Signe - Edition 39

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S I G N É

IDIOSYNCRATIC SENSE OF STYLE HIGHLIGHTS FROM THE LIFE AND CAREER OF ALESSANDRO MICHELE

AN ATELIER WITH A VIEW

A TOUR THROUGH CHOPARD'S WATCH AND JEWELLERY WORKSHOPS

IMMERSIVE LUXURY

INTRODUCING MERCEDES-BENZ'S NEW S-CLASS

AMONG GORILLAS AND MISTS

GORILLA’S NEST BY ONE&ONLY, A JUNGLE RETREAT

THE FERRARI ROMA Celebrating the Essence of Living

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E X T R A O R D I N A R Y

Welcome to Trump International Golf Club, Dubai Located in the heart of DAMAC Hills, Trump International Golf Club, Dubai brings links-style golf inspired by the game’s homeland of Scotland. Magnificent golf blended with culinary excellence and well-equipped leisure facilities creates an elegant lifestyle oasis in the United Arab Emirates for members and guests, alike.

Our stunning property boasts an exquisite 18-hole championship links-style golf course and a PAR 3 floodlit 9-hole course designed by world-renowned and 2016 Olympic golf course architect, Gil Hanse. Featuring state-of-the-art facilities, Trump International Dubai is home to the Trump Dubai Golf Performance Academy with air-conditioned indoor swing studios that offer virtual golf and SAM Puttlab technologies, Dubai’s only double sided LED floodlit TrackMan driving range, and immaculate short game area with practice facilities.

Complementing the extraordinary golf course and world-class golf facilities, the crescent-shaped 30,000 square foot clubhouse with its arching curves and soaring light-filled spaces provides the finest amenities, such as a chic family-oriented restaurant, luxurious sports lounge, beautiful infinity swimming pool, a well-equipped fitness centre and an expansive golf pro shop offering the latest in golfing and lifestyle accessories.

Visit Trump International Golf Club, Dubai to experience championship golf and a luxurious golfing lifestyle.

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Publishers’ letter AED 30 KWD 2.5 QAR 30

AED 30 KWD 2.5 QAR 30

Edition 39

ROMA We conclude the last edition for 2020 as a tribute to the beautiful Ferrari Roma. “Art in motion,” an apt phrase for the Ferrari Roma, the stunning new grand tourer from Maranello that graces the cover of the 39th edition of Signé (p.72). Designer Sina-Maria Eggl of RollsRoyce takes us on a journey deep into the marque’s new elevated approach to bespoke artistry (p.96). With every new generation of the Mercedes Benz S-Class, comes a plethora of technical wizardry and luxurious pampering (p.102). The latest generation is no exception. Dubai’s very own Jannarelly Automotive is all about recreating the pure driving experience from the past with the “Retro-futuristic” Design-1 (p.92).

We explore the life and achievements of the man with an idiosyncratic sense of style at the creative head of Gucci, Alessandro Michele (p.16). Another journey takes us into the famed ateliers of Chopard, which has been made accessible to admirers of the brand for the first time (p.64). We go back in time to unravel the story of Giorgetti, the hand-crafted Italian woodfurnishing brand that has been at the top of its game for over 120 years (p.106). In contrast is, Max Poglia, the newly minted and in-demand designer of imperfect things (p.114).

A conversation with Vikram Jethwani reveals the back story to his latest venture - 818 Vault, UAE’s first premium-service vault and safe deposit facility (p.68). In the world of horology, Patek Philippe introduces three new variants of its three classics (p.50). Jaeger-LeCoultre unveils three models to pay homage to its pioneering chiming timekeepers (p.54). The IWC Schaffhausen, Solaris and Orlebar Brown collaboration offers a complete lifestyle package (p.118).

The newly opened One&Only Gorilla’s Nest in Rwanda’s mist-covered mountains is a jungle retreat experience to behold (p.124). In stark contrast is The Craftsmen Hotel, the latest incarnation of a 1652 Amsterdam heritage property that is all about the city and its crafts (p.128). Speaking of travel and the approaching winter, Pestle & Mortar (p.46) and Balmessence (p.48) are two of the nature-focused grooming brands under the spotlight.

As always enjoy the read!

Stay safe and enjoy the read.

All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilised in any form or by any means, without written permission from the Publisher. SIGNÉ does not take any responsibilities for incorrect information. The advertising appearing within this publication reflects the opinion and attitudes of their respective brands and not necessarily those of the Publisher or SIGNÉ.

ISSN 2410-4523

HAPPY SPORT COLLECTION

46 SKINCARE SIMPLIFIED

Pestle & Mortar brings together simplicity and natural ingredients into one skincare package

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LATEST

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Our top product pick is the GIVENCHY XL Antigona Soft Bag

IDIOSYNCRATIC SENSE OF STYLE Highlights from the life and career of Alessandro Michele

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Giorgio Armani Men’s Eyewear SS2020 Collection

RADIATE, THIS WINTER The Male Grooming Package by Balmessence gets you ready for the coming winter

A VINTAGE AND MODERN COCKTAIL

AN ACTION-PACKED FUTURE

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A TRIPLET OF COMPLICATIONS

Patek Philippe introduces three new variants of its much-beloved models

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A review of YSL’s Future Focused Spring Summer 2021 Collection

BESPOKE MATTERS

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REFRESHING BRITISHNESS

Mark Weston, the man who has played a significant part in redefining British fashion, is now refreshing dunhill

We speak with James Sleater, the co-founder of Cad & The Dandy tailoring company

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Jaeger-LeCoultre has unveiled three models paying a homage to its pioneering contribution to chiming timekeepers

SNEAKER PICKS

Stay on trend with the best sneakers to own this season

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Fashion-forward buys, picked by Signé for you

In our first in the series on gemstones, we find out what makes rubies so special

THE STYLE EDIT

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PIÑA FIBRE

The Piña is a little-known natural luxury fibre with exceptional sustainability credentials

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REMINISCING PIONEERING CHIMERS

STONE OF PASSION

A LANDMARK WITHIN A LANDMARK Richard Mille’s new flagship store in Riyadh

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AN UNUSUAL STORY

FRAGRANCE FILE

Editor’s selection of fragrances for the season

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Constant innovation, Hublot’s formula for success

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RADO.COM

FEEL IT

CAPTAIN COOK

MASTER OF MATERIALS

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AN ATELIER WITH A VIEW

We take you on a tour through Chopard’s Watch and Jewellery Workshops

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SANCTUARY FOR PRIZED POSSESSIONS

IMMERSIVE LUXURY

818 Vault, UAE’s first premium-service vault and safe deposit facility, has discretely built a reputation and a niche market for itself in Dubai

Introducing Mercedes-Benz’s new S-Class, an immersive experience

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PREMIUM WOODCRAFT

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The IWC Schaffhausen x Solaris x Orlebar Brown collaboration offers a complete lifestyle package

Giorgetti, an exceptional Italian manufacturer of premium wood furnishings and accessories

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CELEBRATING THE ESSENCE OF LIVING Presenting the latest supermodel from Maranello, the Ferrari “La Nuova Dolce Vita” Roma

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

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A CAR FOR THE PURIST Dubai’s Jannarelly Automotive is all about recreating the pure driving experience from the past

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124

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AMONG GORILLAS AND MISTS

We bring you a series of our favourite blends from the masters of coffee, Nespresso, and take a deep look into what makes each one so special

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THE ART OF COFFEE

Sina-Maria Eggl, Rolls-Royce Bespoke Designer, tells Signé all about the brand’s latest flagship, the Phantom

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Gorilla’s Nest by One&Only is an exceptional jungle retreat in Rwanda

A HOMAGE TO AMSTERDAM’S CRAFTSMANSHIP

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IMMORTALISING BEAUTY

DOUBLE MOON TRIPLETS

LOVE FOR IMPERFECTIONS

Hotel The Craftsmen, the latest incarnation of a 1652 heritage property, is all about the city’s crafts

Max Poglia, the in-demand designer of imperfect things

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FA S H I O N • I D I O S Y N C R AT I C S E N S E O F S T Y L E

IDIOSYNCRATIC SENSE OF STYLE Highlights from the life and career of Alessandro Michele, Gucci’s creative head

In 2015, Gucci, the Kering group’s flagship and biggest luxury fashion brand, had a problem. It was experiencing a slump. François-Henri Pinault, the chairman and CEO of the Kering Group, had initiated a refresher of the brand’s management to regenerate growth. Creative Director Frida Giannini was on the way out, and CEO Patrizio di Marco had been replaced by Marco Bizzarri. To replace Frida, Pinault did not want a big-name designer even though he was getting more than a few intimations from some of the big names in the industry.

Bizzarri, who had recently familiarised himself with his creative team at Gucci, recommended to Pinault that he consider Alessandro Michele, the man responsible for designing Gucci’s accessories. When Michele met Pinault, he did not present his designs or his plans to revive the brand, but instead, spoke about what drove him, what he was passionate about and deliberated on his deep understanding of the brand. By then, Michele had been at Gucci for 13 years.

While announcing a relatively unknown Michele as the new creative head of his biggest brand, Pinault said this in a statement: “Throughout its history, Gucci has always created attention and excitement through its innovative and distinctive products and collections... Alessandro Michele has both the qualities and the vision

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necessary to bring a new contemporary perspective to Gucci and lead the brand into an exciting new creative chapter of its history.”

Bizzarri, the man who first recommended Michele, added: “Alessandro’s talent and his knowledge of the company and the design teams in place will for sure allow him to move quickly and seamlessly in implementing his new creative direction for the collections and the brand.”

Michele was born in Rome (1972) and grew up in a home where he was encouraged to explore the creative world through his mother’s love of cinema and his father’s passion for sculpture. While he was going through his formative teen years, Europe was in the midst of the post-punk phase, characterised by its variety in music and fashion. Michele was an active participant in the vibrant youth culture of the day, and has had an observable influence on his designs to this day.

Alessandro studied at Rome’s Accademia di Costume e di Moda and began his career at the Italian knitwear brand Les Copains. He then moved to Fendi in the late 1990s, to work under Karl Lagerfeld and Silvia Fendi. As the Senior Accessories Designer, he was responsible for designing the brand’s leather goods.

