation by combining visuals and music to present his designs in a manner befitting a high gloss theatrical piece. As an example, when Rousteing heard Kanye West’s Wolves, he decided to use it for his Fall 2016 campaign. The two teamed up with Steven Klein and a contingent of Balmain Army members for a creative collaboration that fused dance, music, lyrics, photography and fashion. As with most designers today, Rousteing has tried his hands at collaborations. This year, he teamed

up with his friend and muse Cara Delevingne and Puma to offer the firstever Puma, Balmain & Cara Delevingne collaboration. The 35-piece collection, available worldwide from November 21, stands at the intersection of sport and fashion, with pieces inspired by traditional boxing gear and infused with Parisian couture. Bra tops, boxing shorts, and sneakers are elevated with a stark colour palette, hits of gold, and design elements straight out of Balmain’s atelier. For the Spring-Summer 2020 collection, titled ‘Talkin ‘Bout My

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Generation,’ Rousteing takes the bold step of exploring the styles from his youth - “the late nineties and early aughts.” Even though they “seem too recent to consider for revivals,” says Rousteing, “they rely on the masterful craftsmanship and singular tailoring skills that only a true Paris atelier is capable of.” The collection also includes fine jewellery pieces featuring diamonds from Diamond Foundry, “the world’s only carbon-neutral diamond produce,” as well as Kylie x Balmain Cosmetics created in collaboration with Kylie Jenner.

FA S H I O N • S T R E E T- M E E T S - S A R T O R I A L

STREET MEETS

SARTORIAL Tommy Hilfiger’s Fall Winter 2019 Collaboration with Lewis Hamilton

The Tommy Hilfiger brand has a reputation for collaborating with pop culture icons from the worlds of fashion, music, arts and entertainment. In fact, back in the ‘90s, Tommy Hilfiger, the designer, was one of the firsts to blend fashion and celebrities from pop-culture. Recently, the brand announced its latest collaborative capsule collection for the Fall 2019 season: The TommyXLewis collection, codesigned by Tommy Hilfiger and Lewis Hamilton. The five-time FIA Formula One World Drivers’ Champion and TH’s global brand ambassador also appeared in the capsule collection’s global multimedia campaign. “For Fall 2019, Lewis and I were inspired by the clashing of two distinct worlds – classic American sportswear and modern streetwear designs,” said Tommy Hilfiger. “The collection blends two creative points of view, creating styles infused with Lewis’ creativity and vision, for a new twist to our brand DNA. That is the power of collaboration.” Lewis Hamilton added: “Tommy and I share the belief that everyone should embrace what makes them unique. For the Fall 2019 TommyXLewis collection, we added a new edge to sartorial styles, mixing my love for streetwear and the Tommy Hilfiger Americana heritage. This is a celebratory collection, and the advertising campaign brings to life the idea that when we work together, we unlock our true potential.” The TommyXLewis collection is a clash between all-terrain travel with timeless sartorial looks for the city. The Re:Down line, featuring organic cotton, adds a sustainable element to the collection. Warm burgundy, neutral tones, timeless checks and bright tie-dye patterns appear on the classic tracksuit, turtleneck, wool coat, and parka to offer a modern twist on old classics. The collection features apparel, footwear, accessories, innerwear and socks.

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Lewis Hamilton for the Fall 2019 TommyXLewis collection

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FA S H I O N • S T R E E T- M E E T S - S A R T O R I A L

Lewis Hamilton for the Fall 2019 TommyXLewis collection 18

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Lewis Hamilton’s “LH” logo has evolved into a minimalistic black square design reminiscent of the iconic Tommy Hilfiger flag. In addition to the “LH” logo, one also finds “Blessed” used throughout the collection. When asked about its significance, Lewis explained: “Throughout my career, I have had amazing opportunities in racing, fashion and music, which have taken me around the world to meet new people and draw inspiration from different cultures. For me, the word “Blessed” is about remembering to always be thankful for what I have.” He then elaborated on his sense of style and how he would pair his favourite pieces from the collection. “My style is constantly evolving,” he replied. “Recently, I’ve been mixing casual pieces with more structured designs, and you can see the different ways

we have clashed these two styles in the Fall 2019 collection. For city exploration in the colder months, I would pair the camel wool coat with the fleece college-inspired tracksuit, or the reversible puffer jacket with chunky boots. In the daytime, I would go for a more timeless look, pairing the dark red polar-fleece bomber jacket with chinos and a classic T-shirt.” Hilfiger added: “One of my favourite looks is our fleece logostripe sweatpants combined with the long wool coat. I love how a timeless classic is elevated with a cool streetwear twist. The high-low mix of urban and luxury really reflects Lewis’ signature style.” The Fall 2019 TommyXLewis collection is available online at tommy.com, at select Tommy Hilfiger stores worldwide.

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FA S H I O N • ‘ G E N E R O U S C A P I TA L I S M ’ I N P R A C T I C E

‘GENEROUS CAPITALISM’ IN PRACTICE A brief history of the growth and evolution of the Kering group

The story of Kering is one of humble beginnings, of impressive growth, of evolving with the times, of commitment to sustainability, and of two men – the father-son duo who have steered the group since its founding in 1963. Going forward: “Our ambition is to be the world’s most influential luxury group in terms of creativity, sustainability and long- term economic performance,” states the group’s 2018 annual report. As far as financial performance is concerned, the 2018 numbers tell us that the group generated revenues of €13.665 billion, Recurring Operating Income of €3.944 billion, and possessed assets worth €21.367 billion. The debt-to-equity ratio was at 17%, down from 24.1% of the previous year, while the dividend per share increased by €4.5 to €10.5 from 2017. On the sustainability front, Kering became part of the Dow Jones Sustainability Indices, world and Europe, in 2013. The following two years, the group was anointed “Industry leader” by the same indices. Last year, the Corporate Knights’ Global 100 index named the group “Most sustainable textile, apparel and luxury goods corporation.” It was also adjudged to be one of the “50 most sustainable companies in the world” at the SEAL Business Sustainability Awards. The group’s commitment to sustainability, while delivering positive economic performance, is credited to its commitment to “Generous Capitalism.” This phrase and the philosophy behind it is the brainchild of the group’s chairman and CEO François-Henri Pinault. The Kering story began in 1963 when François Pinault founded Établissements Pinault. François was born in the Brittany region of France in 1936. At the age of 16, he dropped out of school and enlisted in the military during the Algerian war. Later, he returned to the family business, a timber trading company, only to sell it after his father’s death. He later re-purchased it in 1963 with help from friends and a bank loan.

Once he had re-acquired the company, Pinault adopted an aggressive strategy of cutting out middlemen in the supply chain, which yielded high profits. He used the surplus funds to buy out timber-related companies that were in dire straits and turned them around. As a result, the company grew rapidly to the top of the timber business in France. Re-branded Pinault S.A, the company’s shares were offered on the Paris Stock Exchange in 1988. In 1990, Pinault S.A merged with CFAO, a French distribution conglomerate active throughout Africa. The new entity then merged with Au Printemps SA, the French department store chain in 1992 to become the Pinault-Printemps Group. In 1994, the group was renamed Pinault-Printemps-Redoute following a merger with La Redoute – a French multi-line ready to wear retailer. Then in 1999, came the most crucial acquisition as far as the current Kering group is concerned; the purchase of a 42 per cent controlling stake in the Gucci group for $3 billion. In 2003, the group’s stake in Gucci was increased to 67.6 per cent, and again in 2004 to 99.4 per cent. The acquisition of the Gucci group, which also included Yves Saint Laurent, not only became the cornerstone of the group’s future streamlining into the Luxury sector, but it also triggered a flurry of acquisitions in luxury and fashion sector. In 2000, Boucheron was acquired for around $145 million. In 2001, the group purchased a 78.5 per cent stake in Bottega Veneta, a 91 per cent stake in Balenciaga, as well as signing a strategic partnership with designers Alexander McQueen (51 per cent) and Stella McCartney (50 per cent). In 1992, Pinault had set up Groupe Artémis, a holding company to manage the Pinault family’s investments. It owns Christie’s, Château Latour winery, Le Point publications, Stade Rennais Football Club and Théâtre Marigny among

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François-Henri Pinault, Chairman and CEO, Kering Group (Photo Courtesy: Carole Bellaiche)

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“When it comes to climate change, we can no longer wait to take real action. We all need to step up as businesses and account for the GHG emissions that we generate in total.” François-Henri Pinault, Chairman and CEO, Kering Group

The Kering 2025 initiative promises to do more than ever to Care about its impact on the planet, to collaborate for the good of their employees, suppliers, clients and to create pioneering ideas to safeguard their rich heritage and empower future generations.

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FA S H I O N • ‘ G E N E R O U S C A P I TA L I S M ’ I N P R A C T I C E

Kering’s Massive Open Online Course is the world’s first digital course dedicated to Sustainability & Luxury Fashion

others. Artémis has also been, from its inception, the largest and controlling shareholder in Kering and its predecessors. As of December 31, 2018, Artémis held 40.9% of Kering’s share capital. In 2003, François Pinault hand-picked the eldest of his three sons, François-Henri Pinault, to become the President of Artémis. This marked a pivotal moment in the group’s history, as François-Henri began to set a new course for the group; to make it leaner and more focused on the luxury sector. François-Henri Pinault, a graduate of HEC School of Management (1985), joined the family business in 1987 and held several managerial positions within the group before taking charge of Artémis. According to him, the group was a behemoth, holding together companies that had little synergy. The group was the product of an era when the global economy was dominated by protectionism and restrictions on capital flow, thus limiting investment opportunities. What’s more, around 60 per cent of the group’s business was based in France. With globalisation on the rise in the last decade, luxury became the obvious choice of focus as it already had the most expansive global presence within the group, while also having high barriers to entry. In 2005, François-Henri became CEO of the group, changed its name to PPR, and initiated a full-fledged restructuring of the group. Pinault Bois et Matériaux, which formed the core of the group’s wood business, had already been sold in 2003. Le

Printemps followed in 2006, Conforama in 2011, CFAO and Fnac in 2012, and La Redoute in 2013. Simultaneously, PPR developed a Sport & Lifestyle portfolio with the acquisition of Puma in 2007, Cobra Golf in 2010, and Volcom in 2011. The Sowind Group, which owns the high-end Swiss watchmaker Girard-Perregaux and the Italian bespoke tailor Brioni were also acquired in 2011. The following year, the Italian Pomellato group, which owns Pomellato and Dodo jewellery brands was acquired, along with the Chinese fine jewellery brand Qeelin. In 2013, with most of the repositioning completed, the group symbolically changed its name to Kering; from the Breton language word “Ker,” meaning house, and pronounced “Kering.” That same year, the group launched Kering Eyewear, purchased a 51 per cent stake in the British brand Christopher Kane, and announced a joint venture with Tomas Maier. In 2014, a relatively unknown Alessandro Michele was appointed as the creative director of Gucci. He revitalised the brand’s creativity while doubling its sales by 2017. In 2018, Kering began divesting its Sport & Lifestyle portfolio, parted ways with Stella McCartney and ended its collaboration with e-commerce facilitator Yoox, and will instead, develop a proprietary e-commerce platform by 2020. François-Henri’s other significant contribution to the group is infusing into it what he calls “Generous Capitalism;” a business

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Kering invited Hyères Festival finalists last February to its headquarters to “Talk Sustainability,” and made the case for the young designers to consider the issue from the outset of building their businesses. (Photo Courtesy: Jean-Luc Perreard)

with purpose and meaning, a business that embraces its social responsibility towards its employees and the environment. It was this philosophy, combined with the fact that a majority of the group’s employees and customers are women, led to the launch of the Kering Foundation in 2009 to tackle violence and abuse suffered by women, while also promoting women’s empowerment. The group’s high-profile commitment to sustainability is another outcome of “Generous Capitalism.” It has done more than most in this regard without compromising on profitability or growth for its shareholders. According to François-Henri, the trick is to think about sustainability and implement it at the very beginning of a business venture, and not as an afterthought which leads to higher costs. One of the keys to achieving this is to get all those involved in the creative process to take part in the conversation and to get them focused on innovation. Kering founded the Materials Innovation Lab as far back as 2013, which today provides the group with more than 3,000 sustainable fabric and textile samples. In September, Kering announced that the entire group would become carbon neutral within its own operations and across the whole supply chain. Also, it will offset the group’s annual Greenhouse Gas emissions from 2018. Kering’s commitment is an extension of its annual offsetting approach that was established back in 2011.

The Kering 2025 initiative announced recently promises to do “more than ever” to “Care about our impact on the planet, on climate, on natural resources; Collaborate for the good of our employees, suppliers, clients; Create pioneering ideas to safeguard our rich heritage, and empower future generations.” This February, Kering invited Hyères Festival finalists to its headquarters to “Talk Sustainability,” and impressed upon them to consider the issue of sustainability from the outset of building their businesses. The group is also partnering with the Fashion for Good - Plug and Play Accelerator for startups to drive disruptive innovation and make materials and processes more sustainable. “When it comes to climate change, we can no longer wait to take real action. We all need to step up as businesses and account for the GHG emissions that we generate in total,” said François-Henri. “While we focus on avoiding and reducing our GHG emissions to meet our ScienceBased Target, we will offset all our remaining emissions and support the conservation of vital forests and biodiversity around the world.” While most corporates treat sustainability as an afterthought, or a marketing tool, the Kering group, under François-Henri, has developed a business model that delivers on its promise of “creativity, sustainability and long-term economic performance.”

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THE STYLE EDIT

EDITOR’S PICKS

Slip-on Loafer, Corneliani

Leather Holdall Bag, BOSS x Meissen Capsule Collection

Long Jacket Luxury, Billionaire

Leather Zip Smock, Dunhill

Corduroy Trouser, Dunhill

Leather Belt, Berluti

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Sunglasses, Cartier

Gloves, Hackett

Pure Cashmere Cardigan, Hackett (Mayfair)

Corduroy Suit, Brunello Cucinelli

Scarf, Dolce&Gabbana

ELN Socks, Loewe

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

SUSTAINABILITY THROUGH DESIGN We explore how the subject of sustainability will be impacted by the new Stella McCartney and LVMH partnership

This July, Stella McCartney and LVMH formally announced a strategic partnership between the two brands. Stella will continue as creative director, ambassador and majority shareholder of her brand, while holding a “specific position and role on sustainability” at LVMH. She is also a special advisor to Bernard Arnault, Chairman and CEO of LVMH, and its executive committee members. While industry analysts do not expect to see any dramatic changes in LVMH’s earning figures as a result of this partnership, they do expect it to add substantially to the group’s sustainability quotient. The two parties were also eager to stress the point that sustainability was a significant factor in the deal coming to fruition. Following the announcement, Stella said in a statement that while there were several suitors for the brand, “none could match the conversation I had with Bernard Arnault and his son Antoine. The passion and commitment they expressed towards the Stella McCartney brand alongside their belief in the ambitions and our values as the global leader in sustainable luxury fashion was truly impressive.” Arnault stated: “A decisive factor was that she was the first to put sustainability and ethical issues on the front stage, very early on, and built her house around these issues. It emphasizes LVMH Groups’ commitment to sustainability. LVMH was the first large company in France to create a sustainability department, more than 25 years ago, and Stella will help us further increase awareness on these important topics.” If anyone was under the impression that all this talk about sustainability would be nothing more than a public relations

exercise, they would have been put to rest following Stella’s spring 2020 ready-to-wear fashion show. The trademark blend of Savile Row tailoring with casual-chic aesthetics was there for all to see. However, according to Stella’s press notes, this collection was her most sustainably made thus far, with more than 75 per cent of it being made from eco-friendly materials. Prior to the catwalk presentation, Stella hosted a roundtable discussion on the fashion industry’s response to the climate change crisis. The speaker included Clare Farrell - a coordinator at Extinction Rebellion, an environmental pressure group, focused on the risk of social and ecological collapse; Amber Valletta – model, actress and spokesperson for Oceana’s Seafood Contamination Campaign; Dana Thomas - fashion and culture journalist and author; Yann Arthus-Bertrand - journalist, filmmaker and environmentalist; David Breslauer - founder and chief science officer at Bolt Threads, a company that develops nature-inspired high-performance materials; as well as Claire Bergkamp – Stella McCartney brand’s sustainability director. Serious discussions of this nature on the environmental impact of the fashion industry is no longer optional but is a necessity. “The clothing industry is the second-largest polluter in the world ... second only to oil,” fashion designer Eileen Fisher declared self-deprecatingly in 2015, to a stunned audience at an environmental awards ceremony in New York. Her claims concur with several industry assessment reports that list - among the main contributing factors – such factors as deforestation, the use of chemicals and GMO breeds during cultivation; the use of harsh chemicals and high-water consumption during the

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Stella McCartney, Fashion Designer (Photo Courtsey: Mary McCartney) SIGNÉ • EDITION 36

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Stella McCartney Spring 2020 Ready-to-Wear Collection

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Stella McCartney Winter 2019 Campaign

manufacturing process; as well as the contribution to landfills and the oceans’ microfibre pollution by consumers. Right from the outset, Stella has been a stalwart within the fashion industry on environmental issues, and is an example on how to build a successful, sustainable and ethically minded business. Environment was always at the core of Stella’s life. She is the second daughter of Paul McCartney and his first wife Linda McCartney, an American photographer, musician, and animal rights activist. Stella had designed her first jacket at the age of thirteen, and by sixteen, she was an intern with fashion designer Christian Lacroix as well as her father’s Savile Row tailor Edward Sexton. She studied Fashion Design at Central Saint Martins. Her graduation collection in 1995 was modelled by her supermodel friends Naomi Campbell, Yasmin Le Bon and Kate Moss, among others. In 1997, Stella became the creative director of Chloé, where her interpretation of the house’s codes, combined with her signature Savile Row-esque tailoring was applauded by clients and critics alike. In 2000, she received the VH1-Vogue Designer of the Year award. The following year, she announced the launch of her eponymous brand in a joint venture with the then Gucci Group, now part of Kering. The Stella McCartney brand has over 50 freestanding stores globally, while her collections are distributed in nearly 80 countries. Last year proved quite pivotal in her career. For one, she designed the highly appreciated Meghan Markle’s reception dress during her wedding to Prince Harry. Secondly, she bought-out Kering’s share of the Stella McCartney

brand to become a completely independent one for the first time. As a lifelong vegetarian and supporter of animal rights, Stella has never used any leather or fur in her designs, opting instead for Vegetarian leather. She uses recycled metals, nylon and synthetic materials; organic cotton; wool from high-quality animal welfare farms; knitwear from re-engineered cashmere; viscose from sustainably managed and certified forests in Sweden. The stores, offices and studios of the brand are either entirely or partially powered by renewable energy. “We believe that the future of fashion is circular – it will be restorative and regenerative by design and the clothes we love never end up as waste. That concept is fundamental to our operating as a modern business,” states the brand’s website. Circular economy, for the brand, is based on three principles: eliminating waste and pollution through design, reusing products and materials, and the regeneration of natural systems. The brand has built up a network of collaborators to help achieve its sustainability goals. As the brand evolves and accumulates further knowledge, it has committed to sharing this knowledge as an open resource for others to learn. With a brand so deeply committed to sustainability, and its founder now having an influential role to play in the world’s largest luxury conglomerate, we may assume that it may be just a matter of when, rather than if, sustainability will take centre stage in the luxury fashion industry. Stella McCartney, the designer and her brand, look set to play an exemplary role in this change of direction towards sustainability; as she always has.