In 2002, Michele was tapped by Tom Ford, the then renaissance man at Gucci, to design bags. Michele has been at Gucci

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ever since holding a variety of roles. In 2006, he was named Leather Goods Design Director. Then in 2011, he was appointed Associate to his predecessor Frida Giannini. In September 2014, he was given the additional role of Creative Director of Richard Ginori—the fine Florentine porcelain brand acquired by Gucci in 2013.

Although Frida was scheduled to leave after the presentation of the women’s Fall-Winter 2015-16 collection, she left abruptly just before the season’s men’s event. This meant that Michele had to completely redesign the collection at the last minute. The collection was a departure from Frida’s aesthetics and was well received by critics for introducing youthful energy to the brand. Michele was confirmed as the new creative head of Gucci following the event. With Bizzarri’s support, Michele was let loose to explore his idiosyncratic sense of style.

Less than a year into his new job, the British Fashion Council awarded Michele the 2015 International Designer Award. In 2016, he received the International Award from the CFDA for his creative contribution to the international fashion stage. That same year, he was voted the British GQ Designer of the Year.

Michele’s appointment improved not only the brand’s ratings among the critics and a younger generation of clients but also its financials. Posting consistent

Alessandro Michele, Creative Director, Gucci (Image Courtesy of Gucci, Dan Lecca) SIGNÉ • EDITION 39

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Gucci Fall 2020 Collection 18

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growth figures often exceeding 20 per cent, Gucci generated €9.3 billion in sales last year; that’s 63% of Kering’s total 2019 earnings.

Michele has also been a vocal proponent of the brand’s commitment to a greater social sustainability.

Gucci began its drive towards an “entirely carbon neutral” future with the implementation of the 10-year

sustainability strategy in 2015. A series of targets were created to be achieved by 2025.

In May, Michele announced, through a series of posts on Instagram, that the brand will be eliminating the five worn out seasonalities and shows in a year, and replace them with two “seasonless” events per year. The announcement was generally met with

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a positive response, especially given its potential to reduced wastage.

Michele’s tenure at Gucci enabled him to nurture a deep understanding of the brand, which has proved invaluable in his five years at the helm of the brand. Given the solid performance so far, the expectations for Kering’s flagship brand remains positive despite the recent disruptions.

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FA S H I O N • A N A C T I O N - PA C K E D F U T U R E

AN ACTION-PACKED FUTURE YSL breaks with tradition to present a future-focused Spring Summer 2021 collection

YSL’s Art Director Anthony Vaccarello appears to have broken with the brand’s tradition of looking back to its heritage for inspiration, and instead, explores a fresh aesthetic with eyes firmly focused to a brighter future. To get his message across, he borrows from Hollywood’s action film genre.

The centrepiece of the YSL Spring Summer 2021 presentation is the short-film titled “No Matter How Long The Night Is,” directed by Nathalie Canguilhem with the soundtrack by SebastiAn. It not only presents YSL’s SS21 collection but is also meant to be an inspiration for a world held hostage by the COVID19 pandemic. “Breathing, reaching the horizon, looking at the future, no matter how long the night is,” declared the press note accompanying the film, and sets the bold, positive mood for the collection.

Vaccarello presents a collection that seems liberated from the restrictions of an overarching theme. They are unified, however, by their clean and straight cut silhouettes, which give the clothes a light and airy look. Black and white anchor the palette, contrasted by a burst of natural tones in floral or leafy patterns.

Highlights include a black wool flare coat paired with slimcut wool pants and black leather boots, a jacquard one-button suit in white combined with a black and white polka dots shirt, a brown leather bomber jacket featuring black leaf patterns, a cropped black wool crepe blazer over a cotton stripe tee-shirt and cigarette pants, a white sleeveless cotton shirt with a pair

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of black pants, a short sleeve floral print black western shirt is worn with black pants and black leather belts, or a black on white floral patterned blouson with black slim-cut pants.

The artisanal pride of place for this collection has to be the use of feathers: a velvet-ish blouson made from cut feathers of different colours that are embroidered on silk; or an evening jacket that resembles crushed velour but made from fine feathers arrayed into a floral-ish pattern.

The mood of the individual pieces or combinations are neither formal, nor casual, nor streetwear, but have elements of all three. One can mix and match to get the desired look; whether it be for an outdoor dinner party, for a night out, or a cup of brew with friends.

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YSL Spring Summer 2021 Collection SIGNÉ • EDITION 39

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FA S H I O N • A N A C T I O N - PA C K E D F U T U R E

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FA S H I O N • R E F R E S H I N G B R I T I S H N E S S

REFRESHING BRITISHNESS At Burberry, and now dunhill, Mark Weston has played a significant part in redefining British fashion

Mark Weston finds himself in the middle of a proverbial tug of war. On one side is the pull of history that a legacy gentlemen’s brand like dunhill carries.

On the other is the pull of expectation from a new generation of men - young and demanding something fresh; an aesthetic that represents them. Having spent nine years at Burberry, before becoming the creative head at dunhill, Weston is better placed than most to tackle the question of what constitutes Britishness, especially in an age of increasing globalisation.

Weston earned a Masters in Menswear Fashion from Central St Martins, where he is currently a visiting practitioner.

He moved to New York in 1998, to commence his career as a designer with Donna Karan. He was primarily responsible for designing and production of DKNY Men’s outerwear and bottoms, including leather. After four years, he moved to Coach - the New York-based luxury accessories brand - as its Design Director focused on men’s business bags, outerwear and lifestyle products.

After spending eight years in New York, Weston returned home, to Hampshire, England. He founded Weston Design Consultants to advise brands on design, marketing and production, as well as to offer his skills as a freelance designer.

This situation did not last long because Burberry came calling.

Between the end of the 20th century and the arrival of Angela Ahrendts as CEO at Burberry in 2006, its brand image

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had been greatly dented because of its unfortunate association with the “chav” and football hooligan culture. Although the brand did pursue an aggressive commercial strategy under Ahrendts’ predecessor Rose Marie Bravo, much of the damage was done by unlicensed counterfeit merchandising. Ahrendts teamed up with Christopher Bailey, the then creative head, to formulate a strategy to rebuild the brand’s image.

They began by refraining from using the brand’s signature check-pattern on most of their products. The licensing of the brand’s fragrance and beauty products to third parties were terminated and brought in-house. Simultaneously, it began to sell its products online in the UK and US in 2006, and to the rest of Europe the following year. By the time Ahrendts left for Apple in 2013, sales had crossed the £2 billion mark, and the share value increased threefold.

Mission accomplished!

Weston joined Burberry in June of 2007, just under a year after Ahrendts had come on board. As a result, he became an integral part of the most challenging project in Burberry’s recent history. As the Design Director for Menswear, he explored the philosophical basis of the brand’s iconic pieces, lead by the unmistakable trench coat. He then reimagined them as a complete wardrobe, each piece rooted in history but updated for the times.

In 2011, Weston was promoted to VP Menswear Design to work on building

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a compelling brand story and brand focus. In July 2013, a few months before Ahrendts’ departure, he was named SVP Menswear Design, responsible for apparels and accessories. He now had the responsibility of outlining product strategies across all menswear disciplines, in line with the brand’s overall strategy. He gave creative direction to runway, sartorial and casual Luxury teams, and oversaw the development of bags and small leather goods. He also oversaw the creation of a “Made in England” focused shoe range.

The nine years that Weston spent at Burberry, a distinctively British brand, could prove invaluable in tackling the challenges he faces at his current vocation at dunhill, another brand distinguished by its Britishness. However, the specific challenges he faces at dunhill are quite different in their nature than the ones he faced at Burberry.

Alfred Dunhill, at the age of 21, took over his father’s saddlery business in 1893. Carl Benz had unveiled his automobile just seven years prior, but Alfred was quick to recognise its disruptive potential and shifted the company’s resources towards manufacturing accessories for the motoring gentlemen and his automobile.

By the late 1970s, the brand had evolved with the times to offer a range of around 3,500 luxury products - included bespoke and high-end men’s ready-towear - in more than 20 stores worldwide.

The brand today, more or less, follows

Mark Weston, Creative Director, dunhill SIGNÉ • EDITION 39

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dunhill AW’20 Campaign

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FA S H I O N • R E F R E S H I N G B R I T I S H N E S S

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the same business model; however, its challenge lies in being relevant to a younger generation of men.

The strategy that Weston, along with the brand’s CEO Andrew Maag, formulated for making the dunhill name relevant to a younger generation while staying true to its heritage and older clients is encapsulated in an internal motto that reads: “old guard meets avant-garde.”

Just as he had done at Burberry, Weston first did a deep dive into dunhill’s heritage before anything else. “dunhill is not one thing, it’s many,” Mark Weston said following the unveiling of the brand’s SpringSummer 2020 Collection. “Just as there is more than one dunhill man, there are many dunhills. The history of the house is varied and storied. Alfred Dunhill himself was about change and innovation, with purposeful and multi-functional creations. More than anything else, he was always looking ahead – and that is what drives us.”

One crucial factor in favour of Weston is the fact that dunhill’s current CEO, Andrew Maag, is a ten-year Burberry

veteran and a member of the executive team that successfully reinvigorated the brand. Weston and Maag worked closely at Burberry, and their shared experience is an asset in their mission at dunhill.

Weston’s first collection for dunhill was Autumn-Winter 2018. It saw a bold reimagining of the brand’s heritage for a distinctly younger audience. A similar pattern was witnessed in the following Spring-Summer 2019 collection.

“I wanted to subvert the notion of classic menswear clothing codes in a subtle way,” Weston said in a statement.

“It’s part of a questioning of notions of taste and aspiration, particularly those related to certain ideas of British clothing cultures, where elegance, provocation and a certain degree of irreverence happen all at once.”

The campaign for the collection, called Automotive, was appropriately set in a garage in Mayfair, London, with classic cars partially revealed underneath car covers. The cars were as much the centrepiece of the campaign as the young men modelling the clothes.