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F A S H I O N • H O L I D AY S T Y L E G U I D E

HOLIDAY STYLE GUIDE It’s that time of the year again. Here is our selection of men’s accessory styles by Tateossian of London that you need in your occasion-wear wardrobe The winter holiday season is upon us, with its retinue of festive events. Whether casual or formal, accessorising has increasingly become an integral part of men’s fashion these days adding that much needed finishing touch to outfits. Everyone brings out their best look for special occasions. Trends change with each season but it is important to keep your style simple, timeless yet elegant. We bring you a selection of season’s must-haves from Tateossian of London’s rose gold collection.

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Macramé Pulse Bracelet in Rose Gold $575

Precious stone beaded bracelet $2300 - $2480 A procession of precious stones fastened by 18 Karat gold signature Tateossian T-Bar clasps to create a beautiful contrast of precious materials. In this example, a combination of rare and less traditional precious stone Ruby and 18K Rose Gold. Available in small, medium and large.

A luxurious take on a Macramé bracelet, this piece is distinguished by delicate sterling silver discs with a rose gold finish, interspersed with handtied knots. Ideal for stacking, these bracelets are also available in Silver and Black Rhodium; in sizes extra small, small, medium and large.

Precious Window Round Gunmetal and Gold Nugget Cufflinks $315 A rough diamond mined in Africa, or an 83-85% pure gold nugget - from the Atlin Min District in British Columbia, discovered when people passed through Skagway, Alaska during the Klondike gold rush of 1898 - form the centrepiece of this super sleek design. These raw, glistening materials, extruding natural beauty, and their matching square enamel frame contrast with the dark industrial gunmetal plating. A layer of glass protects the contents. This design is also available as a pin, tie clip or shirt stud set.

Rontondo Gear Cufflinks $265 A single central gear surrounded by five layers of varying sizes of gears, all spinning and rotating amongst each other. Featuring a mix of colour gunmetal, rhodium and gold-plated elements – to offer an edgy, steampunk appearance.

Mechanical Ring Ruthenium, Rhodium and Rose Gold $419

Fern Lapel Pin Rose Gold Plated $129 Adorning one’s jacket with a pin provides a refined touch of elegance to one’s outfit. This phenomenon began when the Italian fashion brand Lardini began placing felt pins in the shape of cut out flowers in the boutonnières of all their jackets. The natural world is the inspiration for this Lapel Pin; the familiar silhouette of a fern has been replicated in gold. Also available in rhodium.

Smaller pieces of jewellery such as rings get overlooked most of the times while accessorizing. They must be worn with much confidence and they carry a huge potential in making your style standout. This particular ring from Tateossian’s collection is made of three different layers, in the shape of various gears that have been combined to create a rotating, movement ring. Available in a matte or shiny finish, as well as in two different plating combinations; in sizes medium and large.

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FA S H I O N

THREADS

A DIAMOND AMONG FIBRES Here’s what makes mohair a luxurious fibre

Mohair is a silk-like luxury fibre made from the hair of the Angora goat. It is not to be mistaken with the Angora wool which comes from the Angora rabbit nor with the unrelated denim-like mohair canvas used for the folding roof on convertible cars. Nicknamed the “Diamond Fibre” for its high lustre and sheen, its popularity peaked in the 1960s and onwards when a suiting fabric known as Tonik was developed in England and popularised by the ‘rude boys’ and ‘the mod’ subcultures. It was made from a blend of mohair and wool, and it had a shiny, colour changing appearance. Mohair has excellent insulating properties for the winter, while remaining cool in the summer due to its moisture wicking properties. The fibre

is strong, naturally elastic, lustrous, durable, flame resistant and crease resistant. It behaves like wool in terms of dying properties, reaction to heat and sunlight, moth larvae and ageing, but felts less readily and is more sensitive to chemicals. Mohair fibre used for clothing should be between 25 and 45 microns in diameter and is harvested from younger goats. The micron count increases as the goat grows older and its thicker hair is used for producing outerwear and carpets. Mohair was known in Europe as far back as the eighth century. It is believed that the Angora goat originates from Tibet but was concentrated in the central region of Anatolia by the 16th century. Angora goats were imported to several regions of the world and crossbred to

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produce mohair with varying degrees of success. Today, South Africa is the largest producer of mohair, around 50 per cent, followed by the USA. Turkey is also a major producer but is more noted for the quality of the fibre. Not only is it the home of the original breed, but the goats are also sheared just once a year, thus producing the longest mohair in the world. The Angora goat is a single-coat breed and the fibre grows in uniform locks which means there is no need to dehair the goat or separate the coarse hair from the down hair. Shearing is done twice a year (except in Turkey), in the spring and in the fall. The hair is then processed to remove any impurities. One goat generally produces between five to eight kilos of mohair a year.

LATEST

BERLUTI

Cube Small Travel Bag Calf Leather & Nylon AED 11,100

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

RICHARD ANDERSON

BESPOKE MATTERS Richard Anderson gives Signé an insight into his savoir-faire and the future of Savile Row

“My dream was to give life back to ‘The Row,’” says Richard Anderson, the co-founder of the eponymous tailoring house. “To immerse ourselves with some of the most traditional tailors and offer a point of difference, taking the age-old craft of bespoke tailoring forward.” When Richard Anderson Ltd opened for business at 13 Savile Row in 2001, it was the first bespoke tailoring house to do so in 50 years. Richard started as a 17-year-old apprentice under Savile Row legend Colin Hammick. His first book, Bespoke: Savile Row Ripped and Smoothed, recalls those early days. His partner, Brian Lishakhave started on the Row in 1956 and is a former Managing Director of Huntsman. He has accumulated over 50-plus-years of experience in tailoring. Take us through Richard Anderson’s process of creating the perfect suit. Every suit that leaves our workshop is cut in the inimitable house style. For a bespoke suit, I would take a series of 19 to 22 measures. From these measurements, I would then create an individual pattern specific to each client. The measurements don’t tell you everything. They won’t tell me how the customer stands, how they sit and it’s my job to adjust to these and create a suit that accommodates each person’s different movements and style. Part of my job as being a cutter is to improve the body. Make anyone look a little bit taller and slimmer, disguise any concerns they have – you have to take it all into consideration. It is predominantly handwork that goes into the suit. The only times we use a sewing machine would be on the straight seams, which are the pockets and the centre back. It’s difficult to equate to man-hours but between eighty to ninety-man hours go into making one suit, or about eight to ten weeks, and that’s including the client having three to four fittings. We pride ourselves on the experience we offer customers along the way, each experience will differ from one client to another.

Do you feel that bespoke tailoring can appeal to the new generation? Having spent all those years working for a very traditional tailoring company, I decided I wanted to make tailoring less intimidating and more welcoming for gentlemen of my own age and younger. I wanted to take some of the flare and newness that appealed to a younger generation and marry it with the tradition and quality of the older tailors. Nowadays most tailors on Savile Row stock seasonal readyto-wear collections. The introduction of ready-to-wear on ‘The Row’ is a stepping stone into bespoke. We regularly see the return of customers who started out purchasing ready-to-wear and then come back for a bespoke piece. We have also introduced denim into our range – although we are tailors, we understand that trends change and with the increased combination of a sports jacket and jeans, we saw an opportunity for gentlemen to have perfectly tailored jeans along with a jacket. What advice would you give our readers who may want a bespoke suit made for themselves? My advice to a new customer to Savile Row would be to visit each tailoring house. It is the combination of unique house styles and services that sets each tailor apart. A bespoke suit is an investment and it’s important that the tailor and client have a good rapport throughout the process.

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RICHARD ANDERSON LTD 13 Savile Row Mayfair, London W1S 3PH mail@richardandersonltd.com Instagram: @rasavilerow

: Richard Anderson, Co-Founder, Richard Anderson Ltd

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FA S H I O N • C O M M I T I N G T O G R E E N

COMMITING TO GREEN Gucci’s commitment to Carbon-neutrality is a part of its long-term strategy

Marco Bizzarri, President & CEO, Gucci Photo Courtesy: Petra Collins

“A new era of corporate accountability is upon us, and we need to be diligent in taking all steps to mitigate our impacts, including being transparent and responsible for our GHG [Greenhouse Gas] emissions across our supply chains,” said Marco Bizzarri, President & CEO of Gucci on September 12, while announcing that the brand will be going entirely carbon neutral. The news caused some serious waves within the fashion industry and beyond. Gucci is by no means the first in the industry to make such a bold commitment to sustainability. Millennial-friendly luxury labels such as the Stella McCartney brand has been built around sustainability, Reformation has labelled itself carbon neutral since 2015, Everlane’s unisex leather sneaker became the first product to be labelled “carbon-neutral,” and Allbirds announced in April that it was going “100% carbon neutral.” Gabriela Hearst, another designer who has put sustainability at the centre of her business, claimed that her Spring 2020 Runway Show at New York Fashion Week was the first ever to be carbon neutral. However, Gucci is the first of the major legacy brands to commit itself to carbon neutrality. This initiative is not only supported by its parent company Kering but is in concurrence with the luxury conglomerate’s own sustainability policies spearheaded by its Chairman and CEO François-Henri Pinault. Kering leads the fashion industry’s sustainability pact, which was unveiled at the G7 in Biarritz this August. Initiated by French President Emmanuel Macron, and under the stewardship of François-Henri, the “Fashion Pact” aims to align the fashion industry to UN’s Sustainable Development Goals. The original 32 signatories include, among others, Adidas, Burberry, H&M, Inditex, Nike, Prada, Puma, PVH Group, and Stella McCartney. By the end of October, the number of signatories had increased to around 250. Gucci’s commitment to carbon neutrality was followed on September 24 by Kering’s announcement that the entire Group will become carbon neutral; not only within its own operations but across the entire supply chain. Kering will also offset the Group’s annual Greenhouse Gas (GHG) emissions from 2018.

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Gucci ArtLab in Italy, a centre for creativity, craftsmanship and sustainability

The fashion industry’s adoption of sustainability as a core issue is driven by internal and external factors. Internally, there is a growing movement of alternative models to the current consumer-driven fashion one; such as slow-fashion, upscaling and organic-fashion, among others. Then we have leaders of legacy brands such as François-Henri Pinault who have for long championed a more sustainable approach to fashion. Externally, a series of damaging environmental reports placed fashion and its related industries as the second most environmentally polluting; second only to the Oil related industries. This has led the environmentally conscious consumers of today to demand that the fashion industry clean up its act, and reward those who do at the cash register. Carbon neutrality, or zero carbon footprint, refers to achieving net-zero carbon dioxide emissions produced during transportation, energy production, agricultural activities and industrial processes. Carbon neutrality can be achieved by two methods. The first is by reducing or eliminating carbon emissions within an organisation by, for example, switching to clean sources of energy to power commercial spaces or transportation. The second method, a somewhat controversial one, is carbon offsetting, whereby, emitters fund projects that engage in removing or sequestering carbon dioxide from the atmosphere, thus nullifying their own emissions. Gucci’s primary long-term strategy has been the first method; to “avoid, reduce, restore” carbon emissions produced by the brand. Where this is not feasible, due to technical reasons, it will employ the offset method through four REDD+ projects –

each verified against strict global standards that support forest conservation around the world. REDD+ is a United Nationsbacked initiative to curb climate change by stopping the destruction of forests. REDD stands for Reducing Emissions from Deforestation and forest Degradation, while the “+” signifies the positive role of conservation in sustaining forests. Gucci began its drive towards a greener future with the implementation of the 10-year sustainability strategy in 2015. A series of targets were created to be achieved by 2025. These targets have been measured each year against the 2015 EP&L baseline, which includes an objective to reduce GHG emissions by 50%. EP&L (Environmental Profit and Loss) was pioneered by Kering to measure its GHG emissions, water consumption, air and water pollution, land use, and waste production within the company’s own operations and across the entire supply chain and then calculate the social cost in relation to these impacts. Gucci’s most recent EP&L for 2018 shows that the company is on track to attain its targets, having already achieved a 16% reduction of its overall footprint across its supply chain since 2015, relative to growth. Within this context, GHG emissions were also reduced by 16% and currently account for 35% of Gucci’s total footprint. The brand’s supply chain is responsible for around 90% of these emissions, as is generally the case with all luxury fashion companies. Transparency underpins Gucci’s approach to sustainability, and therefore, it has made its EP&L measurements available to the public online through the Digital EP&L platform.

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FA S H I O N

ALEXANDER MCQUEEN

A brand signature since 2016, the wedge tennis sneakers are built with that iconic exaggerated sole and smooth white leather. Handmade in Italy, this pair is updated with electric blue suede panels.

MAISON MARGIELA

This high-top sneaker uses a luxe combination of calfskin leather and suede across the black uppers, with a gum rubber outsole and signature heel stitch detail completing the look.

AMIRI

These lace-up sneakers are detailed with skeletal leather and flame red canvas patches, in true AMIRI style. Signed off with foil branding at the heel and an embossed ‘California’ detail.

PRADA

GIVENCHY

These ‘Thunder’ sneakers debuted on Prada’s AW19 runway. An update to the label’s popular ‘Cloudbust’ style, this pair has evolved towards a more complex and sculptural design, are characterized by the 3D eyestay and voluminous light ridged rubber sole for stability. These knit sneakers feature a round toe, contrasting panels, a laceup front fastening, a brand embossed tongue, a branded insole and a contrasting heel counter.

The ‘Wing’ hi-top sneaker is made from a luxurious grained leather, sits snugly at the ankle, boasting perforations at the toe box and an EVA-infused sole for a cushioning finish.

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VALENTINO Valentino Garavani’s ‘Trekking’ sneakers borrow from outdoors styles featuring hiking-inspired lacing system. They’re made from coated-ripstop and leather with suede overlays and durable neoprene at the heels and tongues and chunky rubber soles for comfort and stability.

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F A S H I O N • I N A F A R AWAY L A N D

IN A FARAWAY LAND Loro Piana shares the story of the origin of their iconic fibre cashmere, sourced ethically from the mountain goats thriving in the desert of Inner Mongolia

In the western part of China’s Inner Mongolia Autonomous Region is nestled the mostly desert and desertgrassland region of Alashan. With the Gobi Desert to the west, the Helan Mountains and the north-flowing Yellow river to the east, the Alashan region is situated on a plateau having an average altitude of 1,000 to 1,400 meters. This region experiences some of the most extreme changes in temperature – from day to night and from season to season. In this region of extremes live the hardy little native Capra hircus goats, whose tenacious spirit is shared by their dedicated native herders. These goats produce some of the finest cashmere in the world. What’s more, their nomadic herders have always farmed these goats sustainably, using generations of knowledge and gathering fibres in harmony with the cycle of nature. The documentary film, ‘Cashmere - The Origin of a Secret’ by Loro Piana explores the delicate symbiosis between humans, animals and the environment of the Alashan region, where intense harshness gives birth to sublime softness. “There is no will, it is just a matter of time and evolution. Humans evolve with the animals, you cannot remove one without the other, and in the end, it is evolution that produces

these amazing fibres,” says the film’s director Luc Jacquet, the French ecologist and Academy Award winner. He immersed himself, as always, into the world of his subject by experiencing first-hand this rugged environment, by living among the nomadic communities and their herds. Jacquet’s debut film ‘March of the Penguins’ (2005) won four awards, including an Academy Award for Best Documentary. His other acclaimed projects include ‘The Fox and the Child’ (2007), ‘Once Upon a Forest’ (2013), ‘Ice and Sky’ (2015), and ‘March of the Penguins 2’ (2017). Jacquet’s documentary film was commissioned by Loro Piana, the Italian clothing brand known for its sourcing and manufacture of the highest quality cashmere, Baby Cashmere, vicuña and wools, as well as for its collections of modern classic clothes for men and women, and signature accessories. For more than six generations, Loro Piana’s activity has been progressive and ethical, with a focus on protecting the wildlife and environments from which the brand sources its precious raw materials. It also supports the preservation and development of the skills needed to transform those precious raw materials into exceptional products. The brand sources its rare fibres from some of the most far-flung places around the world. The Loro

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Mountain Goats in the desert of Inner Mongolia

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F A S H I O N • I N A F A R AWAY L A N D

Luc Jacquet, Director of the film ‘Cashmere – The Origin Of A Secret’

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(Left to Right) Pier Luigi Loro Piana, Luc Jacquet, Breeders and Loro Piana CEO, Fabio d’Angelantonio

Piana cashmere, known for its superlative softness, lightness and warmth, is ethically sourced from the Capra hircus goats of the Alashan region. ‘Cashmere’ is the first documentary in a trilogy directed by Jacquet at the invitation of Loro Piana. The three documentaries by Jacquet explores the origin of the three most iconic raw fibres of Loro Piana - Cashmere, Vicuna and The Gift of Kings Fabio d’Angelantonio, Loro Piana’s CEO, said: “With Luc, we share a profound respect for this life governed by the elements. Through his artistic lens, he has been able to capture the wonder of this endeavour which has captivated us so profoundly for over half a century. It is a stunning homage to Loro Piana’s partnership with the communities who dedicate their lives to harvesting some of the most precious fibres in the world.” The premiere of ‘Cashmere’ was held at MIFA 1862 Art Center in Shanghai on October 19. In addition to Jacquet, the event was attended by the top brass at Loro Piana, including d’Angelantonio, Pier Luigi Loro Piana, and Luisa Loro Piana. Also, in attendance were local politicians, socialites and celebrities such as Li Bingbing (Goodwill Ambassador of UNEP and Global Ambassador of WWF Earth Hour), Ai Tominaga, Stephen Fung and Jimin Han. Before the screening of the film, guests were invited on an immersive journey through the spellbinding yet inhospitable environments of Mongolia and Inner Mongolia. Guests were encouraged to touch the raw fibres and experience the sensation of Loro Piana’s cashmere. During the film, a live thirty-three-piece orchestra performed the original score for the film, created by Emmy nominated composer, Cyrille

Aufort. The documentary will be screened privately around the world as well as being made available to the public on the Loro Piana website. Traditional Native Herders have always farmed Capra hircus goats sustainably, based on generational knowledge. Recently, the introduction of a new, more productive, but less sustainable breed, has been disrupting the long-established ecological balance. To promote a sustainable development model that contributes to a balance between animals, the environment and local populations, which in turn preserves the quality of the cashmere, Loro Piana launched “The Loro Piana Method” in 2009. It supports the local communities and producers who pledge to protect and conserve the native species and the fragile ecosystem of Inner Mongolia, and to help maintain the traditional culture. The introduction of “The Loro Piana Method” resulted in a noticeable improvement in the fineness of the cashmere fibres. This encouraged the brand to embark on another venture. In 2015, “The Loro Piana Cashmere of the Year Award” was born, to support and celebrate those who harvest the finest cashmere. Now, numerous herdsmen and trusted suppliers strive for this award based on the objective criteria of fineness, length and performance. This year’s winners of the award were Mr. Zhang Mingzhu and Mrs. Li Yumei, along with Mr. Suyalatu and Mrs. Burenqiqige, whose total adult cashmere weight was 112.3 kg, with a fibre diameter of 13.6 microns and a length of 28 mm; making it the finest cashmere fibre collected from adult goats since the award was established.

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G R O O M I N G • F I V E S TA R S K I N C A R E

FIVE STAR SKINCARE Australian natural skincare brand Sodashi has launched new products in the Mankind Range

Founded by Australian Megan Larsen in 1999, Sodashi, which in Sanskrit translates to wholeness, purity and radiance, offers a range of luxury chemical-free skincare products and spa therapies without compromise. They are designed to holistically nurture the skin and enhance overall wellbeing, and are, therefore, formulated using a unique combination of biochemistry, aromatherapy and Ayurvedic principles. The brand has specially formulated five new products for men in the Mankind Range. Clean Skin Cleanser and Shaving Emulsion: a heavyweight, multitasking cleanser that decongests the skin, leaving it feeling clean, while also preparing the skin for a shave. Skin Restore: a calming leave-on gel containing frankincense, carrot seed and cedarwood to soothe the skin; patchouli oil to repair any cuts, scars, acne and grazes; lime oil to combat excess oil. Skin Karma AfterShave and Face Mist: enforces skin hydration and sets skin’s pH equilibrium with the essences of sandalwood, cypress, Ylang Ylang and rosemary. Sleek Moisturiser: a lightweight daily moisturising cream that softens and hydrates the skin. It is packed with antioxidants Vitamins A, C and E, and features a blend of natural cold-pressed avocado, macadamia and hazelnut oils, along with extracts of frankincense and sandalwood. “Male skin also has its own unique challenges – such as wear and tear of daily shaving,” states the brand. “Sodashi’s Mankind range supports the skin with carefully chosen natural ingredients and includes products to incorporate before and after shaving. Go natural - a sound skincare regime is not just about the way you look - it’s also about the way you feel. As 60% of products applied to the skin enter the bloodstream, it’s important to stay away from the chemicals and go for products with the least human intervention possible.” Sodashi’s “absolute commitment to working in harmony with nature” is reflected across all areas of the business. The brand claims that not a single synthetic chemical, preservative or fragrance is used in the manufacturing process. Every ingredient used is listed on the label. The products are never tested on animals. The packaging is recyclable and printed with natural vegetable dyes. Sodashi products are available online and at several of the world’s most exclusive resorts and spas. In the UAE, they are available at Four Seasons Dubai and Four Seasons Abu Dhabi.

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The Mankind Range by Sodashi

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FRAGRANCE FILE

EDITOR’S PICKS

Sauvage, Dior Calabrian Bergamot, the spirited and juicy signature of Sauvage, is rounded out with spicy and sensual notes. The amberywoody trail of Ambroxan wraps itself in Vanilla absolute with smoky accents 100ml – AED 450

Nuit des Rois, Chopard Oud Assaﬁ, Bulgarian rose and orris – spreading out their luxurious aura, together with benzoin, patchouli, oliban, saffron, honey and vanilla, and the sensuality of a dark and supple leather note 100ml - AED 1,155

K, Dolce&Gabbana An energetic fusion of blood orange and Sicilian lemon with juniper berry are ignited by spicy pimento essence unfolding into a warm base of cedarwood, earthy vetiver yielding to the sweet spiciness of patchouli 100ml – AED 460

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Terrible Teddy, Penhaligon’s The mystery of incense is made luminous with a burst of pink peppercorns. The sensual leather, cedar and ambrosian, is invigorated with the vibrancy of vetiver and patchouli, wrapped in a layer of musk 75ml – AED 1,109

Patchouli de Minuit, Givenchy Head notes of frankincense, bergamot and saffron blend with the heart, a rose absolute enhanced by davana. At the base, patchouli takes on balmy, woody amber facets while benzoin provides texture and reﬁnement 100ml – AED 1,100

Night Call - Collection Babylone, Ex Nihilo Toasted Sesame notes mingle with a precious cocktail of Beeswax, Gingerbread and Patchouli. Benzoin and Tonka Bean create a mesmerizing radical, and addictive sillage 100ml – AED 3,100

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WA T C H E S • F O R T H E S A K E O F W I L D L I F E

FOR THE SAKE OF WILDLIFE Hublot’s limited edition Big Bang Unico SORAI will raise funds to protect the endangered Rhinos

Two-thirds of rhinoceros species in Africa and India may disappear in our lifetime, which would be an irreversible loss for our planet. The leading cause for this calamity is poaching, which has been illegal since 1977 as declared by the Convention on International Trade of Endangered Species (CITES). This action was taken based on reports which stated that the increased demand for Rhino horns was fuelling the increase in the number of rhino deaths due to poaching. The international ban on rhino horns has created a lucrative black-market estimated to be around $20 billion a year. A single rhino horn may be valued as high as $60,000 per kilogram on the black market; making it worth more than its weight in gold. “The illegal trade in rhino horn and poaching was one of the subjects debated in Geneva last August during the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), demonstrating the urgency with which action is now needed,” says Ricardo Guadalupe, CEO Hublot while announcing the launch of Hublot’s new Big Bang Unico SORAI.

SORAI (save our Rhino in Africa India) was founded by Kevin Pietersen for the preservation and protection of Rhino in Africa and India through ongoing education, awareness programs and raising public support of this issue globally. Hublot has committed to a partnership with Kevin Pietersen and SORAI to conserve rhinoceroses in the form of the Big Bang Unico SORAI. A large proportion of the funds raised from the sale of these limited timepieces will be directly paid to ‘Care for Wild’ and to the South African National Parks agency. Care for Wild, founded in 2001 by Petronel Nieuwoudt, is the largest rhino orphanage and sanctuary in the world. When it is left alone because its parents have been killed by poachers, an orphaned baby rhinoceros has virtually no chance of survival. Care for Wild ensures their protection, growth and well-being in secured environments that are equipped with 24x7 video surveillance and communication networks, watched over by mobile units, dogs and their masters who are trained to counter poachers, and with aerial support.

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Kevin Pietersen, founder of SORAI, wearing the Hublot Big Bang Unico SORAI

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WA T C H E S • F O R T H E S A K E O F W I L D L I F E

The “Liyongbo” appliqué image of a white rhinoceros at 9 o’clock 52

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“Staying ahead of poachers is a race against time, every time. Using innovative technologies such as thermal intelligence, surveillance teams can stay ahead of the poachers. We are proud and delighted to support Kevin Pietersen’s SORAI organisation in this goal for our future generations and global biodiversity.” Ricardo Guadalupe, CEO Hublot.

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WA T C H E S • F O R T H E S A K E O F W I L D L I F E

The “Liyongbo” appliqué image of a white rhinoceros at 9 o’clock

The Hublot Big Bang UNICO SORAI

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The South African National Parks (SANP) was created in 1926 to manage the 19 national parks in South Africa, including the renowned Kruger National Park, with its 20,000 square-kilometres for animals to roam freely. The funds raised from the collaboration will allow SANP to acquire nocturnal airborne thermal intelligence technology, an essential and efficient addition in the fight against poaching. It will enable SANP teams to localise rhinoceroses, intervene more rapidly, and thus be able to protect the highest number of Rhinos. “Staying ahead of poachers is a race against time, every time. Using innovative technologies such as thermal intelligence, surveillance teams can stay ahead of the poachers. We are proud and delighted to support Kevin Pietersen’s SORAI organisation in this goal for our future generations and global biodiversity,” added Guadalupe. Kevin Pietersen, representing SORAI, said: “This collaboration between Hublot and SORAI has allowed us a platform to give huge amounts of visibility to an incredible cause, on a global scale. By partnering, we are doubling the voices on this cause - and I’m so pleased that Hublot is now

supporting the rhinos and their conservation quest. I’m looking forward to the future and sharing the amazing story of SORAI with the world.” The Big Bang Unico SORAI is donned by the sandy tones of the African bush. The 45-mm case (15.45mm thickness) and bezel are in micro-blasted beige ceramic. The dial is matbeige skeleton with a “Liyongbo” appliqué image of a white rhinoceros at 9 o’clock, along with beige lacquered appliques with white luminescence. This watch debuts Hublot’s selective vulcanisation technology which produces motifs in long-lasting colours that are drawn with an accuracy of a tenth of a millimetre, a first in the watchmaking world. The strap comes in two options: a case matching beige NATO bracelet with a velcro strap or a camouflage pattern on black rubber. Inside the skeletal structure is HUB1242: UNICO Manufacture self-winding chronograph with 72 Hours power reserve. The movement can be observed through the transparent caseback rimmed by micro-blasted beige ceramic. The watch is water-resistant to 100m. On it is engraved: “Limited Edition XX/100”; as this timepiece will be limited to just 100 pieces.

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WA T C H E S • H O R L O G E R I E R E N O U V E L E R

HORLOGERIE RENOUVELER WatchBox makes its debut in Dubai and partners with Ahmed Seddiqi & Sons

“WatchBox is not a marketplace; we own every watch that we sell. This allows us to implement a true global quality standard,” reads a statement from one of the largest buyers, curators and sellers of pre-owned luxury watches worldwide with thousands of examples from the best brands available at any given time. WatchBox primarily operates through an online platform which is supported by bricksand-mortar presence in key markets: United States, Hong Kong, Switzerland, South Africa, Singapore and now in Dubai at the DIFC. Ahmed Seddiqi & Sons has recently penned a strategic partnership agreement with WatchBox that is set to greatly benefit haute horlogerie enthusiasts in the UAE and the region. WatchBox actively purchases watches from individuals, private collections, estates, and dealers worldwide, all of which are evaluated, authenticated, and brought to “mint” condition, before being added to the inventory for sale. According to WatchBox, it currently has over 2,000 watches presented online with another 2,000 in stock but not on display. The combined inventory of watches is in excess of $80 million. The company has plans to grow its inventory to between 9,000 and 12,000 units in the next 3-5 year with a projected value of $120 million. Collectors use WatchBox’s trade-in program to expand, modify, and refresh their personal collections. The tradein process can be availed across multiple platforms: online through thewatchbox.com trading portal, the WatchBox mobile app, the concierge phone service, or by visiting one of the flagship stores or the buying offices worldwide.

The sale or trade-in process begins with the collector communicating details about the watch they wish to trade through one of the channels. A Watchbox Client Advisor, possessing both knowledge and proprietary tools, offers a preliminary valuation and advise on what to do next. If the watch is being couriered, WatchBox will provide a pre-paid shipping label, and will cover all insurance and shipping expenses. Once it is received, the watch is inspected and valued, based upon which, the customer will be paid in case of a sale. In case of an exchange, the same amount will be credited towards the purchase of a “new” pre-owned watch, which is shipped within 48 hours. WatchBox provides a 15-months warranty with every pre-owned watch purchased. WatchBox’s partnership with Ahmed Seddiqi & Sons means that collectors can trade a watch they no longer wear at WatchBox, and redeem the credit they receive for it while purchasing a new watch at Ahmed Seddiqi & Sons. The fact that WatchBox owns and maintains all the watches it sells makes the company responsible for the authentication and the proper functioning of each watch. It has developed a verification system to certify the provenance and authenticity of each piece. This additional layer of security for the buyer increases the trust factor as compared to other traders who only act as online aggregators. WatchBox is ideal for entrylevel customers who may previously have been unable to afford a luxury watch, as the prices of most pre-owned watches are lower than their retail price when new. Overall, the company has a team of around 200 associates, who are some of the most passionate watch enthusiasts in the

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Danny Govberg, Co-Founder & CEO, WatchBox

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WatchBox at DIFC, Dubai

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business. They have collectively published more than 4,000 videos chronicles, watch reviews, interviews and creative films. At the forefront are three men who started it all back in 2015. Two of them are seasoned luxury watch dealers, one from the US and another from Singapore. The third is an investor-entrepreneur. Danny Govberg’s insatiable passion for watches and technology enabled him to grow Govberg, a Philadelphiabased retail shop into one of the world’s premier authorized dealers of both new and pre-owned timepieces. With 35 years of experience in related fields, Danny envisioned years ago of a tech-forward, pre-owned watch business strategy that eventually came to fruition as WatchBox. As the CEO of the company, Danny’s vision includes “a seamless customer experience from every point across the world, with goals to educate, inspire and entertain watch enthusiasts.” Tay Liam Wee is among one of the luxury watch industry’s most dynamic entrepreneurs having earned several entrepreneurial awards. He was instrumental in transforming Sincere Watch, a traditional familyowned company into a pan-Asian luxury watch retail and distribution group that was publicly listed on both the Hong Kong and Singapore Stock Exchanges. He exited Sincere Watch in 2012 and raised close to $100 million in capital for WatchBox. He currently serves as its Chairman. Before teaming up with Danny and Liam Wee to launch

WatchBox, Justin Reis was a co-founder and former partner of Presidio Capital, a private investment group with over US $1 billion in capital deployed throughout the Asia Pacific region and beyond. In addition to his 20-plus years in private equity in Asia, Justin also has extensive experience as a consultant helping companies up-scale their operations to global levels. The combination of Danny’s creativity and experience in the US market, with Liam Wee’s experience in Asia, and Justin’s proficiency in scaling global enterprises, has set WatchBox on an upward trajectory towards becoming one of the dominant players in the pre-owned luxury watch market. According to analysts, the current size of the pre-owned market is estimated to be around US $15 billion annually. However, if we take into account the number of watches that have been produced and sold over the last 15 years but are not being traded, then the market had the potential to be as big as US $500 billion. The entry of legitimate and reliable entities that espouse transparency, such as WatchBox, into the market has resulted in incremental growth. The fact that collectors can trade watches with greater confidence mean that they are willing to buy new watches more frequently, thus not only increasing the overall selling velocity in the pre-owned market, but also in the primary market. WatchBox is primed to ride this growth trend.