For his latest collection, Weston explored an important chapter in

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Britain’s, and by extension, the world’s pop culture. The BlitzClub was a small, unassuming venue in London which, in the early 1980s, spawned the “New Romantics” - a poser culture that was in defiance of the dreary Britain of the day.

This movement produced chart-topping acts such as Billy Idol, Culture Club, and Spandau Ballet, not to mention its own over-the-top fashion aesthetic.

“The man in this [AW2020] collection is a cross between the preppy and the new wave, the establishment and the antiestablishment – it is not about making purely singular characters. Instead, it is about taking all those elements and putting them together, reconstructing and recontextualising,” said Weston.

Richemont, dunhill’s parent group, does not release the performance figures of its subsidiaries. However, going by the generally positive reaction from critics thus far, Weston and Maag seem to have concocted the right formula for dunhill.

The designs are appealing to a younger set of consumers without dabbling in streetwear, while understated and crisp English tailoring is elemental, as it has always been.

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THE STYLE EDIT

EDITOR’S PICKS

Sunglasses, Tods

Leather Duffle Bag, Valextra

Wool Blazer, dunhill

T-Shirt, Ami

Trousers, dunhill

Sneaker, Santoni

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Sunglasses, Mont Blanc

Baseball Cap, Ermenegildo Zegna x Fear of God

Hoodie, Hugo Boss

Lock Bag, dunhill

Trousers, Wood Wood

Sneakers, TODs

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FA S H I O N

THREADS

GAUZY GLOSSY FIBRE Piña is a little-known natural luxury fibre with exceptional sustainability credentials

Piña is a natural and sustainable fibre originating from The Philippines, and is derived from the leaves of the Spanish Red Pineapple. It is filmy, lightweight, sturdy, naturally cream-coloured and glossy, elegant in appearance, blends well with other fibres, is washable and easy to care. It is similar in appearance to linen, softer than hemp and has more texture than silk.

In the past, it was highly prized among Asian and European elite. Ideal for the tropical climate of The Philippines, the fabric is used for wedding and other types of traditional formal attire. It blends well with cotton, silk or abaca (a fibre extracted from the banana plant) to produce light, breezy fabrics that are less expensive than 100 per cent piña.

It is also used to manufacture high-end fashion accessories such as bags and footwear; home furnishings such as

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table linens, curtains and upholstery; composite materials such as Piñatex, a vegan leather.

Pineapples were likely brought to the Philippines by the Spanish. Filipinos adapted their age-old natural fibre extraction know-how - for example, to extract abaca fibre - to turn pineapple plant fibres into piña. Red Pineapple is preferred because its leaves can grow up to almost a metre long. In the 18th century, Chinese immigrants introduced the frame loom, which not only elevated the weaving process but transformed Piña manufacture into a cottage industry.

Its gauzy texture made it popular among the elite in Europe, and was even presented as one of the “marvels” at the 1851 world’s fair in London. The devastation caused during the Second World War nearly wiped out the production of Piña. It was revived in

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the 1960s largely by Imelda Marcos, the former First Lady of the Philippines.

In recent years, its strong sustainability credentials have been a factor in the growing demand for Piña. The traditional manufacturing process, from beginning to end, is entirely done by hand and does not need harsh or synthetic chemicals.

The base material is pineapple leaves, an agricultural waste product. The piña threads are naturally tensile-strong and lustrous, thus requiring no chemical refining or extensive maintenance.

It can take a weaver a whole day to produce just a quarter meter of piña fibre. The Philippines government and local NGOs have been working to encourage the younger generations to take up the craft. Simultaneously, they have also been promoting the positive credentials of the fibre to make its manufacture a commercially and ecologically sustainable industry.

LATEST

GIVENCHY XL Antigona Soft Bag Braided Leather AED 20,600

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

A VINTAGE AND MODERN COCKTAIL We present to you three standout models from the Giorgio Armani Men’s Eyewear SS’20 Collection Always elegant and sophisticated, Giorgio Armani Men’s Eyewear Collection for the Spring/Summer 2020 season is distinguished by exotic colour schemes and unusual shapes. The distinguished heritage of the brand is unmistakable throughout the collection, but each has been reinterpreted with new materials, colours, designs enhancements.

AR 8135 One of the stars of the men’s SS’20 collection, this model reinvents vintage design with a bold new perspective. Its bohemian design boasts a robust and modern personality while possessing a tasteful mix of transparencies and metal. The frame, with a sophisticated two-level structure, is constructed with overlapping metal on thick, but semi-transparent acetate. The result is a light and contemporary see-through effect. The large temples feature grooved metalcore and display a laser-engraved Giorgio Armani logo. Available in shiny Havana or light brown.

AR 8135 from Giorgio Armani Men’s Eyewear SS’20 Collection

AR8129 This vintage-inspired model, despite possessing a strong heritage appeal, feels fresh and modern. It features a thick but lightly transparent acetate frame that exposes a metal core. This design language is repeated on the slim double bridge and on the doublelayer temple. The latter has a crystal core and is engraved with the Giorgio Armani logo. Available in shiny orange Havana with light blue lenses.

AR 8129 from Giorgio Armani Men’s Eyewear SS’20 Collection

AR6107 Style with versatility is the USP of this model as it can quickly be transformed from an eyeglass model to sunglasses. The model’s magnetic rivets are the only connection mechanism required for attaching dark lenses overpowered ones. Armani’s interpretation of the classic clip-on is presented in the panto style with slim matt metal structures. The temples have been redesigned and now feature horizontal lines in relief, a laser-engraved logo and crystal temple tips. Available in matt pale gold and matt rose gold.

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AR 6107 from Giorgio Armani Men’s Eyewear SS’20 Collection

AR 6107 model Giorgio Armani Men's Eyewear SS20 (Image courtesy of Giorgio Armani)

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

JAMES SLEATER

BESPOKE MATTERS We spoke to Cad & The Dandy tailoring company’s co-founder James Sleater

Cad & The Dandy is an independent London based tailoring company with premises on Savile Row; selling bespoke suits made from an exclusive range of English and Italian fabrics. It was founded in 2008 by two City of London bankers - James Sleater and Ian Meiers. By 2010, the company was listed in The Guardian’s Courvoisier Future 500 and had won the Bento Entrepreneur of the Year Award at the Macworld Awards. In 2018, the company expanded by opening a store in Manhattan and acquired Götrich, Scandinavia’s oldest tailoring house.

The company employs more than 30 tailors in three workshops while fittings are conducted across the UK, Europe and the United States. An entirely hand-made suit takes around 50 hours of stitching to complete. To ensure continuity of Britain’s bespoke tailoring industry, the company has established an apprenticeship programme in London for young tailors to learn the trade at its three London locations, Savile Row, Birchin Lane and Canary Wharf.

Take us through Cad & The Dandy’s process of creating the perfect suit.

The process is quite an in-depth one - the crux of it being the tailor and the customer having a meeting of minds with a vision of what the customer wants. This allows us to create the perfect suit, enabling the wearer to present the best image of himself, be that a work suit or a more casual item.

Do you feel that bespoke tailoring can appeal to the new generation?

To appeal to the new generation of customers, we must not make suits of the past but of the present. By that, I mean a suit that gives you the best bang for your buck - one that can be worn in a multitude of ways, dressed both up and down.

We also ensure that people know us as a tailoring house that specialises in more casual bespoke items, unlike most of the other more traditional tailoring houses. The suit may be on the wane in the office, but the jacket certainly is not.

What advice would you give our readers who may want a bespoke suit made for themselves?

Do your research - each tailoring house has a signature look or style, and it’s important to select the one that will best represent you. Work with your tailor, don’t over dictate as the tailor is the professional here and will know what works and what doesn’t - it’s important to listen to their advice. Having said that it’s a hugely enjoyable process and even if you only do it once, go bespoke!

What would you say are the essential ingredients of a great suit?

The essential ingredients, first and foremost, are the skills in the hands of the tailor. All suits are not born equal. We make all of our bespoke suits by hand to ensure the best fit and life span. Cloth is another major contributing factor - we only work with the world’s best mills and makers.

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Cad & The Dandy 13 Savile Row, First Floor, London, W1S 3NE savilerow@cadandthedandy.co.uk Instagram: @cadandthedandy

James Sleater, Co-founder, Cad & The Dandy

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FA S H I O N

JOHN LOBB

This Foundry shoe has a playful styling in terms of materials and colours. The body of the shoe and the internal lining features an innovative technical fabric for the first time. A removable footbed adds to its comfort, while the sole features the signature diamond Rasp design.

J.M. WESTON

Inspired by running shoes, this elegant beige shoe has the classic elements and lightness of a sneaker, such as the padded back and tongue and the flexible rubber sole. Crafted from smooth calfskin, the On My Way sneaker features the “W” on the upper and sole.

BIJAN

Perforated leather combines with yellow deerskin detailing. The latter forms the signature yellow stripe with a palladium logo badge, and on the back of the sneaker with laser-etched ‘b.’ The inner soles are yellow leather with ‘One Hundred % Bijan’ imprinted.

MAGNANNI An all occasions version of the brand’s original trainer. The leather of the Ibiza Cuero sneakers is hand-dyed to achieve the warm Cuero patina finish. The lines have clean stitching, the eyelets are chromeringed, the leather toe is hand-stitched, and the sole has added grip for traction.

GUCCI

The Men’s Ace G rhombus sneaker is the brand’s emblematic sneaker reimagined in white Matelassé leather. The archival rhombi pattern of the logo from the ‘30s, with its unexpected texture and diagonal shapes, is reimagined for the 21st century. Green leather details at the back add minimal colour.

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PAUL EVANS The Lewis High-Top Sneakers are handmade in Italy from the finest full-grain Italian calfskin.

The interior lining is black leather and is painted by hand. These true to size sneakers are designed to pair with denim pants.

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FA S H I O N • S T O N E O F PA S S I O N

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STONE OF PASSION In this article, the first in a series on gemstones, we find out what makes rubies so special

Over 500 million years in the making, Ruby is a pink to bloodred coloured Corundum (aluminium oxide) gemstone. Historically, rubies have been rarer than diamonds and are at 9.0 on the Mohs scale of mineral hardness, only natural moissanite (9.5) and diamond (10) are harder.

“Rubies vary in colour more than you might expect, from purplishred to orangey-red with the most desirable hue as a pure vibrant red. Traditionally, the most prized colour of rubies is slightly bluish red body colour and the purer red fluorescent emission. As with all gemstones, the colour should be evenly distributed throughout the gemstone,” according to Elena Basaglia, a Gemmologist with Gemfields. She was kind enough to share with us her insights on the red stone.

Ruby is one of the Cardinal gems, along with diamond, amethyst, emerald and sapphire. Of these, says Elena, “rubies and sapphires share the same characteristics, crystal structure and chemical composition (aluminium oxide).

They only differ in the trace elements, from which they get their colour. In fact, there is no general agreement on where to draw the line, but that line is certainly pink.”

Also, “in history, rubies and spinel were mistaken for each other, as they often share the same ground where they are found. A famous example is the spinel in the Royal Crown in London. It was thought to be a ruby for many years, until gemmological studies revealed some important properties for which the two cannot be confused.”

Rubies were treasured by early cultures as representing the redness of blood. Many believed that rubies held the power of life and so were often carried into battle for protection. In the ancient Sanskrit literature of India, ruby is “ratnaraj” - meaning “king of the gemstones.” In Chinese culture, the colour red represented by ruby, yellow by gold, and green by jade are associated with good fortune, and are therefore highly prized.

The Liberty Bell Ruby is the world’s largest mined ruby at four pounds/8,500k. The Sunrise Ruby - a 5.1g/25.59k Burmese “pigeon blood” - is the world’s most expensive ruby and coloured gemstone. Mounted by Cartier and fetching US $30.42 million at a Sotheby’s auction in 2015, it was described as “a unique treasure of nature” because of its “well-proportioned cut, highly attractive colour and fine purity” by the Swiss Gemmological Institute.

The value of a ruby is determined by its colour, cut, clarity and carat weight. “With rubies, the intensity of the red colour is the primary factor in determining value. The ideal gemstone displays an intense, rich crimson without being too light or too dark,” says Elena.

“In terms of clarity, ruby will feature inclusions [material trapped inside during formation] from the ground where they were found, which often tell the story of the life of a ruby through formation until recovery from the host ground. While the general preference is to look for gemstones that are eyeclean, i.e., with no inclusions visible to the unaided eye, some

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FA S H I O N • S T O N E O F PA S S I O N

Florescence Testing at MRM Mozambique

Mozambican ruby in a pit 42

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fine silk [a type of inclusions] distributed lightly throughout the gemstone can actually enhance the beauty of some rubies. For star rubies [exhibiting a six-rayed star that shimmers over the surface of the stone], a certain amount of silk is necessary to create the star effect of cut in domed shapes.”

“With faceted rubies [with flat faces], ovals and cushions are most common, but rounds are also seen, as are other shapes, such as the heart or emerald cut. Slight premiums are paid for fancy cut stones, this is because the shape of the rough typically determines what shape will result in the biggest yield.”

The origin of a gemstone is another a factor in determining its value. According to Elena, “Rubies from different origins often have distinctive hues,” however, “all characteristics being the same between a ruby from Burma and one from Mozambique, only a specialised Lab will be able to determine the natural origin of the gemstone, by analysing it with their specialised tools.”

Elena also points out that, “responsible sourcing is increasingly important these days as many consumers want to know where their products and materials have come from and coloured gemstones are no different.”

Myanmar is the biggest source of the world’s rubies. Sri Lanka, Afghanistan, Cambodia and Thailand are the other traditional sources. The eastern region of Africa is a late entrant to the list but Elena makes a strong case for one of them: “Mozambique, with its production of all known colour ranges, including the most rare pure fluorescent reds, has become the world’s most important deposit of rubies in a short period of time. Mozambican specimens are found to be displaying the most sought-after characteristics that make a ruby desirable: fluorescence, colour, clarity perfection.”

For those looking to acquire or invest in the red gemstone, Elena has the following advice: “The phrase ‘beauty is in the eye of the beholder’ is never more applicable than when selecting coloured gemstones. The countless shades and colour variations means there are myriad options for each of us. When purchasing, look for evenness of colour with good saturation. If possible, view the gemstone in daylight so the colour is not affected by an artificial light source. Historically, the trade has promoted certain colours as superior, such as ‘pigeon’s blood’, however I firmly believe that gemstones should be purchased based on personal preference and not based on what we are told we should be appreciating.”

“Whichever gemstone you select, it is important to buy from a trusted source in order to have full confidence; both that it has been sourced responsibly and that it is of the quality described. All major jewellery brands have a dedicated team of gemmologists and quality control departments responsible for selecting gemstones before they are set in jewellery so will be able to provide this peace of mind.”

Gemfields is a world-leader in the supply of responsibly sourced coloured gemstones and is the parent of Fabergé. It mines rubies in Mozambique and emeralds in Zambia, both claiming to possess significant deposits of the respective gems. Since its founding, Gemfields’ position has been that those who mine gemstones should do so with transparency, legitimacy, and integrity. Its CSR objectives include contributing “positively to national economies and building lasting, sustainable livelihoods for the communities around their mines, to minimise impact on the land in all possible ways, and to protect the biodiversity.

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FRAGRANCE FILE

EDITOR’S PICKS K by Dolce&Gabbana, Dolce&Gabbana Contained in a deeper hue of regal blue, it opens with a fusion of zesty citruses notes. It intensifies with the spicy note of cardamom blended with clary sage, lavandin and fig milk. The base is cedarwood, patchouli, vetiver and smoky nagarmotha wood.

100ml - AED 496

Tacit Eau de Parfum, Aesop A vibrant and uplifting fragrance constructed around Yuzu, citrus that is somewhere in between a grapefruit and a sour lemon. The supporting cast includes Grand Vert basil, clove, anise, fennel, and other spicy greenery.

50ml - AED 420

Fusion d’Issey, Issey Miyake A fragrance for those who love subtle tones with modern sophistication. It opens with citrus and aromatic herbal tones, compounded by fig nectar and coconut milk. These merge into rosemary and cardamom, and finally patchouli and sandalwood.

100ml - AED 396

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Pegasus Exclusif, Parfums de Marly Distinctly masculine, it presents vanilla fused with an oriental twist of amber, sandalwood, natural oud and guaiac. Floral notes of jasmine, lavender, bitter almond and geranium follow, and finally is a fine balance of fruits and spices including bergamot, pink pepper, cardamom and heliotrope.

125ml - AED 1313 Palazzo Nobile CASANOVA 2161, Valmont This androgynous fragrance has a woody essence thanks to spicy juniper berries and iris. For a lasting final impression, we have vetiver extract.

This eau de toilette has the highest olfactory intensity of the Palazzo Nobile collection.

100ml – AED 675

Cupola, Salvatore Ferragamo An exotic woody fragrance by Antoine Lie and Luca Maffei. Top notes are tangerine, angelica and saffron, followed in the middle by iris, olibanum and labdanum. At the base are amber, patchouli and guaiac wood.

100ml - AED 975

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GROOMING • SKINCARE SIMPLIFIED

SKINCARE SIMPLIFIED Pestle & Mortar brings together simplicity and natural ingredients into one skincare package Pestle & Mortar is an Irish skincare brand which has experienced phenomenal growth in the highly competitive global skincare market in the past few years. All of its products are cruelty-free, free from parabens, mineral oil, silicones, sulphates and are 100% vegan.

The brand is built around its “less is more” philosophy: “Highperformance active ingredients blended with natural extracts and nothing harmful.” In other words: “We take ingredients from Nature, never compromising on quality, and marry them with technological actives at the most beneficial concentrations and the most complimentary pH levels, concentration and texture to suit all skin types.”

Sonia Deasy, an Indian-Irish woman and mother-of-five, founded the brand along with husband and biochemist sister.

“Fuelled by a desire to simplify multi-step skincare routines and frustrated by the lack of affordable skincare solutions which produced the desired results, I decided to create my own,” says Sonia, the Irish born daughter of Indian immigrants.

“My immediate family ancestry of six generations of Indian medicine was instrumental in shaping my vision for Pestle & Mortar. I fused nature with science to create a range of skincare products that provide simple solutions for beautiful skin. My formulation mantra is ‘simple, natural, effective and suitable for all’. I believe that daily skincare routines should be simple and provide cumulative benefits with consistent use. The Pestle & Mortar’s less-is-more philosophy extends throughout every aspect of the brand, from product formulation through to packaging and dispensing mechanisms.”

There are currently eight products in the fast-growing Pestle & Mortar range, each a recipient of numerous beauty awards. Four of them are Cleansing and Toning products.

Erase is a lightly scented balm cleanser formulated with hydrating, cleansing and skin-soothing natural oils that removes all traces of make-up and grime from the skin.

Renew is an all-natural illuminating gel cleanser formulated with fruit enzymes and

superoxide dismutase. It tightens and unblocks pores, improves skin tone and delivers a glowing complexion.

Exfoliate is a gentle glycolic acid toner which evens-out skin tone, brightens the complexion, tightens pores and promotes skin cell renewal. With a free acid-value of 6.8% and a pH of 3.8, it is suitable for all skin types.

Balance is a fine misting facial spritz formulated to refresh, calm and clarify the skin. It improves hydration, skin health, balances sebum production and reduces skin pollution. Its formulation includes Irish deep-sea magnesium, amino acids and herbal extracts.

The brand offers two hydration products.

Hydrate is a soft and lightweight skin moisturizer formulated with tri- and tetra-peptide technology, as well as natural moisturising factor squalene. It hydrates, soothes and softens the skin while providing anti-aging benefits and stimulating collagen production.

Recover is a soft and lightweight eye cream formulated with the active ingredient palmitoyl tripeptide-5. It readily absorbs into the skin to diminish fine lines, improve skin texture, reduce puffiness and reduce dark circles around the eye area.