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ALIGNING THE PAST WITH THE FUTURE Signé met with Patrick Pruniaux, CEO of Ulysse Nardin, following the inauguration of the brand’s new flagship store at The Dubai Mall

Ulysse Nardin’s new Middle East flagship boutique spans an area of 140 square metres on the first floor of the Fashion Avenue Extension in The Dubai Mall. The exquisitely crafted boutique features a contemporary architectural concept that is a subtle nod to the brand’s maritime history while also marking a shift to the more disruptive and dynamic image that the brand has cultivated over recent years. The display counters, for example, are forged from raw stone reminiscent of submerged rocks, while the unique translucent light fixtures in blown Murano glass are suspended like drops of water falling from the sky. Patrick Pruniaux, CEO of Ulysse Nardin, spoke to Signé following the opening of the boutique. Patrick began his career with Diageo in London. He joined LVMH in 2000 and rose to become Regional Sales Director for the Wines & Spirits business for Latin America. He moved to Tag Heuer and eventually served as Vice-President Global Sales & Retail from 2010 to 2014. He was also a member of the LVMH Retail Committee, responsible for coordinating the sales strategy between LVMH Watch and Jewellery brands. In 2014, Patrick was hired by Apple as a member of the Special Projects team to prepare the launch of the Apple Watch. He was then promoted to the position of Managing Director for UK & Ireland in 2015. In September 2017, he joined Kering Group as Chief Executive Officer of Ulysse Nardin. How has having varied industry experience benefited you? I was fortunate in that I had the opportunity to work in different industries, but these industries have some important things in common. Their craftsmanship, expertise and the attention to detail is pretty high, whether in the way they manufacture things or through innovation. In the high-end wine and spirits industry, for example, production Patrick Pruniaux, CEO, Ulysse Nardin

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The Ulysse Nardin flagship store at The Dubai Mall

is done through laws and rules that have been around forever, but there is also a dimension of innovation. These businesses and brands also have another common denominator: the high level of passion. There is also passion among consumers. These are products you only buy if you’re passionate about them. You were involved in the launch of the Apple Watch. Could you elaborate on that experience? Whether we like it or not, Apple has set some new standards and has redefined a lot of what’s happening in today’s world. It was a great opportunity to be a part of a major product launch by Apple. It was quite exceptional, and I don’t mean only for the watch industry. It was great to be part of that experience, to understand the genesis, to understand how things are done. Your last role at a legacy watch was with TAG Heuer in 2014. What has changed between 2014 and now? Everything moves very fast these days. So, we have to evolve super-fast. The level of agility and understanding of the consumer is even higher than what it was in the past. So, similar agility is required from us because, honestly,

it’s a challenging time for the watch industry. I think it is still a growing industry, and it will continue to grow. I strongly believe that the industry has a lot of future. So, we don’t want to be stuck with one type of product. We have always been very professional in the way we make watches. But to be honest, we have been playing down a bit from a marketing point of view. Now, we have to be a lot more professional in the way we tell our story because we are a genuine brand and manufacturer. Ulysse Nardin’s entire line-up has become bolder recently. How did that transition come about? To be honest, it had already started before I joined. It is part of the brand’s DNA, and the company has always been like that. I think bold is a good word, especially when it’s backed by a strong horological background. Then bold is perfect because it’s not bold just for the sake of design; it is bold in design, innovation and other areas.

What are the changes you implemented since you have taken charge? I made very limited changes at the senior management level because we have a good management team in place.

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The company was already agile before I joined. I am making sure we keep that but at the same time encouraging more communication. In a sense, breaking silos, making sure people talk to each other. That the marketing team is talking to the product marketing team, and they are talking to the sales team, and so on. I believe in alignment. At the end of the day, a good brand or product has great quality, great design and great innovation that is explained in the right way and sold in the right environment like this new store. It sounds super basic, it sounds like marketing 101, but actually, that alignment, when you think of it, very few brands have. What can we expect from the brand going forward? I’m actually putting the brakes more than motivating people, honestly. We have zillions of things coming up. We have some new developments on the high-end horology part and also at the entry price level. We have a lot of things coming, both in terms of products and in terms of brand content. Also, it’s all coming together. Hopefully what you’re going to see in the next 18 to 24 months is even more alignment. The story we started to tell; we’re going to continue saying it the same way but even louder.

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REBUILDING A STAR Signé speaks with Julien Tornare about Zenith watches and his role post taking over as CEO two years ago.

Swiss luxury watchmaker Zenith SA has a history dating back to 1865, when a 22-year-old Georges Favre-Jacot established the company in Le Locle, in the canton of Neuchâtel, Switzerland. Its fabled El Primero calibre, was first released in 1969. Over 40 years on, El Primero is still the most precise series-made chronograph, the only one capable of measuring short times to the nearest tenth of a second. It is also one of the most titled, having been honoured by numerous distinctions. Today, Zenith is one of the few Swiss watch manufacturers that still produce their movements in-house. The current collections include Defy, Chronomaster, Elite and Pilot. LVMH purchased Zenith in 1999, and in 2017, Julien Tornare was announced as the new CEO at Zenith Watches by Jean-Claude Biver, LVHM’s Head of Watchmaking. Tornare has been in the

watch industry for nearly two decades, the last 17 years of which were spent at Vacheron Constantin; starting as the head for Switzerland and ending as the Managing Director for Asia-Pacific. Tornare was kind enough to share with Signé, some of the challenges he has faced since taking over Zenith. What is the path you charted for the brand since you joined in 2017? For the first eight to twelve weeks, I worked on discovering what Zenith is? What are the issues? How can we improve things? Zenith is an amazing brand with a fantastic 154-years’ history! It is authentic. How many brands can say that they have the capacity to manufacture their watches entirely? But because you have a long history and you are a manufacturer, doesn’t mean you have to be too serious, too boring

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or old fashioned. Our clients don’t want to be bored by the same products that have been made in the past. Our mission is to move forward. So, if I have to summarise, the main thing we want to do at Zenith is: capitalise on our history, remain fully authentic and express it in a contemporary, dynamic way. What have been the major challenges from the time you started until now? The first challenge was the people. When I came on board, the overall mood was negative. So, I said to them, “I’m not here to fire people. I’m here to tell you what I want to do with the brand. I hope you will like it.” I think people appreciated that and I started to share as much as they could. Step by step, I think I gained their confidence, and the first positive results started after a few months.

Julien Tornare, CEO, Zenith Watches

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Zenith Defy Inventor 64

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Zenith Pilot Type 20 Chronograph Adventure

I would say the next challenge was the awareness of the brand. Zenith is very much liked by connoisseurs, aficionados, and purists. In terms of value for money, it is probably the best in the market. But we cannot rely only on purists. We need to go wider and appeal to someone who doesn’t care too much for the technical aspects; but who wants to feel attracted by the sexiness of the brand. And believe me, we were at the time close to zero in terms of sexiness. So, I needed to improve this damage. How would you describe your working relationship with Mr Biver? I had known Mr Biver before starting at Zenith. I worked for almost two years with him, and it was a fantastic experience. We got along very well from the beginning, and we built a very healthy relationship. There was an emotional bond, and I have immense respect for him. I am happy to work with him again. Even after he left his day to day role, we talk when I need advice, need his

expertise. Now that he has stepped out of the operations, he is not my direct boss anymore, but he remains my inspiration. How important is the Defy collection for Zenith? It has become huge for us. We started to deliver the first watches a year ago, and now I would expect Defy to be probably 50 per cent of the demand. People understood the line very well. They liked the name, the design and the fact that it’s bringing something new. I think Defy is going to be the iconic product that we have been missing. How do you drive innovation internally? We have one genius watchmaker, and around him, I put five other people; what I call creativity and innovation cell. Their job is to brainstorm and come to me with fantastic ideas. They work in collaboration with the LVHM Institute, where we share our expertise with different brands. They also spend time with the top schools to get ideas

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about materials, mechanicals, and physics to come up with new things. So far, it’s been working well. How has e-commerce impacted your brick-and-mortar retailers globally? I think e-commerce is great, and if we claim to be innovative, we have to be in e-commerce. But let’s be realistic. Today, there isn’t a single brand that is selling its entire lot online. It is excellent for creating a buzz, to sell limited editions. We are not going to sell online the quantities we do through the traditional channels because we sell a technical product, and technical means you need advice. And yes, we would sell directly as well. What plans do you have for the Middle East? It’s a little bit early to talk about that, but we are working on a major event in Dubai for early next year. We’ve been a bit quiet in Dubai, in the Middle East. The potential is enormous, so I would invest as much as I can in this region.

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A CLASSIC REBORN WITH NEW DNA Inspired by the Alps and its resident eagle, Chopard has unveiled its all-new Alpine Eagle collection comprising ten references

In 1980, Karl-Friedrich Scheufele was a youthful 22-year-old employed in his family’s Chopard manufacture when he submitted an idea to his father for a watch to be named St. Moritz. It was not only Karl-Friedrich’s very first watchmaking project, but it was also the first sports watch from the Maison and the first timepiece made of steel in its workshops. St. Moritz went on to become one of Chopard’s best-sellers for the next decade. These days, Karl-Friedrich is the co-president of Chopard and had been working on an updated interpretation of his first creation - called Alpine Eagle. Apparently, Karl-Friedrich’s son Karl-Fritz was the main instigator of this project while being secretly supported by his grandfather Karl. At first, Karl-Friedrich was reluctant but was won over by his son’s persistence, just as he had been able to convince his father to take a bold step in a new diction nearly 40-years ago. This time around, Karl-Friedrich drew inspiration from the Alps, and in particular, its resident eagle. For example, the rocklike textured dial with sunburst pattern evokes an eagle’s iris, while the seconds hands evoke its feathers. The glinting steel is reminiscent of the glaciers. The choice of dial colour refers to the shades found in the Alpine ranges: Aletsch Blue for the bluish shimmer of the largest glacier in the Swiss Alps; Bernina Grey for the rock of the mountain chain bearing this name; the Frosted White mother-of-pearl and Sils Grey of the Tahitian mother-ofpearl evoke the changing colour of Lake Sils near St. Moritz. In another parallel with the St Moritz collection, the Alpine Eagle collection also features a technical innovation from the brand’s manufacture: Lucent Steel A223 - “a new material that is as rich, precious and complex as gold.” The result of an innovative re-smelting process, this new alloy features three unique characteristics. First, thanks to its anti-allergenic

composition, it has high dermo-compatible properties that make it comparable to surgical steel. Secondly, with its 223 Vickers’ strength, it is 50% more resistant to abrasion than conventional steels. Thirdly, it has a superior homogeneous crystal structure, enabling it to reflect light in a unique way. Like a diamond, whose brilliance depends on the lowest degree of impurities, this innovative steel has far fewer impurities than conventional steel, guaranteeing a brilliance and brightness comparable to that of gold. According to the brand, “the industrialisation of this new alloy, which required no less than four years of research and development to produce, was a real challenge to manufacture to extremely strict specifications, significantly increasing its manufacturing time as well as wear and tear on machining tools. Lucent Steel A223 is now a rare and extraordinarily precious metal, stemming from a very complex development and manufacturing process.” The collection comprises ten unisex references in two sizes. There are three references in the “Large” 41mm case size, all equipped with the Chopard chronometer-certified (COSC) 01.01C mechanical movement with automatic winding. Two of the “Large” references are presented in the new Lucent Steel case and bracelet. Of these two, Ref. 298600-3001 features an Aletsch Blue brass dial, while Ref. 298600-3002 features a Bernina Grey brass dial; both with sunburst pattern. The third of these “Large” models, Ref. 298600-6001 is presented in a combination of Lucent Steel and 18-carat rose gold for the case and bracelet, while the dial is Bernina Grey brass with sunburst pattern. There are seven references in the “Small” 36mm case size, all equipped with the Chopard chronometer-certified (COSC) 09.01C mechanical movement with automatic winding. Two of these

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Chopard Alpine Eagle Ref. 298600-3002

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Chopard Alpine Eagle Ref. 298600-6001

Chopard Alpine Eagle Case Details 68

Chopard Alpine Eagle Crown details SIGNÉ • EDITION 36

(Left to Right) Karl, Karl-Friedrich & Karl-Fritz Scheufele

are in Lucent Steel with Ref. 298601-3001 featuring an Aletsch Blue brass sunburst dial, and Ref. 298601-3002 featuring a Frosted White mother-of-pearl dial and a diamond-set bezel. There are two “Small” references featuring a combination of Lucent Steel and 18-carat rose gold on the case and bracelet. Here, Ref. 298601-6001 has a Bernina Grey brass sunburst dial, and Ref. 298601-6002 has Frosted White mother-of-pearl dial and a diamond-set bezel. The three remaining “Small” references are presented in 18-carat ethical rose gold case and bracelet: Ref. 295370-5001 features a Bernina Grey brass sunburst dial; Ref. 2953705002 features a Frosted White textured mother-of-pearl dial and diamond-set bezel; Ref. 295370-5003 features a Sils Grey Tahitian mother-of-pearl dial along with diamond-set on the bezel and on the bracelet. In all references, the bracelet gently tapers with a single ingot-shaped link and topped by a raised central cap. The case is distinguished by a protrusion protecting the crown which has a compass-rose engraved on it. The round bezel is punctuated by eight screws, grouped in pairs at the four points. The flat surfaces alternate between satin-brushed and high-polish, a finish carefully crafted to create light effects. The baton-type hours and minutes hands, like the hour-markers, are coated with Super-LumiNova Grade X1 to enhance nocturnal legibility, while the Rhodium-plated, arrow-tipped seconds hand has a counterweight shaped like an eagle’s feather.

The Large models are powered by the 01.01-C calibre with a 60-hour power reserve. The seven Small models host the 09.01-C calibre with a 42-hour power reserve. The latter is an 8-ligne movement and is one of the smallest to receive COSC certification. All references are water-resistant up to 100 metres. Chopard also used the launch of the Alpine Eagle collection to announce its new commitment to protecting the Alpine environment through the launch of the Eagle Wings Foundation. Karl-Friedrich is a hiking and skiing enthusiast who has stated that he finds inspiration and serenity in the high altitudes of Alps, particularly those of Switzerland. He has a long association with ecological conversation, with a focus on his beloved Alps region. He joined the Alp Action programme - a Prince Sadruddin Aga Khan initiative - in the 2000s. The Eagle Wings Foundation, of which Karl-Friedrich is a founding member, is a multidisciplinary environmental project designed to raise awareness and galvanise the public with respect to the importance, beauty and fragility of Alpine biotopes. The first project of the foundation launched in September with the Alpine Eagle Race, during which participants observed images taken by a camera on an eagle launched from five different Alpine peaks spread over five countries: Zugspitze in Germany, Dachstein in Austria, Marmolada in Italy, Aiguille du Midi in France and Piz Corvatsch in Switzerland. He says the initiative will offer a new vision of the Alps through the eyes of human beings, satellites and the eagle.

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WA T C H E S • F L I G H T S O F F A N C Y

FLIGHTS OF FANCY The tale of an aviation and literary legend, and the watch he inspired

Le Petit Prince or The Little Prince is a children’s book that recounts the adventures of a young prince who visits Earth and several other planets while addressing themes such as loneliness, friendship, love, and loss. The book was initially published in English and French and has since been translated into 300-plus languages. It is estimated that over 140 million copies were sold worldwide, making it one of the best-selling and most translated books ever. The author of the book, however, was not a classically trained writer, nor did he start his career in the journalistic fields. He cut his teeth as a pioneering and cavalier aviator, before, and during, World War II. Antoine Marie Jean-Baptiste Roger, Comte de Saint-Exupéry, better known simply as Saint-Exupéry - and after whom the airport in Lyon is named – undertook numerous daring flights and set aviation records as a pilot in Europe, North Africa and the Americas. However, Saint-Exupéry also holds an aviation record as a passenger. It is this rather unusual feat – for a pioneering aviation pilot – that IWC Schaffhausen commemorates with the launch of the 80-piece limited-edition Pilot’s Watch Timezoner Chronograph titled “80 Years Flight to New York.” IWC will donate the full proceeds from the sale of the first watch in the series to the Antoine de Saint Exupéry Youth Foundation, to support its educational programmes for young people around the world. Saint-Exupéry was born in Lyon, the third of five children born to a French aristocratic Catholic. They were, however, impoverished aristocrats. His father, an insurance executive, died before Saint-Exupéry’s fourth birthday. His only brother and close confidant died at age 15 due to rheumatic fever. These events had a significant impact on Saint-Exupéry’s life decisions and literature.