There are two Anti-Ageing products.

Pure Hyaluronic Serum is a lightweight, fragrancefree serum which is super-hydrating and anti-aging. It combines multi-molecular weight hyaluronic acid with skin-softening panthenol in a formulation which reduces fine lines and wrinkles, provides superior hydration and delivers a firming effect.

Superstar is a retinoid night oil which supercharges the skin during sleep. Formulated using two types of retinol in a base of cold-pressed, organic and steam distilled oils, Superstar balances oil production, stimulates collagen production and refines the skin’s surface without causing irritation.

The full range is available to the residents of the UAE and the region at Faces, and online at beautysolutions-me.com.

More retailers are to be announced soon.

Balance Spritz

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Recover Eye Cream

Hyaluronic Acid Serum

Superstar Retinol Night Oil SIGNÉ • EDITION 39

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G R O O M I N G • R A D I AT E , T H I S W I N T E R

RADIATE, THIS WINTER The Male Grooming Package by Balmessence gets you ready for the coming winter

With the harsh external elements of city living, the skin is prone to premature ageing, acne, and hyperpigmentation, to name a few. Choosing the right grooming routine and sticking to the regime will avoid the unnecessary strain of experimenting on the skin.

Angela Turovskaya, the founder of Balmessence, believes it’s never too early to invest in some well-formulated grooming products to accentuate natural looks and to achieve a smoother complexion. She adds: “By enhancing the cosmetic integrity of nature’s own ingredients, we offer our clientele a sophisticated array of products, accessories and niche perfumes designed to make them look and feel gorgeous and healthy, just as nature intended.”

Balmessence offers a range of ethically sourced and luxurious skincare products from cleansers, serums, aftershave gels and moisturizers. The brand’s male luxury grooming edits are designed as a complete package for the essential self-care routine of a modern man. The brand’s Male Grooming package has nine products.

ESSE Refining Cleanser: A lightly foaming clay wash that exfoliates and detoxifies the skin. Bentonite clay particles act as superfine exfoliating granules while drawing toxins.

Kalahari Melon oil adds essential omega-6 fatty acids to help maintain the skin’s lipid balance.

LIVING NATURE Gentle Cleansing Shaving Gel: A gentle, non-drying gel that is meant to provide excellent razor slip for a smooth, close shave. Specially formulated for men’s skin, it cleanses and lifts impurities while calming the skin. Kumerahou, a naturally foaming surfactant, cleanses and rebalances important protective oils. Manuka honey is included for its humectant and antiseptic properties.

LIVING NATURE Soothing Aftershave Gel: A soft gel that utilizes the exceptional properties of the Harakeke Flax Gel and Active Manuka Honey to hydrate and restores vitality to the skin. A cooling infusion of Calendula Oil and Witchhazel helps soothe skin after shaving. Native to New Zealand, the gel from Harakeke Flax is more hydrating than aloe vera. This, coupled with its cooling, calming and antimicrobial properties,

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helps purify the skin, while the miracle healer Active Manuka Honey helps nourish and restore vitality.

CODAGE Fall in Love Serum: A special autumn edition to recharge the skin in essential resources before winter. It moisturizes and repairs; and contains antioxidant and antipollution ingredients to rebuild the skin’s matrix and equips it with all the necessary defences for the seasonal changes ahead. Detoxifying, energizing and anti-blemish active ingredients purify the skin and smooth out sun-related pigmentation problems.

PERRIS SKIN FITNESS Concentrated Serum: A global skincare serum that offers 24-hour hydration acting as a second skin, leaving the skin feeling refreshed. With continuous use, the skin will appear firmer, radiant and luminous. It is formulated to minimize the risk of an allergic reaction.

ESSE Deep Moisturiser: Contains prebiotics to feed beneficial microbes at the expense of pathogens. A probiotic extract is added to shift microbial populations in your favour.

It is balanced at pH 4.5 to favour the growth of synergistic species. It maintains balance without leaving greasy residues or dry areas.

CODAGE Scrubbing Cream: A rich and soothing emulsion made from fine rice particles for optimal facial exfoliation. Suitable for even the most sensitive skin types, it eliminates impurities and dead skin cells, while stimulating elasticity and cellular renewal.

CODAGE Day Cream: An emulsion whose fine and creamy texture is specially formulated to moisturize and protect the skin throughout the day. Its anti-pollution filter and antioxidant activity protect the skin against environmental damages such as thermal shock, pollution, and air conditioning. It relieves tightness and revives the complexion, preventing the apparition of expression lines.

PERRIS SKIN FITNESS Active Anti-Aging Eye Cream: A premium formula designed to offer an optimum effect on the skin. After continuous use, it provides the skin with 24-hour hydration and will help minimize and diminish wrinkles, puffiness and dark circles.

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CODAGE Day Cream

CODAGE Fall in Love Serum

ESSE Moisturiser

PERRIS SKIN FITNESS Active Anti-Aging Eye Cream SIGNÉ • EDITION 39

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

A TRIPLET OF COMPLICATIONS Patek Philippe introduces three new variants of its much-beloved models Patek Philippe has one of the most comprehensive collections of regularly produced grand complications.

This collection has been enriched this year by the addition of three new models. Each is a new interpretation of their much-admired models: Ref. 5303, a minute repeater with its striking mechanism on the dial side, Ref. 5370 Split-Seconds Chronograph and the Ref. 5270 Perpetual Calendar Chronograph.

Each represents a meld of tradition and innovation, of aesthetic beauty and technical mastery.

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5303R-001 Minute Repeater The Ref. 5303 Minute Repeater Tourbillon unveiled in 2019 in a limited edition of 12 watches at the “Watch Art Grand Exhibition Singapore 2019” - became Patek Philippe’s first minute repeater with a striking mechanism that was visible on the dial side. Now, we have a slightly modified version featuring an open dial architecture. The repeater mechanism - including the hammers and gongs - and the tourbillon can be admired without removing the watch from the wrist.

The 42 mm rose-gold case sports a wide, beautifully cambered, and polished bezel. The caseband and the strap lugs are graced by whitegold inlays featuring foliage engravings. The lefthand case flank that activates the minute repeater is also in white gold featuring the same motif.

On the dial, the greys of the filigreed steel parts contrast against the backdrop of the rose gilt plate decorated with circular Geneva striping. The hours and minutes are tracked by slender leafshaped hands with luminous coatings. The hour circle is black-lacquered sapphire-crystal with powdered rose-gold markers. The backside of the tourbillon’s cage can be seen beneath the seconds subdial at 6 o’clock. The hammers on display get a circular satin finish.

The aesthetic of the manually wound calibre R TO 27 PS was subtly reworked to enhance its aesthetics. For instance, certain components were pierced, as is typical for skeletonized movements, while the recesses feature a delicate perlage. The movement can be admired through the sapphirecrystal case back and is framed by a white-gold rim. Its open-worked decoration echoes the case inlays and the repeater slide.

The 5303R-001 is a study in watchmaking artistry, elegance, and manual finissage that is complemented by a unique sound. As is the case for every Patek Philippe minute repeater, the “melody of time” is personally rated with great care by manufacture president Thierry Stern.

Patek Philippe 5303R-001 Minute Repeater SIGNÉ • EDITION 39

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

5370P-011 Split-Seconds Chronograph Since 1923, the split-seconds chronograph has occupied a preferential position in Patek Philippe’s wristwatch collection. The Ref. 5370, the first split-seconds chronograph endowed with the proprietary calibre CHR 29-535 PS was launched in 2015 with a platinum case and a black enamel dial. This grand complication is offered with a new grand feu enamel dial in blue with a glossy finish all hand made on an 18K gold dial plate.

The dial is superbly legible as befits an instrument with a decidedly technical personality.

The legibility is achieved by contrasting the brilliant blue of the dial with the white gold elements on the dial - the leaf-shaped hours and minutes hands (with luminous coatings), the applied Breguet numerals, the sweep chronograph and rattrapante hands, and the instantaneous 30-minute counter hand. Rotating around the central axis are the hour, minute, chronograph and the split-seconds hands.

The instantaneous 30-minute counter subdial is at 3 o’clock, while the small seconds is at 9 o’clock.

The elegantly polished 41 mm platinum case has a concave bezel and satin-finished flank recesses.

The two-phase chronograph movement has two pushers for the chronograph functions (start-stop and reset), while a rattrapante pusher is integrated into the crown at 3 o’clock. As is the case with all of Patek Philippe’s platinum wristwatches, we find a small diamond between the lugs at 6 o’clock. It is worn with an alligator strap in shiny night blue and is secured by a platinum fold-over clasp.

The manually wound calibre CHR 29-535 PS holds six patented chronograph innovations, plus one patent for the rattrapante mechanism. The classic elements of the basic architecture are the manual winder, dual-column-wheel control, and the horizontal wheel clutch. With the chronograph disengaged, it has a power reserve of 65 hours.

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5270J-001 Perpetual Calendar Chronograph As the successor to Patek Philippe’s 1941 classic (Ref. 1518), the Ref. 5270 Perpetual Calendar Chronograph has been available since 2018 in platinum with a golden opaline dial and a rose-gold version with a gold “goutte-style” bracelet. The latest member of the regular collection is cased in yellow gold for the first time.

The elegant 41 mm yellow gold case combines with a concave bezel with slightly flared strap lugs.

The dial is silvery opaline with leaf-shaped hands and applied baton indexes in matching yellow gold. The hour, minute and chronograph hands are centred, while Instantaneous 30-minute subdial is at 3 o’clock and the small seconds at 9 o’clock.

The displays of the perpetual calendar are split across different locations on the dial. The analogue date is located at 6 o’clock as a subdial, and the typical moon-phase window is located within the subdial. A double aperture for the day and month is at 12 o’clock. There are two small round apertures, one for the day-night indicator (at 7:30) and another for the leap year cycle (at 4:30).

The calibre CH 29-535 PS Q is Patek’s first chronograph movement with a perpetual calendar developed in 2011 and is crafted entirely in-house.