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IWC Pilot’s Watch Timezoner Chronograph “80 Years Flight To New York”

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WA T C H E S • F L I G H T S O F F A N C Y

The huge seaplane, the Latécoère 521 Lieutenant de Vaisseau Paris, in its hangar in Biscarrosse, France @Latécoère Foundation

Saint-Exupéry failed to graduate and did a few odd jobs until 1921 when he enrolled in the military. He started taking private flying lessons which led to a transfer to the French Air Force and a posting in Casablanca, Morocco. In 1926, Saint-Exupéry joined the pioneering aviators of Aéropostale, flying between Toulouse and Dakar. Later, he became the fleet stopover manager for the Cape Juby airfield in South Morocco’s Sahara Desert. His first book, Courrier Sud (Southern Mail) published in 1929, recounts some of these experiences. That same year, Saint-Exupéry was transferred to Argentina, as the director of the Aeroposta Argentina airline. In addition to his administrative responsibilities, he was responsible for surveying new air routes across South America. Occasionally, he had to search and rescue downed pilots and even fly airmail. Saint-Exupéry’s 1931 book titled Vol de Nuit (Night Flight) - which earned him widespread acclaim and won the Prix Femina - was largely based on his experiences with Aeroposta Argentina airline. Saint-Exupéry survived numerous air crashes during his time as an aviator. The first was while he was with the Air Force at Le Bourget on the outskirts of Paris. The most dramatic one occurred in 1935 when Saint-Exupéry and his mechanic-navigator André Prévot crashed in the Libyan desert while attempting to break the speed record in a Paristo-Saigon air race. Both survived the crash, only to face near-

death dehydration under an intense desert heat. They were rescued after four days by a local Bedouin. This near-death experience figures prominently in his 1939 memoir, Wind, Sand and Stars, which won high praise and several awards. When Germany invaded France in 1940, Saint-Exupéry flew reconnaissance missions for the French. Once the Vichy government was established, he went into exile. He arrived in New York City, via Portugal. He lobbied hard to convince the US officials to join the war against Nazi Germany. It was this 27-month exile in North America, mostly in New York, that he wrote his most famous literary work, The Little Prince. The Big Apple played a significant part in his life and career, which is why, IWC and the Saint Exupéry Youth Foundation, in partnership with the Latécoère Foundation, have published a new coffee table book on the subject. Lavishly designed, it will be on display at IWC Boutiques around the world. Saint-Exupéry was a prodigious reader. He read until moments before take-off and during flights. He once circled above an airport for nearly an hour before landing his plane, just so he could finish reading a novel. He also often carried a notebook with him, and in it, he wrote some of his most philosophical thoughts. Saint-Exupéry continued to write and tour until the spring of 1943 when he left with American troops bound for North

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The Latécoère 521 Lieutenant de Vaisseau Paris taking off from the port of Le Havre, France, June 1935, Latécoère Foundation Archives @Latécoère Foundation

Antoine de Saint Exupéry in his pilot’s uniform at the Pacheco Air base in Buenos Aires, Argentina, 1929:1931. ©Antoine de Saint Exupery Estate

Africa to join the War. He flew reconnaissance missions with the Free French Air Force based in the Mediterranean. On 31 July 1944, he took off on his ninth reconnaissance mission from an airbase on Corsica, and never returned. No trace of him or the plane was found until 1998, when a fisherman south of Marseille found a silver identity bracelet inscribed with the name of Saint-Exupéry. Then in May 2000, a diver found the partial remains of an aircraft on the seabed in the same vicinity, which was confirmed by the French authorities to be the remnants of Saint-Exupéry’s Lockheed F-5B. Aviation had given the erratic impoverished aristocrat a direction in life, and it became a muse for his lyrical literature. Then it claimed his life at the age of forty-four. Eighty years ago, in July 1939, the French-made flying boat - the Latécoère 521 “Lieutenant de Vaisseau Paris” set off on its first non-stop crossing of the North Atlantic to New York. It completed the feat in 28 hours and 27 minutes, a record at that time. Onboard, as a passenger, was SaintExupéry. To celebrate the anniversary of his involvement in this record-breaking flight, IWC Schaffhausen has put together an exhibition at the IWC Boutique in New York. It showcases stunning photographs and other items from the period. It tells the story of Saint Exupéry’s journey aboard the luxuriously equipped flying boat, as well as revisiting his experiences in New York.

At the exhibition in New York, IWC officially launched the commemorative Pilot’s Watch Timezoner Chronograph Edition “80 Years Flight to New York”. The timepiece features the patented Timezoner function, which allows the wearer to adjust the time zone by simply pressing down and rotating the bezel. On the brown ceramic bezel, “Paris” and “New York” are marked in red. The stainless-steel case has a diameter of 46 mm and height of 16.8 mm. It has a screw-in crown and a water resistance of 6 bar. The sepia-brown dial is inspired by the pilot suits from the pioneering era of Saint Exupéry. The watch has central hour, minute and second’s hands. The stopped hours and minutes are combined on a subdial at 12 o’clock. Date display is at 3 o’clock. The case is covered by a convex sapphire glass with anti-reflective coating on both sides. The watch is powered by the IWC-manufactured 89760 calibre with 68 hours Power Reserve. The case back features an engraving of the Latécoère 521. It is fastened by a 22-mm brown calfskin strap. The Antoine de Saint Exupéry Youth Foundation, which will receive all the proceeds from the sale of the first watch in the series, was created by the family of Saint-Exupéry tenyears ago to perpetuate his universal humanist values. It supports concrete actions for youth, particularly in the fields of education and culture, in order to give them the skills of reflection, altruism and an enlightened civic conscience.

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ALL ABOUT HOROLOGY Here’s what to expect at this year’s Dubai Watch Week Dubai Watch Week, the first-of-its-kind, noncommercial biennial event celebrating the art of horology, is set to bring together the cream of the world’s watch industry to Dubai between 20 and 24 November. The five-day event held under the patronage of Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, Chairperson of Dubai Culture & Arts Authority (Dubai Culture), is set to unveil an extraordinary programme of events, exhibitions, and activations. Dubai Watch Week was founded by Ahmed Seddiqi & Sons, the region’s leading retailer of luxury watches and jewellery, in collaboration with the Dubai Culture & Arts Authority. The event

is supported by Christie’s, the world’s leading art dealer, and hosted by the DIFC. “Dubai Watch Week is proud to present one of the most exciting editions to date as we explore the world of innovation and technology through the eyes of our partners, brands and supporters,” said Hind Abdul Hamied Seddiqi, Director General of Dubai Watch Week. Dubai Watch Week has established itself as a key event in the regional and international horological calendar. The event has gained in popularity with every successive year amongst the collector base and watch enthusiasts who wish to have direct

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access to industry experts and key figures. The event’s focus on education remains the most important pillar, with panel discussions, masterclasses and creative hubs available for public access. “The event has grown organically over the past few years, and this year we have the largest edition with over 6,000 square metres of space that will bring to life our vision,” adds Hind. “The fourth edition is set to be a memorable event with key milestones such as the participation of Rolex and several other exciting programmes that will be unveiled in due course.” This year’s Horology Forum will host a series of panel discussions dedicated to the transfiguration of horology under the theme ‘Innovation and Technology.’ Over 40 Speakers are scheduled for the panel discussions comprising watch curators, pioneers, brands, artists and collectors. These include the nonExecutive President of the LVMH’s Watch Division, Jean-Claude Biver; award-winning actor, horologist and watch designer, Aldis Hodge; and Danny Govberg, Co-founder and CEO of WatchBox; the Global Managing Director of Christie’s, Aline Sylla-Walbaum; acclaimed Chef and Restaurateur, Izu Ani and legendary watchmaker, Philippe Dufour. The panellists will share their insights on the watch industry’s most debated and trending topics, such as what it entails to become a master at your craft; understanding the luxury market’s ecosystem; the process of creative control between brands,

retailers and distributors; how brands can adapt to, and serve, self-aware consumers who have access to a wealth of information. The discussions will be moderated by “internationally renowned” editors and watch experts. The event also maintains its commitment to showcasing the creativity and ingenuity of the industry through the brand-led Creative Hubs and watch-craft masterclasses. Visitors can expect to experience the most interactive and inclusive edition of Dubai Watch Week to date, where they can expect to learn more about the remarkable craft of watchmaking. For the first time this year, Rolex will participate at a watchmaking event in the Middle East, through a dedicated exhibition of the Oyster Perpetual Submariner. Panels and interactive displays will tell the story of how the celebrated divers’ watch developed over the years and became an emblematic watch on land and sea. Another debutant this year will be Chopard’s new Alpine Eagle collection launched in October. It will be presented in a 485 square meters private exhibition area designed as a standalone area. It is designed to take guests through an immersive journey of discovery. Contemporary, refined and assertive, the new Alpine Eagle sports chic timepiece collection is a state-ofthe-art reinterpretation of the St. Moritz, the first watch created in 1980 by Karl-Friedrich Scheufele – the current co-president of Chopard.

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A U T O M O T I V E • F E R R A R I R O M A : T H E N E W D O L C E V I TA

FERRARI ROMA: THE NEW DOLCE VITA Maranello unveils a new prancing horse inspired by the spirit of Rome in the 1950s and ‘60s

The latest from the visionaries at Maranello draws inspiration from the carefree lifestyle of the 1950s and ‘60s Rome. Therefore, it comes as no surprise that the vehicle has taken the evocative name, Roma. The latest prancing horse is a perfect blend of harmonious forms, timeless elegance and leading-edge technology and has all the power and agility required to guarantee a unique driving experience. At first glance, the new Ferrari Roma is unlike any other you have seen to date. Characterized by clean and symbiotic forms, it embodies an extremely modern design language that underlines its independent and refined styling. Make no mistake though, the elegant touches are underscored by distinctly sleek lines that are part of the sporty heritage engrained in all Ferraris till date. The beautifully harmonious proportions and elegantly pure, balanced volumes of the new Ferrari Roma are very much in line with the Ferrari midfront-engined grand touring tradition of which the 250 GT Berlinetta Lusso and 250 GT 2+2 are the most iconic examples, and from which the car takes its inspiration. The first place where you notice the generation leap between the Roma and the last car unveiled by Ferrari is in the interiors. For the Ferrari Roma’s cabin, the Ferrari Styling Centre designers developed a new formal approach that involved the creation of two separate cells, one each for driver and passenger, in an evolution of the dualcockpit concept that embraces the entire cabin rather than just the dashboard as was previously the case.

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The Ferrari Roma

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A U T O M O T I V E • F E R R A R I R O M A : T H E N E W D O L C E V I TA

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The crafting of the interior took its lead from the complete redesign of the human-machine interface. This resulted in a major leap forward, starting with the new steering wheel designed using the “Eyes on the road, hands on the wheel” philosophy with all the car’s main commands actioned by haptic controls, ensuring the driver doesn’t have to move their hands from the wheel. The 16” digital instrument cluster provides all the necessary information, while the central display with an 8.4” vertical screen and a new passenger display are exceptionally intuitive and user-friendly. The Roma also features a new Ferrari key design concept with features such as the “Comfort Access” function allowing the driver to open the car by touching a button next to the new flush handle in the door. Lastly, the Matrix LED headlights and optional Ferrari advanced driver assistance systems (ADAS), including Adaptive Cruise Control, make day-to-day and longer journeys a very relaxing experience. On the exterior façade, the approach taken by the Ferrari Styling Centre revolves around clean design and absolute symbiosis between its various elements with harmonious proportions and pure, elegant volumes. The car is clothed in long, ultra-sleek lines that sweep back from the front bonnet, highlighting the spare silhouette of the flanks and the compact, set-back fastback cabin volume. To underscore that formal minimalism, all superfluous detailing has been removed: for example, radiator cooling is guaranteed by a monolithic surface that is perforated only where necessary, creating a new radiator grille concept. The full-LED adaptive headlights are traversed by a horizontal light strip that hints at the structure

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A U T O M O T I V E • F E R R A R I R O M A : T H E N E W D O L C E V I TA

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beneath the car’s skin, bringing a sense of tension to the entire circumference of the car. The wraparound rear screen incorporates an active aero device to preserve that signature purity of form, while the twin taillight assembly is set like a gem into the volume. To guarantee bestin-class performance whilst still retaining the stylistic purity of its bloodline, Ferrari’s engineers developed several leading-edge technologies, most notably a mobile rear spoiler integrated into the rear screen designed to retain the car’s formal elegance when retracted and guarantee the downforce essential for the Ferrari Roma’s extraordinary performance by automatically deploying at high speeds. The Prancing Horse’s new 2+ coupé sports a V8 turbo engine that punches out 620 cv at 7,500 rpm, making it the most powerful in its segment. A variant of the V8 engine family that has won the International Engine of the Year four years in a row, it features Variable Boost Management for instantaneous throttle response. With the adoption of Gasoline Particulate Filters, meticulous attention was also focused on the sound of the exhaust system which has been completely redesigned, removing the silencers and introducing new bypass valves. The car is intended to be a daily driver, and highly efficient but at the same time it is no less of a performance car. The car’s

new 8-speed dual-clutch gearbox is more compact and 6 kg lighter than its 7-speed predecessor. As well as reducing fuel consumption and emissions, shifts are faster and smoother which makes the car even more responsive on the open road, but also especially comfortable in town and during stop & start driving situations. The Ferrari Roma’s chassis benefits from the modular technology developed by Ferrari for its new generation models. Both bodyshell and chassis have been redesigned to incorporate the latest weight reduction and advanced production technologies. 70% of its components are entirely new. The midfront-engined 2+ Ferrari Roma has the best weight/power ratio in its segment (2.37 kg/cv) which enhances handling dynamics and responsiveness. The Ferrari Roma features Ferrari’s cutting-edge vehicle dynamics systems, the most notable example being the Side Slip Control 6.0 (a first on a Ferrari GT car) with 5-position manettino and Ferrari Dynamic Enhancer which controls yaw angle by hydraulically adjusting the brake pressure at the callipers. This is the fifth new model from Maranello this year, and it unquestionably is the most visually stunning. We sincerely cannot wait to see it hit the roads next summer!

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AUTOMOTIVE • A NEW BEGINNING FOR AN OLD NAME

A NEW BEGINNING FOR AN OLD NAME An introduction to the new Lotus Evija through the words of the man who helped bring it to life

The Lotus Evija hypercar

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The Evija project “prompted an explosion of creativity at Lotus. We were not designing around carry-over components or existing chassis. It was ‘think big,’ ‘think what a statement for Lotus is,’ ‘think what is the best of the best,’ and so on. It’s been two years from the beginning to where we are now. It’s been a huge emotional investment for us. We ate, drank, and slept this car. We’ve driven everyone to distraction with our obsession for detail. This is a once in a lifetime opportunity for us. We are building the world’s first fully-electric British hypercar. It’s a pretty unique breed unto itself,” enthused Russell Carr, the Design Director of Lotus Cars. Lotus, the 71-year old and muchbeloved British sports car manufacturer founded by the legendary Colin Chapman, stunned the Automotive world earlier this year when they unveiled the Evija hypercar. Pronounced ‘E-vi-ya’ and meaning ‘the first in existence’ or ‘the living one,’ it is Lotus’ first all-new model in ten-years, first hypercar, first model

with an all-electric powertrain, first road car to feature a one-piece carbon fibre monocoque chassis and the first model to be launched under the stewardship of the Geely group. Production is limited to just 130 examples - in tribute to the car’s project code ‘Type 130’ - making it among the most exclusive cars ever launched. The

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company has confirmed that production will begin next year. Evija will act as a halo for the current models - Elise, Exige and Evora - and for the new models to come from Lotus. Evija will also mark the start of a contemporary new design language at Lotus. At the heart of Evija is an ultraadvanced, all-electric powertrain developed in technical partnership with Williams Advanced Engineering. The battery pack is mid-mounted, immediately behind the two seats, and supplies energy directly to four powerful e-motors; each with a target power of 500 PS. This will make it the lightest and most energy-dense electric power package ever fitted to a road car. If the target weight of just 1,680 kg is realised, it will be the lightest pure-electric hypercar ever to go into series production. Lotus claims it can accelerate from 0-100 kmph in under three seconds with a top speed of more than 320 kmph. Using existing 350kW chargers, Evija’s charge time is claimed to be 12 mins to 80 per cent and

AUTOMOTIVE • A NEW BEGINNING FOR AN OLD NAME

18 mins to 100 per cent. The car’s range is 400 km on the WLTP Combined Cycle. The Evija is priced from £1.7m plus taxes with a £250,000 deposit required for a production slot. Russell Carr joined Lotus in 1990 as a designer, and today leads a team of more than 50 talented creatives. He has been involved in the introduction of several significant Lotus models including the second-generation Elise, three generations of Exige, the Evora, the 2-Eleven, 3-Eleven, 340R, Esprit S4/ S4s, the Elise GT1 and Lotus’ Formula 1 cars. He spoke to Signé on a recent visit to Dubai to promote his most creative challenge to date, the Lotus Evija. This is a great leap forward for Lotus. How did the project come about? This car is a real statement of intent for the whole company, both aesthetically and technically. It resets the aspirations and perceptions about what Lotus is about. When you think of Lotus in the 60s and 70s, we were always at the top of the table of Sportscar manufacturers; pushing innovation, being the first, being the best, etc. Then the world sort of moved on. So Evija gives us an opportunity to be sitting at the top of the table again. This

will be the first EV hypercar from a brand that is recognised, as opposed to being a start-up. This project started in 2017. The very first conversation came from the boss of the Geely group. He set the aspiration for us to do a hypercar. We then started sketching the car in September of 2017, and by the end of the year, we had selected a theme after having done some digital modelling and some scale models. The objective of the project was clear from the outset: to provide a halo for the brand and reset the perception. How was the scope for this project set in terms of design, performance, technology, etcetera? From the outset, the vision was to create the most powerful EV hypercar. So that on its own doesn’t necessarily mean much, but it drives a lot of solutions. It drove certain solutions with the EV powertrain. It drove us to opt for four-wheel drive. You know you’re going to have extreme performance. Therefore, you’re going to want to create downforce, low drag and other things, so it drives the aerodynamics of the car. You know that you’re going to use a carbon fibre tub and such things for the structure.