It combines traditional architecture - horizontal clutch, column wheel and manual winder - with six patented innovations for the chronograph functions. It stands out with its extremely thin calendar mechanism - 1.65 mm for 182 parts. The movement can be admired through the sapphirecrystal case back. A solid back in 18K yellow gold is also available. The timepiece has a hand-stitched matt chocolate brown alligator strap with large square scales. It is secured with a yellow-gold foldover clasp.

Patek Philippe 5270J-001 Perpetual Calendar Chronograph

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

REMINISCING PIONEERING CHIMERS Jaeger-LeCoultre has unveiled three models that pay homage to its pioneering contribution to chiming timekeepers

Jaeger-LeCoultre Master Grande Tradition Calibre 945 Ref. Q5262460

This year Jaeger-LeCoultre celebrates its great legacy of innovative chiming timepieces, spread over a century and a half, through four new watches. Two are very limited variants of Master Grande Tradition Calibre 945, and two are new Memovox models in the Master Control collection, one of which offers a timer function for the first time.

Antoine LeCoultre played a vital role in the miniaturisation of chiming timepieces by inventing a machine that could measure and cut components more accurately and on a smaller scale than ever before. As a result, Vallée de Joux became the world leader in producing both chiming watches of ever-greater complexity: smaller size and more beautiful sound.

A chiming watch - considered to be the most challenging for a watchmaker - was first produced by Jaeger-LeCoultre in 1870.

Since then, it has developed more than 200 chiming calibres, produced some 100 minute repeaters before 1900, and mastered all forms, including the most complex ones - the Grande Sonnerie and Westminster chimes. Until the mid-20th century, La Grande Maison also supplied chiming movements to many of the leading names in watchmaking.

The Master Grande Tradition Calibre 945 is the latest addition to the maison’s premium collection, which combines horological ingenuity with artistic creativity. The magnificent new design incorporates two of the most romantic yet technically challenging complications in horology – a minute repeater and a celestial vault. If this was not challenging enough, the complex mechanism is further elevated by an orbital flying tourbillon.

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The timepiece is offered in two versions: one marries the warm glow of pink gold to a black dial (Ref. Q5262460), while the other combines deep blue tones with the coolness of white gold and baguette-cut diamonds set on the bezel (Ref. Q5263480). Both are limited to just eight pieces each.

The multi-level dial amplifies the beauty of the celestial theme while also showcasing the orbiting tourbillon. The deepest level of the dial is decorated with tiny stars. Above it, a delicate filigree forms a dome with its structure echoing the pattern of the constellations marked on a convex celestial disc. The star chart depicts the Northern Hemisphere night sky, as seen from the 46th parallel – the latitude of Jaeger-LeCoultre’s home in the Vallée de Joux.

The 45 mm case, first introduced in 2019 on the two minute repeater models, comprises more than 80 parts. Its convex bezel is complemented by broad bevels on the lugs. The hollowed-out sides of the lugs add dynamic tension, while the repeater slide is tapered to harmonise with the curving case sides. Different surfaces are micro-blasted, polished and satin-brushed to maximise the play of light and emphasise the details.

Calibre 945, the manual mechanical movement supports hours, minutes, month, and 24-hour indication. The orbital flying tourbillon indicates the sidereal time. The minute repeater with cathedral ‘crystal gongs’ is soldered directly to the sapphire crystal.

In the 70 years since Jaeger-LeCoultre launched the first Memovox - becoming the reference in wristwatch alarms - it

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Jaeger-LeCoultre Master Grande Tradition Calibre 945 Ref. Q5263480

Caliber 956

Jaeger-LeCoultre Master Control Memovox Ref. Q4118420

has appeared in models designed for the urban lifestyles, and some even for underwater sports. Despite being one of the most practically applicable of all complications, the alarm remains surprisingly rare in horology.

The two Memovox models unveiled this year are both presented in the new 40 mm Master Control case. With its sloping bezel, dynamically curved lugs and the mix of polished and satinbrushed surfaces, the design exudes a relaxed, contemporary elegance. Both have open case backs to reveal the Caliber 956 automatic mechanical movement with a stated power reserve of 45 hours.

Over the years, various useful functions have been added to the Memovox models, such as a world time-zone indicator and a parking-meter reminder. This year’s Master Control Memovox Timer - Ref. Q410848J and Limited to 250 pieces offers a timer for the first time. This function is in addition to the standard alarm.

The beautifully constructed dial is laid out in concentric rings, in two shades of blue with a sunray finish. It is complemented by an inner ring engraved in bas-relief with polished numerals. On this inner ring, the elapsed hoursuntil-alarm are indicated by a small hand tipped with a red JL logo. Set at the outer edge of that ring, the Memovox’s signature triangular marker points to the time at which the alarm will ring.

The second model, Master Control Memovox (Ref. Q4118420) reinterprets the graceful and uncluttered dial of the original 1950 Memovox in a streamlined modern style. It presents the classic combination of alarm and date display with a silvery sunray-brushed dial. The applied indexes add a touch of refinement. Their elongated triangular shape – a signature of mid-century Memovox models – is echoed by the Dauphine hands. A blue seconds’ hand adds a subtle touch of colour to animate the silvery-white palette.

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WA T C H E S • A L A N D M A R K W I T H I N A L A N D M A R K

A LANDMARK WITHIN A LANDMARK Richard Mille’s new flagship store in Riyadh recently opened its doors to clients and brand enthusiasts

Richard Mille, the contemporary Swiss Haute Horlogerie brand, is in the midst of a regional expansion drive, resulting in several boutiques opening across the Middle East. The latest one to officially open its doors is the brand’s first boutique in the Kingdom of Saudi Arabia, located in Riyadh’s unmistakable architectural landmark, the Kingdom Centre. This boutique will also be Richard Mille’s flagship boutique in Saudi Arabia.

“With the rapid developments and ambitious growth planned for the Kingdom of Saudi Arabia, a major trade and investment epicentre, we are very excited to have established a Richard Mille landmark in Riyadh. Over the years we developed strong relationships with our Saudi clients and with the new boutique in Kingdom Centre we really hope that we can provide them with a more immersive brand experience and a wider product range to choose from,” says Peter Harrison, CEO of Richard Mille Europe, Middle East and Africa.

The new boutique is located on the First Floor of the Kingdom Shopping Mall, within the 302-metre tall Kingdom Centre skyscraper overlooking the city of Riyadh. At 164 square meters, the new boutique is also one of the largest Richard Mille boutiques in the Middle East. The perfect setting for the brand to showcase its extensive selection of contemporary timepieces which, we are informed, will include models from the whole collection: sports, lifestyle watches, high-performance tourbillons as well as limited editions.

Upon entering the new boutique, visitors are presented with an environment that is synonymous with the Richard Mille brand. An elegant setting featuring the brand’s unmistakable visual cues such as black leather walls, cracked glass panels, and Wenge wood parquet. Sophie Mallebranche’s cream wallpaper provides the neutral yet luxuriant backdrop for the galleries.

There are three dedicated VIP areas where guests can relax and browse through an on-site library. The reading material includes a selection of art books by Éditions Cercle d’Art, the publishing house under the ownership of the Richard Mille Group and renowned for its collaboration with contemporary artists, from Picasso to Erró, to explore one of the most exciting periods in modern art.

The new Richard Mille boutique is open from Saturday to Thursday from 10:00 am to 10:00 pm and on Fridays from 04:30 pm until 10:00 pm.

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Richard Mille flagship store in Riyadh SIGNÉ • EDITION 39

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AN UNUSUAL STORY Hublot, as a young brand, has done remarkably well by standing out from the crowd through constant innovation

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Hublot made its debut at the Basel watch exhibition in 1980. The brand recorded zero sales, and the purists were blunt while dismissing its first model. Just a few years later, the Kings of Greece, Spain, Sweden and the Prince of Monaco were all sporting a Hublot. The very qualities that had repulsed the purists at Basel, were also responsible for its popularity among the elite of Europe - a gold case fastened by a rubber strap.

In 1976, Carlo Crocco moved to Switzerland to bring his idea for a luxury sports watch to life. Being a member of the family that controlled the Italian Binda Group, which specialised in watches, jewellery, and leather accessories, he was not a total novice. Carlo’s plan was to produce a luxury sports watch that could be worn all day, and for any occasion. Rather than playing it safe, he went for a completely fresh design with simple, clean lines. Simplicity and practicality were to be his mantra.

His watch had a round case in gold, finished with a combination of brushed and polished metal. The dial was in contrasting black. Its distinguishing design feature came from its bezel. Based on a ship’s porthole (or hublot in French), it was fastened with twelve titanium screws, each corresponding with the hour markers.

In those days, fastening a gold case with straps made of rubber was akin to a sacrilegious act for the purists. Carlo was confident about its functionality. He spent nearly three years and over $1 million to produce the rubber he wanted. Rubber was chemically fused with steel to made it robust enough not to crack or stain with usage. Rare vanilla was used to eliminate its rubber odour. The strap was light, had a smooth surface and adapted to the wrist, making it exceptionally comfortable to wear daily or during outdoor activities. Those who tried it, fell in love with it.

By the end of the first year, the brand had recorded $2 million in sales.

After posting impressive growth figures, the brand began to wane towards the end of the 1990s, primarily due to Carlo’s growing commitment to international charity work. Therefore, in 2003, he roped in Jean-Claude Biver, the man who had successfully relaunched Blancpain and revived the fortunes of Omega.

The first thing Biver did at every watch brand he has revived is to study its DNA - that which made it unique - and then to develop products and write brand stories around it. At Hublot, Biver observed that something as functional as a ship’s porthole had been reinterpreted into a luxurious, ornamental object. Gold was paired with rubber. Titanium screws doubled as hour markers. He saw a coming together of forms, functions and materials in combinations that had never occurred before. He determined that, henceforth, fusion would be Hublot’s DNA. “Fusion is life. It’s a philosophy. A concept so simple that it is child’s play. Therein lies the key to success: innovation which reveals this selfevident premise. From time immemorial, the greatest achievements have grown out of the simplest ideas,” declared Biver, as Chairman of Hublot.

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Hublot Big Bang Meca -10 Magic Gold

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Hublot Big Bang MP-11 Green Saxem

Hublot Big Bang Broderie Sugar Skull

In the last two decades, under Biver and the current CEO Ricardo Guadalupe, Hublot has debuted numerous innovative materials as part of the case architecture, the straps or as components in their movements.

Leading this pervade of innovation is Magic Gold. It is certified as 18k gold but has a hardness rating of almost 1,000 Vickers, that’s nearly twice as hard as the most hardened steel and can only be machined using diamonds. Nothing else can scratch it. The patented manufacture process involves liquefying ceramic powder in a silicon mould under some 2,000 bars of cold isostatic pressure. Then, 24k gold is melted and injected under extremely high pressure and temperature to fill the ceramic pores and create a fusion of the two. Hublot has a fully integrated foundry for producing Magic Gold inside their manufacture in Nyon, Switzerland.

Magic Sapphire was developed by taking sapphire, a material almost as hard as diamond, and improving its crystalline structure to make it even more transparent and scratch-resistant. Simultaneously, the engineers also drew on their mastery in machining sapphire to reduce the cost of manufacturing. Magic Sapphire made its debut with the Big Bang UNICO Magic Sapphire. The case, bezel and back of the watch were made from this material, thus rendering it completely transparent. In addition to the original colourless casework, Magic Sapphire has also been offered in blue, yellow and red examples.

Transparency is a popular quality at Hublot, and the brand has developed other materials to this end. The transparent

green SAXEM - Sapphire Aluminium oXide and rare Earth Minerals like thulium, holmium and chromium - is harder than emerald but stable enough for machining. Its cubic crystalline structure guarantees not only better brilliance than sapphire, but offers the same shade and intensity of colour, regardless of the angle.

3D Carbon, protected by the US military, is a transparent, ultra-light and durable material reinforced with threedimensional woven resin. It made its debut on MP-09 Tourbillon Bi-Axis 3D Carbon. The watch case was designed to offer maximum visibility of its double rotation tourbillon.

Silicium is another transparent, lightweight substance that is non-magnetic, non-corrosive and low friction. Hublot’s UNICO movement features a silicium escape wheel and pallet fork.

Ceramic is an ultra-tough and scratch-proof material used for manufacturing cases and bezels. Hublot’s R&D department developed a patented process that made it possible to add vibrant colours to ceramics, something that was not possible on an industrial scale with technical and aesthetic ceramics. This newly developed ceramic was also denser. It had a hardness of 1,500 Vickers, compared to the 1,200 Vickers of conventional ceramics. From the initial idea to its industrialisation took four years of experimentation.

The manufacturing process involves liquefying the ceramic without burning the pigments. This ceramic made its debut in red, on the Big Bang Unico Red Magic’s case and bezel. It has been followed by the colours blue and green.

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Hublot Big Bang Unico Paraíba King Gold

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Gold Crystal

Hublot Classic Fusion Gold Crystal

Fabrics have been used by Hublot as a fresh approach to feminine watches. In 2015, the watchmaker partnered with Bischoff, the master of Swiss embroidery, to create stunning patterns on silk organza fabric - skull for the dial and soft arabesques for the bezel and strap. For the first time in the history of watchmaking, the manufacturing process involved encasing embroidered elements in carbon fibre, both to amplify the texture and to protect them - a technical feat which took several months to master. The result was the award-winning Big Bang Broderie, followed by other variants.

Linen made its debut the following year with the Big Bang Linen collection for women. This sustainable plant fibre is strong, is lighter than carbon fibre and enables an infinite palette of hues. Hublot not only uses this fibre in its original role as a fabric, but also as an alternative to carbon fibre to construct its cases and dials. A unique hand-weaving process creates a unidirectional weft, which is then dyed with natural pigments and paired with transparent composite resin inserts.

The fabric is sewn onto the colour matching rubber strap.

Recently, Hublot has ventured into fusing some of the rarest substances on earth into its watches.

Paraíba is “nature at its most beautiful. A stone unearthed from the rich soils of Brazil, a natural alloy of gold, copper and manganese, a captivating blue lagoon colour that holds the gaze in an almost magnetic embrace,” observes Guadalupe.

This Tourmaline stone is among the world’s rarest and most sought-after - a single Paraíba is mined for every 10,000 diamonds. It is more fragile than emerald, taking up to three times longer than diamond to cut and set. If this was not challenging enough, Hublot set 48 baguette-cut Paraíbas on the bezel of each watch. The baguette cut requires stones of perfectly uniform colour, so five times more raw material is required, and only around 70% of those selected and cut make it onto the watch.

This year Hublot returned to the element at the heart of the brand’s genesis - gold. In this case, gold crystal, its rarest and most delicate form which scarcely occurs in nature. Hublot’s engineers pioneered a process whereby they heat 24k gold until atoms of gold emanate out and, upon contact with a cold surface, form uniquely shaped flakes of gold crystal. Only 20% of these flakes make it on to the black dial of the Classic Fusion Gold Crystal, where they are permanently frozen in 20 layers of a specially developed transparent lacquer.

In an industry dominated by brands that have been around for over a century, Hublot is a comparative sapling among trees. And yet, through constant innovation and staying true to its fusion DNA, Hublot has repeatedly attracted the proverbial sunlight. In Hublot, there is a story for those who dare to be different, to dream big.

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AN ATELIER WITH A VIEW We take you on a tour through Chopard’s Watch and Jewellery Workshops, which have been opened to the public for the first time

Chopard is one of the few maisons that can claim to have complete control of all its watchmaking and jewellery professions, with workshops that possess, between them, a full range of talents capable of bringing to life some of the most complex and exquisite works of art.

For the very first time in its illustrious history, Chopard decided to open the doors to its workshops so as to shine the spotlight on its Artisans, its “Mains d’Art,” the creators of the emotions which give Chopard its reputation for craftsmanship and innovation.

These workshops - mainly located in Fleurier, Val-de-Travers and in Geneva - are the realisation of a dream harboured by Chopard Co-Presidents Caroline and Karl Friedrich Scheufele, and by their parents before them, to gradually develop the workshops and integrate all the skills required to achieve excellence: from gold smelting to gem-setting, from movement decoration to case engraving, as well as the ateliers where Grand Complications are created.

A piece of jewellery brought to life in these workshops involves around 30 artisans from the original sketch to the end result. It all begins with Caroline Scheufele selecting the gems and dreaming up a collection, a jewellery set, or a one-of-a-kind model. She shares her ideas and sketches with the design drafting artists who produce the first sketch – which jewellers refer to as the gouache painting – followed by a 3D construction and sculpture, before moving on to the actual crafting of the jewellery piece.

Jean-Claude and Mo, at Chopard since 2001 and 2011 respectively, are the two design drafting artists responsible for producing the first formal sketches. Once the outline shape has been approved, the drawing is inked and then coloured – often with a Pantone felt pen, crayons or watercolours – and then enhanced with gouache (opaque watercolour) painting to give it more light.

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The combination of colouring media depends on what the artist wishes to express and emphasize. A felt pen, for example, will not convey the same message as a crayon but the shade can be more strongly defined. Watercolour is used to add a certain sense of transparency. The most difficult technique to master is gouache painting. The artist who created the initial drawing also does the gouache painting and follows-up on the project all the way through subsequent ateliers.

A piece of jewellery is always represented on a 1:1 scale, and it is assumed that the light comes from the left, at a 45-degree angle. The shading is first done using a black pencil before washing. Applying the alternating areas of shade and light creates the illusion of volume, while colouring provides indications regarding the materials used – the colour of gold, the nature of the precious stones, their size, etcetera.

“Drawing is my language, my way of expressing myself. The emotion I feel when my hand has finally succeeded in accurately translating the idea that I have in mind is indescribable,” says Jean-Claude. The original gouache paintings are carefully preserved, and some are on display on one of the workshop walls, including several volumes dedicated to the maison’s 150th anniversary collection.

We now move to the Chopard Haute Joaillerie workshops where Laura, a jewellery model-maker since 2018, and Anthony, a jeweller sculptor since 2006, transform the two-dimensional drawing into a three-dimensional object, either in wax or metal.

Both have a mastery in the history of jewellery making, as well as having learned to draw, sculpt, and place shade and light in such a way as to decipher the gouache paintings provided as the starting point.

Laura begins by gluing a photocopy of the gouache painting onto a plate made of tin and cutting out the required patterns.

These are then shaped to imitate the structure of the jewel.

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Jean-Calude, Design Drafting Artisan, Chopard

Mo, Design Drafting Artisan, Chopard

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Paulo, Gold Foundry Artisan, Chopard

The shadows in the drawing enable the artist to imagine the jewel in terms of volume. This 3D rendering makes it possible to verify the feasibility of the project and anything that may require modification.

Once approved, it becomes a prototype that is entrusted to the 3D construction department for scanning and printing. To the printed model, Laura adds colour and sets it with non-precious stones to create a realistic appearance. Like the drawings, these models are also part of the heritage of the maison and are carefully preserved.

“As a child, I loved nothing more than drawing and playing with the tools in my grandfather’s workshop. This unique apprenticeship taught me to recognise beauty, a skill which today enables me to reveal the magic that lies within us all, and that we too often forget,” says Laura.

Anthony makes wax sculpture used for lost wax casting. This tiny wonder, with a limited life span, gives way to an identical precious metal reproduction. As Anthony says: “As a sculptor of Haute Joaillerie design, my job is to bring an idea, a drawing, a stone or a theme to life. It is an endless search, totally in harmony with my passion to work with my hands. Even though some creations require extensive input, they are worth every second spent on the quest for perfection. When one owns a magnificent piece of jewellery, it contains not only a part of ourselves, but the influence of the person who crafted it as well, making it a kind of an extra-special talisman.”

Chopard is one of the very few watch manufacturers to possess a gold-smelting foundry. Karl Scheufele’s vision of achieving

vertical integration in production began with the smelting of gold.

While the first furnace he acquired in 1978 has been replaced by a state-of-the-art computer-aided model, the fundamentals remain the same.