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It also guided us in the design process, as did the three philosophies that are fundamental to any Lotus. One is weight efficiency or lightness. The other is driving dynamics because our cars have always been about drivers. The third is efficient aerodynamics. We studied how Le Mans race cars use airflow creatively to not just go over, under and around the vehicle, but also through it. This concept, known of ‘porosity,’ is key to Evija’s aerodynamic efficiency. It has enabled us to create a timeless design with exceptional amounts of downforce which means better range and better acceleration. From the outset, we also wanted Evija to be beautiful and contemporary because it’s in our DNA. All the Great Lotus cars of the past were beautiful and forwardlooking. The car had to have some unique features that were memorable but still has to be recognisable as a Lotus. We also had to incorporate the latest technology, such as our new infotainment systems. Take us through some of the interior highlights of the car. Inside Evija, you don’t see the traditional dashboard. Instead, you see a beam going across it. It’s a modern interpretation of the tubular metal structure you would see through the

Evija hypercar Interiors

windscreen of some classic race cars. It also represents a continuation of the exterior concept of porosity or openness to the interior. It lets in a lot of light into the cabin, so you don’t have the oppressive interior you sometimes have in extreme sports cars. The beam has two functions: it supports the steering column and carries all the ducting for the vents in the car. From the very beginning, we had a direction to make this car more usable than other cars, to make you feel like you’re wearing the interior. Everything should be intuitive. It should be all about the driver and the driving experience. So, the driver sits a good distance away from the passenger. You have a really nice driving position. We spent a lot of time getting that right. We also wanted to do our own take on British luxury. So, we’ve gone for a theme that is quite minimal, but it’s not raw. All the shapes and forms are quite elegant. All the materials are very high-end. All the soft trims are hand trimmed. There is a lot of carbon. Some of it is the actual structure, and some of it is the covering. We paid a lot of attention to the switches and essential driving controls to give them

a reassuring mechanical feel. We think we have got an appropriate balance for Evija’s interior.

the centre. We have three more radiators to cool the motors. This enables Evija to be driven harder for longer.

What were the challenges of building an EV hypercar for a company that’s never done an allelectric before? We have worked on electric vehicles before as a company. Since the 1970s, consultancy has been part of Lotus’ business. For Evija, we have tied-up with Williams Automotive Engineering of the Formula One scene. They were a supplier for the Formula-E series until last year. They are really at the cutting edge of things. One of the areas that they’ve made a huge contribution to is the powertrain and battery technology side of things. One of the standout technical features on the Evija is that we have placed the batteries behind the occupant, as opposed to putting everything flat at the bottom like a skateboard; as in most EVs. This gives Evija the classic mid-engined layout while minimising the cross-sectional area of the car aerodynamically. This means the car can turn very quickly. We have also placed the radiator that cools the battery pack in

What are the customisation options, and how is the order book looking so far? Each Evija will be very much customer bespoke. There are lots of details on the car where the customer can have an input, starting with the obvious things like trim and paint. The badging can be done in different materials. A unique feature of Evija is that in the centre of its seat, there is a metal strip that goes up the spine of the seat. You can specify it in different materials such as aluminium or titanium, and then you can have a personal message engraved on it. All the metal parts are rapid prototype machined. So, you can select either titanium or aluminium, and you can anodise it in different finishes. We opened the order book immediately after we did the press launch in London [July 16], but the first time people really got to see the car seriously was at Pebble Beach [Aug 16]. So, we’re building up a healthy order book now. The first car will be ready towards the end of next year, but we are consciously taking the time to do it correctly.

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A U T O M O T I V E • F U T U R E - P E R F E C T R E S T O R AT I O N

FUTURE-PERFECT RESTORATION Introducing Lunaz, the Silverstone based luxury classic car electrification company

A 1961 eight-seat Rolls-Royce Phantom V, a 1953 Jaguar XK120 and a 1956 Rolls-Royce Cloud, each an object of beauty when stationary, and mechanical poetry when in motion. Built not by robots that measured time in milliseconds, but sculpted by human hands with great patience. Built-in an era when oil was considered an infinite resource, these mechanical masterpieces of British engineering and craftsmanship face an uncertain future where zero-emission is set to be the law. David Lorenz has had a lifelong love for classic cars and is a committed driver. One day, while waiting for mechanics at the side of a road to repair his classic car, he began to ponder on the questions of usability, reliability and sustainability of classic cars. The birth of his first child, Luna, brought these issues into sharper focus. Last year, what had begun as a postulate on a roadside became a reality when he founded Lunaz, named after his daughter. “I wanted a car like a 1953 Jaguar to be my daily driver,” says Lorenz. “Lunaz takes a history we all love and gives it a bright future. We are innovating to create cars that are usable, dynamic and stand as the ultimate drivers’ classics. For Luna, my daughter, not to have access to a car like the Mercedes-Benz 190SL when she is of driving age would be a tragedy. Without building Lunaz, this is the reality she faces.” Headquartered in Silverstone Technology Park, England, Lunaz restores and electrifies premium classic cars. To achieve this, the firm has designed and engineered a proprietary electric powertrain which it manufactures in-house. It is flexible enough to be applied to a wide range of classics. Each conversion by Lunaz represents a one-of-a-kind expression of its breed. The three classics mentioned above are currently at different stages of conversion and will be the first electrified examples of their kind in the world. The Jaguar XK120 is presently in its final testing phase where it is being subjected to an extensive list of proving tests in “all conditions and road types.” The Jaguar is fitted with an 80-kWh electric battery pack which powers its twin motors capable of producing 700NM from zero engine speed and 375bhp. The Rolls-Royce Phantom V is specified with a 120-kWh power unit. The two Rolls-Royces are nearing completion and will follow the Jaguar through a similar series of tests. All cars by Lunaz are engineered with fast charging capability, regenerative braking systems and integrate modern conveniences such as traction control and cruise control. To achieve these feats of engineering marvels, Lunaz has handpicked some of the best engineering, design and manufacturing talents with additional input from the likes of

Aston Martin, Ferrari, Ford, Formula 1, Jaguar, Volkswagen, McLaren and Rolls-Royce. The fact that the company’s home at Silverstone is flanked by Virgin Racing’s Formula E team and Ferrari’s Corse Clienti race team, among others, has also given the company access to some exceptional engineering talents. This talent pool is headed by Lunaz’s Managing Director and Technical Lead, Jon Hilton, who began his career designing helicopter powertrains at Rolls-Royce PLC. He moved to Motorsports and built his reputation as the Technical Director for the Renault F1 team that took Fernando Alonso to two successive World Championships. He was instrumental in the development of Kinetic Recovery Systems (KERS). He was the technical director of Hope Polevision Racing team which introduced the first-ever hybrid Le Mans entry. Each classic car conversion and restoration project undertaken by Hilton starts with an exhaustive inspection. Each corner is then weighed to understand the original weight distribution to the gram. This information is crucial for decisions on chassis setup, powertrain packaging and suspension. The internal combustion engine and associated systems are then removed, and 3D scanned to create detailed CAD models. This enables the team to achieve technical perfection in every step of the process. The car is then stripped down to a bare metal shell. Traditional coachbuilding and restoration skills are employed to remove any body defects by hand before the surface finish process begins. The same approach extends to the interior. The in-house design team make subtle adaptations to integrate modern conveniences such as satellite telecommunications, WiFi, audiovisual entertainment and navigation aids. The accessories associated with electric powertrains, including battery chargers and DC converters, are then integrated into the existing design of the car. The fuel filler cap is utilised for charging. The dials are adapted to provide appropriate read-outs for the electrical powertrain. New air conditioning and electronic heating systems are installed. The accelerator is converted to a throttle-by-wire system. The braking, suspension, steering and electronics systems are updated. Finally, every circuit is tested before the first startup procedures begin, followed by on-road testing. “The Lunaz solution takes cars that are under threat and gives them a new purpose. These cars will be true to the original in their aesthetic, peerless in their performance and effortless in their day-to-day use. To breathe new life into these classics represents vital engineering in the purest sense,” says Hilton.

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Jaguar XK120 by Lunaz

David Lorenz, Founder, Lunaz

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AUTOMOTIVE • DECODING THE HISTORY OF LINCOLN

2019 Lincoln Continental 80th Anniversary Coach Door Edition

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DECODING THE HISTORY OF LINCOLN Years of hearsay and guesstimates have enveloped the Lincoln name and emblem in mystery

Henry M. Leland (1843-1932) was instrumental in the founding of two of America’s legendary luxury automobiles. Leland grew up in Vermont and learned the importance of precision manufacturing in New England’s state-of-the-art factories. He relocated to Detroit and produced Oldsmobile engines and gears before founding Cadillac Motor Car Company in 1902. Leland resigned following a dispute with Billy Durant, whose General Motors corporation acquired Cadillac in 1909. He then setup the Lincoln Motor Company in 1917 to manufacture airplane engines, namely the Liberty motor for the allied forces during World War One. The company also managed to produce, in the first year of its existence - the Lincoln Model L automobile. The Model L was billed as a luxury car and cost ten times more than a Ford Model T. Sales of the Model L were brisk enough that after World War I, Leland and his son Wilfred refashioned the Lincoln plant exclusively for the production of high-end automobiles. The big question always remained as to why Leland went on to name the marque Lincoln when it would have been just as easy to call it Leland? It turns out, he chose to name it after the first President of the United States he had ever voted for in 1864, Abraham Lincoln, the 16th leader to sit in the American hot seat, arguably most notably remembered for abolishing slavery and modernizing the U.S. economy.

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AUTOMOTIVE • DECODING THE HISTORY OF LINCOLN

2018 Lincoln Navigator 90

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Such was Leyland’s admiration for the self-taught former lawyer that, in 1922, five years after founding the company that bore Abraham Lincoln’s name, a statue was erected in his honour in front of Detroit, Michigan’s Lincoln plant. Though the effigy was later donated to the Detroit Public Library, the one-term president’s legacy lives on through the brand that embodies strong heritage, power, and presidential class. The history of Lincoln’s logo, however, has often proved more difficult to pin down. But the story behind the current star is decidedly short and elegantly humble. “Today’s fourpoint star badge was originally designed in 1955 for the 1956 Continental Mark II,” said Jamie Myler, research archivist for Ford Motor Company Archives. “Though at the time, the design team, led by John Reinhart and Gordon Buehrig, hadn’t actually determined that a new emblem would even

be used when the board of directors requested to be shown sketches the following day.” The short time frame and quick turn-around inspired former Ford stylist Robert Thomas to design the star overnight, which met immediate unanimous approval. Thomas’ remit was modest: create a simple, elegant design for an elegant car. And so, a star was born. Though it has seen minor adjustments through the decades, that iconic four-pointed emblem holds true to its simple elegance, evoking a sense of luxury, and still sits proudly on every Lincoln that rolls off the production line, more than sixty years later. Lincoln has been a brand that always represented the rich history of the American automotive industry and its commitment to excellence. It, therefore, doesn’t come as a surprise that Lincolns of all eras remain sought-after by collector car enthusiasts.

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ART & DESIGN • IN WHITE GOLD

IN WHITE GOLD The Lladró Medieval Tournament collection highlights the creative prowess of one of the most exquisite porcelain manufacturers in the world

Lladró Medieval Tournament Sculpture

Porcelain is one of the noblest materials in the world. Its discovery dates back to ancient China where porcelain manufacture was a monopoly of the Chinese Emperor, and the methods were a closely guarded secret. Thus ‘White Gold’ and its manufacturing was not something European travellers and merchants were privy to. Marco Polo first introduced Porcelain to Europe from China in the fourteenth century, a small grey-green jar amid his bounty of silk brocades, spices, and vials of musky scents. Polo called it ‘Porcellana’. It’s a nickname in Italian for the cowry shell, whose shiny, white surface porcelain resembles. The secret ingredients to porcelain are kaolin, quartz and feldspar mixed with water and combined in perfect proportion. The smallest amount of water can change its texture, and any errors are instantly revealed. Therefore, working in porcelain takes patience as well as skill. But this risk of failure is worth the outcome of success: if made correctly, there is nothing thinner, no other clay that possesses that luminosity and unbelievable strength. Tap a finished porcelain bowl with your spoon, and

it rings hollow, like a metal cup. Glass shatters, earthenware crumbles; porcelain is otherworldly in its beauty and strength. A poem from the Tang dynasty describes a service of teacups for the Emperor as “bright moons cunningly carved and dyed with spring water.” At an unhurried pace and with the same loving care and attention as once lavished by alchemists of old, Lladró porcelain is still hand-crafted in Spain, at the company’s only factory in the world, located in Valencia, Spain. Its unique craft processes are applied in the most figurative Lladró creations as well as in lighting products, home accessories and jewellery. With around 400 employees, Lladró makes all its creations by hand at its only factory in Tavernes Blanques, making each piece unique and unrepeatable: A creative world of men and women passionate for porcelain art who bring together talent, audacity and attention to detail in their ongoing quest for excellence. It is within this creative environment that the stunning Lladró Medieval Tournament collection has been conceived. Sculpted

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Making of the Lladró Medieval Tournament Sculpture

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ART & DESIGN • IN WHITE GOLD

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by Francisco Polope, The Medieval Tournament Collection is a limited edition of 300 pieces, an intricately crafted porcelain figurine that shows two tournament jousters fight for the win. The figurine captures all the fascination and romanticism of a legendary time when fame, honour and glory were everything. It is also a demonstration of Lladró artists’ control of sculpture and ornamentation. This collection falls under the ‘High Porcelain’ category, a concept that sums up the maximum expression of the Lladró work. A category in which only those pieces that exemplify, with the highest level of excellence, the values of expressiveness, beauty and technical perfection of the brand are included. A breadth of colour and exquisite detail gives this extraordinary piece utter realism and excitement. More remarkable is the process of creation behind such a beautiful masterpiece. The sketch for a new piece begins with the original idea of its sculptor or designer. Once the model is approved, it is broken down into as many parts as required, which are then reproduced in alabaster, on which all the details of the final piece are etched.

These fragments are then made in the highest quality porcelain. In a fascinating process of molds, the liquid porcelain sets and gives life to each part in a magical jigsaw puzzle that the brand’s artists then recompose. Masters in painting apply the colours with a steady hand, delicately outlining the tiniest detail. With over 4,000 different colours, the Lladró palette is in constant evolution, continuously adding new tonalities created expressly for some pieces. The moment of truth is when each of the creations undergoes a test of fire in the kiln. Here, Lladró creations go through a profound transformation withstanding temperatures of up to 1,300ºC (2,500ºF) for a whole day, reducing in size by up to 15% and the true Lladró colours come to the surface. The ornamental wealth of the heraldic emblems of knights and their sumptuous armour are reproduced in minute detail in this elegant piece of glazed porcelain, decorated with dark grey and golden lustre, as well as polychrome wood and gold-plated brass elements. A piece that will delight lovers of history, literature, art and porcelain.

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A R T & D E S I G N • N U R T U R I N G I N N O VA T I O N

NURTURING INNOVATION A brief overview of the Audi Innovation Awards and personal insight into the awards from the 2018 winner, Elias El Soueidi

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Carsten Bender, Brand Director, Audi Middle East, with Elias El Soueidi, Winner of Audi Innovation Award 2018

In 2016, the fifth year of its partnership with Design Days Dubai, Audi Middle East launched the Audi Innovation Awards (AIA) at Dubai Design Week. The purpose of the award is to act as a design and technology industry motivator in the GCC and Levant regions, and to empower regional designers while archiving annual intellectual progress. The design solutions have to demonstrate ‘significant positive change’ around the themes announced annually. The solution submitted may be inspired by nature or from manmade objects, and it must be a developed idea that considers application, materiality, durability, target user, and lifespan. All designs are judged on the following criteria: Is the solution unique; how does it compare to similar products; its aesthetic; ease-of-use and maintenance; ease of manufacturing and sustainability; relevance to target user; design flexibility for upgrading; relevance to the theme. The award has experienced exponential growth since 2016. In the first year, there were just over 100 registrations, but this year has seen over 2,500. According to Audi, this award is an opportunity to “align the Audi brand with design innovation and support of creative talent in the GCC and Levant,” as well as to “build a legacy project for Audi, focusing on the GCC and Levant, and generating engaging content for the dealer network.” The award also complements the “Vorsprung durch Technik” DNA of the brand. This year’s theme ‘Simplification’ is all about designing for efficiency; to make less complex or complicated. The AIA 2019 “top three” were formally announced on November 12th at the Audi Innovation Hub in Dubai Design Week. Here they are in no particular order. Ahmad Alameh & Hadi Nassar (Lebanon) – Bentos A super polymer, Bentos, using nanotechnology to hold heavy weight. The innovation is in the cuts applied to the textile allowing it to become rigid when bent and become flexible when contracted. The cut pattern is

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A R T & D E S I G N • N U R T U R I N G I N N O VA T I O N

Audi Innovation Hub at the 2018 Dubai Design Week

applied to slits in the textile, acting as stoppers when pressed into a particular angle. The resulting material can be used in various applications on the body to support movement, prevent overextension, and bear weight – ideal for athletes, the elderly, the injured, craftsmen and builders. Omar El-Dimassi (Lebanon) – Di_Wrapp Di_Wrapp, a patented digital skin for the automotive industry. The skin is adhered to the surface of any vehicle body and can be transformed through the use of a mobile app. This interface serves as a billboard for advertising, alerts, general information or for personal customization. Given the number of vehicle surfaces in our urban environment, this opens up a new horizon in communication. Twelve Degrees (Jordan) – Pincher Pincher, a physical interpretation of the cooking phrase, “a pinch of salt.” Rather than shaking salt and pepper out of a dispenser, the process has been represented through the motion of pinching a lightweight silicon device whereby the opening of the nozzle releases precisely the amount salt that would be released from between your own fingertips. This allows the user to control the flow of seasoning for a simpler and more intuitive user experience. Signé got in touch with Elias El Soueidi, last year’s winner, to get a deeper sense of what this award means to the participants, and also to get to know him and his innovation.

Tell us about yourself and your background. I am an architect and a designer aiming at introducing spatial and architectural artefacts developed through experimentation and scientific investigation of systems and algorithms. After studying architecture between Beirut and Paris, I pursued my passion for architecture and design, by participating in international research workshops and programs in the world simulating different iterations of living spaces and interventions. I have developed an interest in plugins and interactions with existing structures. Buildings, ruins, and urban gaps are home to constant memory formation. I see architecture as a discipline of socio-technological formations, aiming at making a difference in the world, not only through constructions but through ideas challenging today’s status quo. What is the ‘Ruin to Reality’ (R2R) project? How was it conceptualized? Ruin to Reality is an application aiming to connect people with revitalized 3D models of ruined historical buildings and landmarks. This connection enhances the relationship between people and their immediate surroundings. This interactive experience will help people reconnect with their environment and re-establish lost memories with what used to be there. The application’s 3D models, over a period of time, will create a continuous bond and an affiliation between the user and the timeline of a specific geographical site. It is an application that

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will make you experience in virtual reality what your parents, ancestors and previous generations have built, where and how they have lived. For the first time, History will be told, visualized and perceived. Has your childhood in Lebanon influenced your direction towards such an app? Home is the place where we feel ourselves the most. Lebanon is home to a rollercoaster of emotions varying between struggle and survival on one hand and safety and belonging on the other. Being born and raised in Lebanon, studying Lebanese cities and urban fabrics, as well as communities and social connections exposed me to the thirst to know more and the challenge to make an impact. A year since you won the Audi Innovation Award, how is the R2R Project shaping up? Audi Innovation Award was one of the best things that happened to me during the past year. I had the opportunity to work and meet people and the chance to develop the application, which will be featured at the Dubai Design Week in November 2019! Ruin to Reality is currently in its final stages and will be offered to the public starting November 2019. People will get to experience in VR one major site in Beirut: Martyr’s square, currently under construction, and go back to when it used to be the main attraction of the city back in 1950.

What is your vision for the project, and where do you see it in the near future? I would like to see this project grow to reach more people and offer more sites. Following Design Week, the project will definitely receive the boost and exposure it needs to grow and evolve. I have new ideas and some very exciting insights about where R2R could go. How was your experience at the Audi Innovation Award 2018? Audi Innovation Award 2018 wasn’t a day or even a week. It started when I first read about the competition and its theme: Connections; and started working on Ruin to Reality as an idea. Following the selection process and awards ceremony, the Audi Innovation Awards team was amazingly supportive towards Ruin to Reality, and to me. Audi’s Innovation Hub 2018, was an amazing platform for people from all disciplines and backgrounds to meet and chat about the award, the winning scheme, and also design in general. I am very much looking forward to the Hub in 2019! What other exciting projects are you currently working on? I am currently working on several other projects varying in scale and types, from architectural design to technological software. One exciting project is another application aiming at challenging the status quo in a completely new way!

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OBJECTS OF DESIRE

SPIRULA 3D PRINTED SAND SPEAKERS BY DEEPTIME The world’s first speaker made from sand and limited to 1,618 sets. Each piece, a sculptural object, is a single piece (no visible split lines or bolts) 3D printed spiral cabinet. It is made from a brand-new composite material: silica sand cores treated with a hardener that turns the shell into an air-tight acoustic form. This effectively stops sound waves being emitted from the back. The 3” full-range driver has a bamboo fibre paper cone, structured Santoprene surround, powerful underslung motor, and delivers impressive response from 75 to 20,000 Hz with very low distortion. The system is always on standby and connects via Bluetooth or one universal 3.5” analogue/ mini-Toslink optic input.

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THE TIME ARC DUO WATCH WINDER BY RAPPORT Presented in a minimalist and futuristic design. The cog mechanism powering the winding heads is contained in a lead crystal glass case with a semi-circular shaped, hinged lid. The edges are trimmed with chrome-plated steel, while the base is a combination of piano finish ebony and polished steel. Available in single or double watch configurations, the Time Arc Duo is 340 x 150 x 290 mm in size.

SHOE CARE KIT BY TURMS

DECO DOMINOES SET BY L’OBJET

Designed to help care for and maintain one’s footwear, it is ideal for gifting. This well-stocked kit comes complete with four 75ml-tins of black, brown, maroon and neutral shoe polish, a polishing glove, wooden shoehorn, two large soft-bristle brushes, two large hard-bristle brushes, a rubber shoe brush, two small polishing brushes, a lavender flower set, shoe deodorizer, suede protector, shampoo and a natural sponge. It is housed in a handsome claret wood box with a horse leather handle. The kit is handcrafted in Italy.

The dominoes are made of mahogany and inlaid with polished brass details. It is presented in a luxury gift box 19L x 7W x 4H in centimetre – also made of mahogany with protective outer brass plating. The sliding lid features the same design and finish as the domino pieces.

HE1000 V2 HEADPHONE BY HIFIMAN An upgrade to the original HE1000 headphones that were widely acclaimed as being top-of-the-line by critics and customers alike. The new version introduces several structural and design changes based on customer feedback. It is lighter (by 20 grams) and more ergonomic with improved sound quality. These minor changes add up to a noticeable upgrade in the overall experience. The over-the-ear-headphones are oblong (131.15mm X 100mm) with an open back. The headphones are finished in brushed metal with wood grain accents and brown leather headband. Accessories include: 1.5-meter cable with 3.5mm plug, three-meter cable with 6.35mm plug, and three-meter cable with four-pin XLR plug.

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THE GLOBAL RESTAURATEUR A conversation with Alexander Orlov about his experiences, the Bulldozer Group and its global venues

“I started in the restaurant business 20 years ago. It was by accident; out of nowhere. I didn’t know what the restaurant business was all about. I had a friend who had worked in restaurants and she knew about the restaurant business in general. So basically, I had money set aside, and I asked her to help me to open the first restaurant. That was in 1998,” admits a straight-talking Alexander Orlov, President of the Bulldozer Group; an investment and brand management company that develops, owns and operates several successful premium dining and nightlife venues in Russia, Kazakhstan, Ukraine, UAE, USA, UK, Monaco and Hong Kong. Orlov sat down with Signé for a conversation at Gaia, the group’s Greek-inspired restaurant at DIFC which had recently opened. When asked about the thought process behind Gaia, Orlov said: “In DIFC you have French, Italian, Japanese but there is nothing like what we are offering at Gaia. Greek is in trend right now, but we have been thinking about the Gaia theme since 2016. Chef Izu Ani and Gaia have become very popular here in Dubai. In August, we opened our second Gaia in Monaco, and it’s become very popular already. Now the plan for 2020 is to open Gaia in London, Miami and Moscow. For once, we want to bring something from Dubai to London, not the other way around.” The launch of Gaia was followed shortly by Shanghai Me, also located at DIFC. Designed by renowned architect Michele Bonan, it has an inviting “bamboo and banana tree-filled terrace”

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that evokes the green jungles of Asia. The art-deco inspired luxurious lounge, and exclusive private dining table pays tribute to the Shanghai of the 1930s. The cuisine comprises classic Asian dishes primed for a cosmopolitan palate. “This Chinese concept was a success in London. It has a huge terrace, private dining room, and an indoor dining room. The kitchen is massive. There will be lots of surprises from the chefs,” says Orlov. The formula for its success, according to the group is ensuring that the brands within its portfolio maintain the consistency and integrity of their original concepts along with satisfying the needs of a clientele who value a distinctive atmosphere, personalised service, high-quality surroundings, and time. To achieve this, it employs some of the best hospitality management talents worldwide. Since its founding in 2011, the group has successfully overseen the launch of several popular dining and nightlife venues, first in Russia, then in the former CIS countries, the UAE and beyond. In Moscow, the group owns and operates a chain of its Eshak brand of restaurants. The group is one of the leading players in Ukraine. In Kiev, it owns and operates several restaurants that offer Eastern cuisine, including Eshak and Queen Country Club, which have become favourites among the well-heeled in the Ukrainian capital. The group began its expansion beyond the former Soviet bloc with its arrival in the UAE in 2013. The group first launched

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Alexander Orlov, President, Bulldozer Group

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GAIA restaurant in Monte Carlo

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Toko Downtown and Sass Café in Dubai. These were followed by Novikov Restaurant and Bar and Cipriani. They are currently planning to open Novikov in Saudi Arabia. Crabmarket, located in the North Tower of Emirates Financial Towers, is a joint venture between the Bulldozer Group and White Rabbit Family led by the famous Russian chef - Vladimir Mukhin. The group broke into the Hong-Kong market with the launch of two concepts simultaneously. One was Ichu, a new Peruvian dining experience curated in partnership with acclaimed Peruvian chef, Virgilio Martinez, with the interior designed by Joyce Wang. Virgilio Martinez’s eponymous restaurant Martinez is a constant fixture in the World’s 50 best restaurants list. The other venue was Estiatorio Keia, specialising in fresh premium seafood and traditional Greek specialities. In 2016, the group entered the US market with the opening of the group’s popular Japanese concept Tanuki in South Beach, Miami. In 2019, Tanuki opened its doors in the UAE. In addition to the fine-dine venues already mentioned, the group also owns some of Dubai’s premium nightspots; including the 9,000 sqft 1-OAK nightclub and Seven Sisters bar and lounge at JW Marriott Marquis Business Bay, Antika Bar at DIFC and the private members’ lounge Socialista. The Bulldozer Group was established by Orlov, along with Evgeny Kuzin and Maxim Vlasov, as a holding company to manage the group’s numerous assets operating around the world. Orlov, the driving force behind the group and its exponential expansion, is quite a personality himself. Typical of most Russians, Orlov is not a man of many words, but when he speaks, he is quite forthright. Born in 1971, Orlov studied economics at Moscow’s GV Plekhanov Academy which he graduated in 1994. In 2012, he graduated with a second degree in Clinical Psychology from

Moscow State University of M.V. Lomonosov. “It was only to understand people better,” clarifies Orlov. When asked to elaborate on his routine, he says in a laid-back tone, “I wake up, not early in the morning, but around ten or eleven;” followed by reading and answering the “thousands of phone calls and chats on WhatsApp, Viber Telegram.” The rest of the day, “I meet with my partners, friends, colleagues, and staff from different venues, mainly either in my office or in the restaurants. Because I have business and houses all around the world, I spend in each place two, three, or four days, and then I fly to the next place. In the last few years, I have not stayed longer than ten days in the same location.” In 2010, Orlov created the film production company, Bulldozerfilms which produced ‘Bedouin’ and ‘Fast Moscow — Russia.’ In 2017, he appeared on the popular TV show, The Secret Millionaire. “Regarding filmmaking and production, now everything is on hold,” says Orlov. However, “apart from the restaurants, I am working on a few projects. We are developing and opening a few spa centres in Moscow and all-around Russia. In Moscow, there will be a new huge fitness centre opening soon.” The fitness centre, we assume, stems from Orlov’s passion for an active lifestyle. “I am a very adventurous person, and I am into extreme sports. Every single day I go jogging. I travel all around the world to go skiing, snowboarding, flying, parachuting, skydiving or anything related to extreme sports. I am into climbing mountains. I am planning to go to Nepal to climb Mount Everest. Right now, I have plans for a Safari in Africa.” If all this was not enough, Orlov also has a philanthropic side: “I have a few charitable projects which are running for the last few years in Kazakhstan, Ukraine and Russia; for kids, houses for people who don’t have houses and for disabled people.”

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A MIX OF FLAVOURS Up close and personal with Samoan born Chef Monica Galetti Born in Samoa, raised in New Zealand, trained in a French restaurant, and now a restaurateur in London. Chef Monica Galetti, born in 1975, has had a challenging and colourful journey in life. After starting her career in New Zealand, Monica joined the staff at two-Michelin-starred Le Gavroche restaurant as a first commis in 1999. By 2015, she had risen to become the senior sous-chef and later, the Head Chef of Le Gavroche des Tropiques in Mauritius. In 2017, along with her husband David, Monica launched a new restaurant in London called ‘Mere’. Parallelly, she has been a judge on the BBC series MasterChef: The Professionals since 2009 and presented Amazing Hotels: Life Beyond the Lobby with Giles Coren since 2017. How difficult was it to make your space in a maledominated industry? It was difficult as a young chef. The long hours meant sacrificing time with friends and family for months on end, but I was very focused on my career and progression. It never bothered that it was male dominated at times because it was very much the norm back then and for me, once you are in a chef’s jacket, you are all the same. Growing up did you always dream of becoming a chef? Absolutely, it is all I have wanted to do. Being born in Samoa, raised in New Zealand and now living in the UK, which culture has had the maximum influence on your cooking? I would say there is a varied mix of dishes on my menu that are inspired from all of the above, at the heart of it are classic French cooking techniques. What philosophy guides your approach to cooking? Respecting the seasons and having a close relationship with my suppliers What has been the biggest challenge in your career so far? Balancing motherhood with opening my restaurant was very challenging.

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What was it like working for the two-Michelin-starred restaurant Le Gavroche where you were also the first woman to land the role of a senior sous-chef? It was the best training a young chef could have. I was so fortunate to have had Michel Roux Jr. as a mentor. He is like the wise older brother. I can always pick up the phone, and I know he is there. Tell us about your restaurant ‘Mere’ and what is its menu inspired by? It is named after my mother. It’s Samoan for Mary. We are on Charlotte Street, Fitzrovia. I worked very closely with our designers on every aspect of Mere from the lighting through to the colour palette. We wanted to create a welcoming, warm and friendly feel. It is about providing great food and excellent service in a relaxed environment. The menu is inspired by the availability of ingredients, the seasons, my heritage as well as David’s (who is French) and travels. You will find my love for Marmite in one or two dishes. One of my signature dishes is a coconut caramelised brioche inspired from Samoa. Being a MasterChef judge, is there an added pressure when it comes to the taste and presentation of food at Mere? No, I am confident in my own skills and experience as a chef to know what works. Which, according to you, is the most underrated destination for food travel? Samoa! Just a shame it’s so far away. What advice would you give to women aspiring to make it in the culinary world? I would say the same thing you’d say to any women in any industry that they need to work hard to gain experience and achieve anything you set your mind to. What’s in store for 2020? My main focus is always Mere and pushing together as a team to always improve, stay relevant and keep our customers happy. Outside of this, I will be filming the Amazing Hotels Series 3 with Giles Coren, Series 13 of MasterChef Professionals and my new book which is due to be out in autumn 2020.

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Corzetti Pasta at Restaurant ‘Mere’

Chocolate Orange Alaska at Restaurant ‘Mere’

Chef Monica Galetti

Blackcurrant Parfait at Restaurant ‘Mere’

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AN OTTOMAN EXTRAVAGANCE We review Dubai’s very first Anatolian restaurant, with authentic Turkish dishes, fresh salads and succulent meats Lalezar, at Jumeirah Zabeel Saray, is where classic Turkish cuisine is captured in an ambience reminiscent of the Ottoman Empire. At the height of the Ottoman Empire, before presenting each meal to the Sultan, the chefs would aim to please the chesnidjibash, the imperial food taster. Only if he gave a nod of approval could the chefs breathe a sigh of relief. A reflection of this arena is apparent in Lalezar. From the folds of its velvety curtains to the engravings on its doors, subtle shades of this enriched heritage are evident in every little aspect of the restaurant. The menu at Lalezar reflects the rich food culture of historic Anatolia, a palette that includes succulent meat preparation, lentils, legumes, herbs and yogurt. Our recommendations from the mezze menu

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include the ‘haşlama içli köfte’, a hot mezze made out of steamed bulgur and minced lamb served in a garlic yogurt sauce with tomato sauce. The minced beef stuffed Turkish Pasta known as ‘Manti’ is also worth a mention for its authentic preparation. The star amongst the main courses is definitely the ‘Kuzu Incik’, a

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lamb shank that has been braised and left to cook for over 5 hours and served over a bed of cooked barley and lamb jus. Other highlights include the ‘Sandal Sefasi’, grilled lamb served with char-grilled Eggplant, and the traditional ‘Adana Kebab’. Close out your evening with the best ‘Kunefe’ in the city, credit to the fact that this is the only kitchen in Dubai where all ingredients for the Kunefe are also freshly prepared in-house. Lalezar, with its Ottoman themed décor and its authentic flavors, is second to none in the city, instantly transporting you to another time and place.

LALEZAR Jumeirah Zabeel Saray, +971 4 453 0444

REDISCOVER ZHENG HE’S The celebrated Chinese restaurant has reopened its doors with a new Chef and an impressive new menu Spearheading Zheng He’s new menu is Chef Lai Min Wei, a Malaysianborn chef who spent 9 years within the global Hakkasan franchise in London, Dubai and Doha. Chef Wei joins the Jumeirah Mina A’Salam venue with a wholly reimagined culinary offering. Freshly elevated décor and the lively atmosphere complete the appeal of the much-coveted Chinese restaurant. Guests will be offered the same standard of culinary excellence now complemented by an amplified atmosphere, reflective of the buzzy eateries of the present-day Far East. It’s interesting to see how modern signature dishes have been prepared using the traditional ingredients and age-old techniques. The highlights on the new menu include the Blue Lobster

Dumplings with Caviar and Lemongrass Sauce, Boston Lobster in Tomato Chili Broth with Crispy Rice, and Zheng He’s iconic Peking Duck. The menu also includes exciting vegetarian options featuring exotic dishes bursting with bold flavours including Crispy Bean Curd Salad and Wok Fried Udon Noodles with the Chef’s special homemade X.O. Sauce.

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The new tick-box menu allows diners looking for a quick weekday lunch to sample everything from dim sums and flavourful soups to wok-fried noodles and Chef’s recommendations such as Spicy Prawn with Lemongrass Chilli Sauce. With unmatched views of the iconic Burj Al Arab Jumeirah and Jumeirah Mina A’Salam’s turquoise lagoon, Zheng He’s is the new hotspot to experience the vibrant flavours and flair of contemporary Chinese cuisine.

ZHENG HE’S Jumeirah Mina A’Salam +971 4 432 3232

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LUXURY HAS A NEW NAME A closer look at JA Lake View Hotel, the newest property addition to JA The Resort in Jebel Ali

JA Resorts and Hotels, the legacy UAE hospitality brand born in 1981, recently inaugurated the JA Lake View Hotel - the third property in the group’s one million square metre resort in Jebel Ali. It complements the flagship JA Beach Hotel and the Mediterranean style villa-suites of the Palm Tree Court. William Harley-Fleming, Cluster General Manager of JA The Resort, commented: “We are delighted to announce that JA Lake View Hotel has been added to our iconic flagship resort. We can now offer three different styles of accommodation to our guests, as well as even more restaurants, lounges and leisure facilities in one incredibly beautiful destination. The new property spearheads the repositioning of the resort and helps to solidify its standing as one of the most recognised family-friendly, all-inclusive resorts in the UAE.” With panoramic views over the golf course and Arabian sea, the hotel is described as a design-driven property dedicated to sustainability. It features solar panels to power parts of the hotel, cutting edge technologies to minimize food wastage and facilitate paperless check-in, having already stopped the use of plastic bottles across the resort. The hotel is designed to be spacious and relaxing, with a focus on light and space. It has a neutral colour palette to

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complement the surrounding green landscape and saltwater lake. It has 348 luxurious rooms and suites, restaurant concepts driven by chefs of Michelin-star acclaim, three additional outdoor pools, a rooftop bar and five meeting rooms with floor to ceiling windows. Also, for the first time in the Middle East, voice-activated Alexa will provide instant virtual assistance to guests in their rooms. Kinara by Vikas Khanna is the signature restaurant of the hotel. Described as an affordable and approachable homage to regional Indian kitchens, it offers dishes inspired from the diverse regions of South Asia but with a modern twist; served in a stylish yet casual dining ambience. Vikas is a Michelin star Indian chef, author of 34 award-winning cookbooks, poet, humanitarian and filmmaker. Kinara is led by Vikas’ protégé in Dubai, Chef de Cuisine Ashish Kumar. Signature dishes at the 180-seat outlet includes Dahi ke Kebab (Yogurt Kebab), Kinara’s version of Chicken Makhani, and the four delectable chutneys: Bengali tomato-nigella relish, Konkani pineapple-fennel seed pickle, Punjabi pickled onions and Rajasthani garlic-chilli chutney. Dishes are served in a sharing concept, and the menu has extensive vegetarian choices. The decor recreates the spice market experience with elegant oversized spice displays complemented by an open

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JA Lake View Hotel

Luxury Two Bedroom Suite at JA Lake View Hotel SIGNÉ • EDITION 36

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Feast at Kinara by Vikas Khanna

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Kinara by Vikas Khanna at JA Lake View Hotel SIGNÉ • EDITION 36

Republik, a modern gastropub, at JA Lake View Hotel

kitchen to create enticing aromas throughout the space. A magnificent outdoor terrace offers al fresco dining with vistas across the lake and golf course. The group also announced the launch of two new Phoenicia restaurants, one in Oasis Beach Tower and the other in JA Beach Hotel. The restaurant was conceived by Dubai resident Greg Malouf, considered one of Australia’s most influential and admired chefs. He is widely credited with changing the way we experience and understand Middle Eastern food. The restaurants emulate the cuisine served in Middle Eastern neighbourhood eateries. JA Lake View Hotel also features “81” - a buffet restaurant named after the inaugural year of JA Resorts & Hotels first property, Republik - a modern gastropub, and Bibé - a vibrant rooftop mixology lounge with views of the sprawling estate. These new venues add to the broad choice of 25 restaurants and bars at the resort. The resort’s Calm Spa and Salon is a modern and elegant sanctuary overlooking the beach and sea. It features ten treatment rooms, a traditional Hammam and spacious changing facilities. The resort also offers an exhaustive list of leisure activities including an 800-metres of private beach, seven landscaped pools with four swim-up bars, a 9-hole,

par 35 championship standard golf course with driving range, putting and pitching greens, the Leadbetter Golf Academy, four tennis courts and a tennis academy, squash and badminton courts, beach volleyball, horse riding stables, six shooting ranges, and a bio-garden. For water activities, there is a water-cooled water sports centre with water-skiing, windsurfing, banana-boats, catamarans, laser sailboats and a private 104-berth full-service marina offering fishing trips, boat trips and seaplane flights. Children specific facilities include the Pirates and Mermaids Kids’ Club, a mini-golf course and babysitting service. With the addition of the JA Lake View Hotel, the total capacity at the group’s Jebel Ali resort increases to 795 suites and rooms, while its overall portfolio now includes eight distinct properties – six in the UAE and two in the Indian Ocean. The latter two are JA Manafaru, an island resort in the Maldives, and JA Enchanted Island Resort in the middle of the protected Saint Anne Marine Park. The three UAE properties outside Jebel Ali include the JA Ocean View Hotel and JA Oasis Beach Tower, both located in Jumeirah Beach Residence. The third property is Dubai’s only mountain resort, the JA Hatta Fort Hotel, nestled amidst the Hajar Mountains.

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RITUALS OF THE ROYALS At the heart of the Saray lies an impressive hammam fit for Royalty A magnificent tribute to the ancient palaces of the Ottoman Era, the Jumeirah Zabeel Saray or ‘Saray’ as palaces are known in Turkey, is home to one of the best-kept secrets in the world of hospitality. Winner of countless awards and recognitions, the Talise Ottoman Spa is unmatched in its sheer size and unique treatments. Encompassing a total area of 8,200 square meters and built over several floors, it is beyond grand; complete with 42 treatment rooms, steam rooms, saunas, marble chairs, adventure showers, two thalassotherapy pools, a snow room and a VIP Couple’s area. There is also a massive indoor pool complete with ‘stars’ in the sky. At the heart of the marble-built spa, beautifully decorated in dark woods, mosaics and murals, is a spectacular Turkish hammam. Wander over to one of the many marble ‘kurnas’ to rinse and prepare yourself for the hammam ritual. Try out the ‘Traditional Turkish’ treatment, which is an authentic body cleansing ceremony in the tranquil ambience of the hammam. Relax and unwind as the gentle heat from the marble ‘goebektas’

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of the hammam softens your skin, preparing you for a body exfoliation with a ‘kese’ mitt on the heated stone bed, followed by soap cleansing with handmade olive oil soap. This is just the beginning. We recommend the ‘Sultan’s Massage’, the Talise Signature massage which can be had as either a 60- or 90-minute indulgent massage fit for royalty. This soothing and deeply healing treatment carefully stretches muscles and relieves pressure points. The lingering scent of aromatic elixirs will cleanse your body, mind and soul.

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Talise Ottoman Spa Jumeirah Zabeel Saray +971 4 453 0456

A RENEWED SPA CULTURE AWAY spa at W Dubai transforms the traditional treatment experience into an amped-up social scene

Designed for guests to Stroll In and Strut Out, AWAY spa is the ultimate destination to replenish your spirit. Located on the ground floor of the W Dubai –The Palm, the first W Escape in the Middle East, AWAY Spa takes its guests by surprise from the moment they step in. Mimicking the playful vibe of the hotel, a central light feature in the shape of a water drop hovers over the spa’s mix and mingle space - the Beauty Bar - creating a distinctive social space where guests can choose to wait while sipping on a beverage. The spa’s pearl-inspired interior echoes the rich pearl diving history of Dubai while the dark shimmering mosaic tiles emulate the jewel tones a diver sees when underneath the ocean. The Spa boasts 11 treatment rooms including one Couple’s Suite. Heating things up are the following spa facilities: Experiential

Shower, Whirlpool, Steam Room, Hammam and a Sauna. The spa menu is split into: DETOX treatments that will make you crave for more; BODY to buff and polish from the outside in; FACE to allow you to get camera ready and MASSAGE treatments to work out those kinks. Stand-out AWAY Spa treatments include Triple Lift, a facial by cult-French brand Biologique Recherche, Smith & Cult Manicures and Basra Pearl, a full body Hammam experience with a Knesko gold mask, hair and lip treatment. Bending the spa rules, AWAY Spa gets one to disconnect from the world.

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AWAY SPA W Dubai – The Palm +971 4 245 5533/4

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Aqua Villa

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THE OPULENCE OF NATURE Azulik beach resort, nestled along Mexico’s Caribbean coast, is the best you can have of luxury nature centric living in today’s high-tech world

Azulik, a beach resort near the tip of the Yucatan peninsula in Mexico, is not for everyone. The whole resort has just one air-conditioner and the rooms have no television. The rooms have limited or no wi-fi, just one socket for charging devices, and no electric lighting, only candlelight. The rooms have an open-air room design which means minimal privacy from insects and neighbours. The resort is for adults only – 18 years or older, and clothing is optional. Azulik is designed for couples and solo travellers looking for an off-the-grid sort of getaway to unplug or disconnect from their daily stresses. Located on a strip of property with lush tropical vegetation and facing the Caribbean Sea, the resort’s design is based on traditional Mayan architectural principles and uses natural indigenous materials to harness positive energies from nature. The underlying ethos, according to the resort, is “to rethink how we affect the ecosystems that we depend on and redefine luxury as an opportunity to enjoy a stunning environment as we free ourselves from mundane worries.” However, if one wishes to keep in touch with the material world, it is not too far away. The resort is within a five to tenminutes’ walk from the local shops and restaurants, and about ten-minutes’ drive from the regional town of Tulum. The nearest international airport is in Cancun, about a 90-minute drive. Given that the resort is located in a region blessed with abundant underground water sources, water is placed as the central element throughout the resort; be it through water features throughout the property, the water paths that wander from the lobby to the spa deck, in-room amenities, or generous views of the Caribbean Sea. The resort also has a cenote and a wetland within the property. The cenote, a natural limestone pit that exposes groundwater, provides fresh water to all villas. The wetland facilitates different natural processes such as water purification, flood control, carbon sink and shoreline stability.

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Kin Toh restaurant at the Azulik Resort

The dome of Azulik

Kin Toh restaurant at the Azulik Resort

Tseen – Ja

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Aqua Villa

The 48 “wooden-crafted” villas are characterised by an organic feel and were designed to create an atmosphere for rest and reconnection with nature. They fall under seven categories: Aqua, Moon, Aztec, Jungle, Mayan, Sea and Sky. Each accommodation type varies in size, amenities and the views they offer. The Aqua Villa is the resort’s most cherished habitable sculpture and is for those wishing to reconnect with nature while still enjoying some of the conveniences of everyday luxury. It is a 100-square-metre suite located in the most private area of the resort and is the only accommodation with air-conditioning. It features indoor waterways, bejuco floors, an elevated king-sized round bed covered by an artisanal mosquito net, geometrical mirrors, lounge chairs and an outdoor dining area. It has a sea-facing deck with a net swing. Guests can choose to take a regular shower, soak in an artisanal outdoor plunge pool set on a private sea-facing terrace, relax in an outdoor Jacuzzi or take the private staircase straight to the beach. Other amenities include round trip transportation from and to Cancun airport, 24-hours butler service, in-suite couple’s massage, power outlets, and a safe to store personal items. The Moon Villa is also a 100-square-metre suite but with an airier feel to it. Although most of the amenities are the same as the Aqua, the Moon suite does not have air-conditioning, and instead, there is a ceiling fan above the king-sized circular bed. However, it has an additional outdoor tub, an indoor stone waterfall and a hanging bed on the private deck.

For dining, the resort has two venues. One is Kin Toh, serving “Mayan-Mexican avant-garde cuisine” that combines local and seasonal ingredients with traditional Mayan and international cooking techniques. The main dining area is designed to recreate a tree-house ambience. The venue also has a cava section, a cigar bar and a “chill area” where the tables are set in separate, circular pods that resemble birds’ nest, several meters above the ground. Tseen – Ja, the other dining venue, serves Japanese Mexican fusion cuisine that uses traditional Japanese techniques with Mexican ingredients. The decor features handcrafted wood surroundings, traditional Japanese-style floor-level seating and floating nests overlooking the breath-taking Caribbean Sea. The resort’s seaside spa offers specially designed treatments that fuse Ancient Mayan techniques with traditional spa treatments while using organic products. Personalised therapies and remedies are formulated as per the guests’ needs. In addition, the spa offers Tibetan Basins Therapy, Biomagnetism and Zumpulche, a Mayan medicinal steam bath ceremony. Yoga classes are held inside the one-of-a-kind “the dome of Azulik.” The dome is also the venue for sound meditation and aromatherapy rituals using native instruments, traditional bowl vibrations, and essential oils. Mystikal Wanders by Azulik organises guided tours through the jungle to meet a real Maya shaman and an indigenous family. Other options include visits to little known Mayan ruins or cenotes, massage therapy and dining in idyllic locations, paddle yoga, or even a catamaran cruise to snorkel among the second largest coral reef in the world.

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L A D O L C E V I TA • D E S I G N M E E T S F U N C T I O N

DESIGN MEETS FUNCTION Lotusier brings a new quality of storage to a much broader audience with the Tin Humidor

Lotusier, the brand behind the original Tea Humidor is now launching its successor; the Tin Humidor - a groundbreaking patented solution to regulate humidity, provide optimal storage for tea and sensitive food and beverage favorites. Stated to be out before Christmas, the Tin Humidor will be available exclusively at Harrods for about a 100 USD. This innovative design which is a result of many years’ worth of work, offers 2-way humidity-controlled, airtight, lightblocking storage for tea lovers. In addition, it also provides ideal conditions for the storage of coffee beans, truffles, saffron, cigars and other priced and perishable epicurean staples, which are highly sensitive to humidity levels, light, air and odours. Its revolutionary design encompasses a hidden inner container within the outer tin which allows special 2-way humidity packs to either absorb or emit moisture without coming in direct contact with the contents. A detachable silicon gasket on the lid keeps it airtight. This product which is available in off-white and anthracite gray is designed to be used in households and also

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The Tin Humidor by Lotusier

while travelling. The first of its several sizes to be launched, the mid-sized Tin Humidor has an inner volume of approximately 900ml. and can store up to 250 grams of tea in optimal conditions. “We have been working to create a perfectly airtight tin since launching the Tea Humidor. We have welcomed the fine-tea revolution and have been keen to open up the benefits of optimal storage for all tea lovers to enjoy catering not only to the luxury market. It also allows Tea Humidor owners to perfectly store extra quantities of tea and makes travelling with their favorite leaves easy, due to the Tin Humidor’s portability and weight. This is the product we envisaged all those years ago and I am extremely happy with the finished result,” says the founder of Lotusier, Asa Eriksson-Ahuja, about creating the Tin Humidor.

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