In the basement of Chopard’s Geneva manufacturing premises, behind closely guarded ultra-secure doors, is where we find Paulo. It is he who smelts Chopard’s ethically sourced gold and produces all its alloys.

To make an eight-kilo ingot of 5N gold, Paulo deposits six kilos of pure gold and two kilos of alloy into the crucible before heating them to 1000°C. The alloys added may include copper for red gold, silver for a yellowish gold, or palladium for white gold, and so on. The molten mixture is poured into the mould to obtain an ingot. It is then immersed in cold water to crystallise it and then pressed by a roller mill to obtain a bar with 210 Vickers hardness.

Before leaving for the workshops, each bar is numbered, and a gold sample is taken. The latter is sent to the Precious Metals Control (PMC) office, which analyses the sample and sends a certificate with the title of the gold accordingly. The precious material can then go into production. Every day, between seven and eight ingots leave the workshop, depending on the demand.

“Some people see me as an alchemist because I transform precious metals, while ensuring that Chopard gold is 100% Ethical. The fact that I can claim that people out there are wearing a watch or a piece of jewellery made from my gold makes me feel that in some way, I help to make their dreams come true” says Paulo.

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A SANCTUARY FOR PRIZED POSSESSIONS 818 Vault has discretely built a reputation and a niche market for itself in Dubai

818 Vault is the UAE’s first premium-service vault and safe deposit facility founded by Certified Graduate Gemologist and third-generation jeweller Vikram Jethwani. Located within Almas Tower at JLT, 818 offers a unique blend of exceptional security, privacy and luxury. Thus, not only has 818 created a niche service segment of its own, but it has also discreetly established itself as the quintessential brand for safeguarding the valuables of the UAE’s high-net-worth individuals.

“As the first-of-its-kind safe deposit facility, we are incredibly delighted by the positive reaction and feedback from our clients so far,” said Vikram in an exclusive interview with Signé.

Born in Japan and raised in the UAE, Vikram’s journey to founding 818 is by way of the pearl and designer jewellery industries. His grandfather had become the third-largest pearl exporter in Japan before the family transplanted themselves to the Middle East in the seventies, and established what is today Universal Pearls & Jewels DMCC, a prominent name within the pearling business.

Vikram became a Certified Graduate Gemologist from the prestigious Gemological Institute of America (GIA) in 2001, following which he held leading positions with a number of distinguished firms in New York. In 2005, Vikram returned to Dubai and spent a few years with his family business before founding Vik Jethwani Fine Jewellery. With his wife Natasha, a certified jewellery designer, as the creative director, the brand offers in-house and custom designs for weddings and engagements, as well as contemporary fashion jewellery.

“My wife and I had felt that the service in the jewellery business within the UAE was below par; even for fundamental things like giving the clients what they asked for or delivering

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it on-time. So, we wanted to offer the finest jewellery at competitive prices but with a focus on providing high-level and personalised customer experience for our clients,” says Vikram.

“In the past six to seven years, we have accumulated a database of over 2,000 high-net-worth clients just in the UAE alone.”

“We had a lot of clients coming to us and inquiring about safety lockers, and complaining about the inconvenience, unavailability, and most of all, the size of bank lockers. We also noticed that the lockers were often not insured. So about three years ago, we began mulling over the idea of setting up a locker service with flexible timings, with the highest level of security, and with a comfortable VIP ambience. Plus, we also decided that we would offer up to a million [AED] dirhams in insurance per locker; which is now provided by Lloyd’s of London. With me being a certified gemmologist, we could take things a step further and offer a full care-package for the jewellery or watch, or even issue an appraisal certificate which is just as valid as a receipt should there be a claim.”

818 Vault was thus established by Vikram as a step-up alternative to the limited services and space provided by existing establishments in the market. For its name, “I wanted something that was easy to remember yet discreet,” explains Vikram. “My mother is into Feng Shui, and I have always been interested in the number eight. It’s an angelic number. It represents strength and security.”

The vault’s opulent viewing chamber is designed to reflect the affluent etiquette of its target clientele. “We have created a luxurious and comfortable setting for our clients,” says Vikram.

“We have a jeweller’s table on which to view and arrange your valuables. It’s covered with a special material that does not

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818 Vault

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scratch your jewellery. We have a mirror so that you can try them on. We even have plush seating.”

Appointments to enter the vault - half-hour each - are made in advance, and no one else is permitted to access the vault during that time-slot. For convenience, the vault is accessible at hours beyond those of bank managed facilities.

818 offers two types of lockers: Premium at 25x25x60 centimetres or the larger Ultra lockers at double the size.

“We chose these sizes for our lockers because we noticed that people like to store their jewellery or their watches with their boxes. So we had to make sure that there was ample space to accommodate them,” explains Vikram. In addition to the AED 1 million locker insurance provided by 818, clients have the option of securing additional coverage with an insurance certificate provided directly to them by an insurer of their choice.

All the safe deposit lockers within the vault are designed and manufactured by Chubbsafes, “one of the world’s most trusted and reputable safe manufacturers,” says Vikram.

Equipped with a secure dual control locking mechanism, each safety deposit locker has two ten-lever locks that are accessed with two unique key profiles. This ensures that no two keys can ever be identical. For increased security, the dual-lock system is replaced every time the locker is assigned to a new client.

818 is located near the main entrance to Almas Tower, thus offering quick and hassle-free entry and exit; ideal for swift deposits or collections when on a tight schedule.

Elaborating on the choice of location, Vikram stresses, “I did not want our flagship vault to be anywhere else but

Almas Tower. It is one of the safest buildings in the MiddleEast with a security response time of under five minutes. It is where the DMCC (Dubai Multi Commodities Centre) is headquartered and is home to some of the biggest jewellery brands in the world.”

In addition to safety deposit lockers, 818 vault offers a full range of additional services to accommodate its clients’ varying needs, including extended safe access hours and emergency calls for lockers. There are also specialised services specifically related to jewellery and watch care, such as professional appraisals, polishing, cleaning, repairing and maintenance; or in the words of Vikram: “pretty much all the services offered by a jeweller.”

To capitalise on its growing reputation amongst its current clientele and to meet the growing demand for its unique service, 818 Vault has plans for expansion.

As Vikram explained: “We are excited to hopefully be bringing 818 Vault to more locations across the UAE and beyond in the future. We will always ensure to retain the highest levels of service and the latest security technology to bring an unparalleled luxury and exclusive experience for our clients.”

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818 Vault Almas Tower, JLT, Dubai 800 81800 contact@818vault.com https://818vault.com

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CELEBRATING THE ESSENCE OF LIVING Presenting the latest supermodel from Maranello, the Ferrari “La Nuova Dolce Vita” Roma Aesthetically stunning on the outside and featuring a new cocooning interior, Ferrari’s Roma has been designed to appeal to first time buyers of the brand. The latest grand tourer from Maranello’s stables is, therefore, a model developed more for the city roads and highways than the racetrack.

Built around “La Nuova Dolce Vita” - or “the new good life” - concept, Ferrari’s Roma is meant to evoke a bygone era of abundance and joy in post-war Italy as a result of the “Italian economic miracle.” To recreate the essence of the 1950s and 60s, the designers turned to some of Ferrari masterpieces from that era - front-engined cars with simple yet elegant forms and a 2-plus fastback coupé design. Some of the prime examples being America, Superamerica, 250, 275 and the 330. Although Ferrari’s Roma shares many of their characteristics, it is distinctly a twenty-firstcentury car.

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Him - Suit by Berluti Handkerchief by Eton at Bloomingdale’s Her - Dress by Michael Kors

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The sensuous, minimalist flow lines of the Ferrari Roma is a study in form meets function. The stunning visual aesthetics of the car also delivers best-inclass aerodynamic performance. The overhang at the leading edge of the car creates the shark nose-like effect reminiscent of the Superamerica and the 330.

In line with Ferrari’s traditional styling cues, the broad front bonnet and flowing wings perfectly blend into one another. The two linear full-LED headlights are traversed by a horizontal light strip that brings a sense of tension to the car; reminiscent of the Ferrari Monza SP. To preserve its minimalist elegance, superfluous decorations are missing, and engine cooling is achieved by surfaces that are locally perforated only where necessary. The all-new design for the grille is an example of this. Another is the mobile rear spoiler, which has been integrated into the rear screen. It retains the car’s formal elegance when retracted but deploys automatically at high speed to produce the downforce essential for the car’s stability.

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HIM Suit by Brunello Cucinelli Watch by Hublot, Classic Fusion Ferrari GT King Gold 45mm

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HIM Pullover by Neil Barrett at Bloomingdale’s Trousers by Valentino at Bloomingdale’s Watch by Hublot, Classic Fusion Ferrari GT Titanium 45mm

The interior space of the Ferrari Roma is built on Ferrari’s new Modular Interior concept. The idea behind the concept is to create two separate spaces or cells that are symmetrical within the car; one for the driver and another for the passenger. It results in a balanced combination of elegance, safety and sportiness. Functions have been ergonomically distributed across the cabin, in both cells. This not only creates a more seamless experience for the driver, but also an engaging one for the passenger.

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In the middle is an 8.4-inch vertical screen which offers access to the entertainment system, vehicle settings, and climate control. Ferrari Roma debuted Ferrari’s new HumanMachine Interface (HMI) which has undergone a complete redesign to place the main commands within reach of the driver’s hands while they’re on the wheel. The passenger’s cockpit has an 8.8-inch full-colour HD touchscreen with vehicle performance data, as well as controls for systems such as climate control, sat nav, music and more.

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HIM Pullover by Neil Barrett at Bloomingdale’s Trousers by Valentino at Bloomingdale’s Watch by Hublot, Classic Fusion Ferrari GT Titanium 45mm

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HER Dress by Kristina Fidelskaya Shoes by Christian Louboutin Watch by Hublot, Classic Fusion King Gold Pavé 45mm

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HIM Full outfit by Brunello Cucinelli Shoes by Santoni Watch by Hublot, Classic Fusion Ferrari GT King Gold 45mm

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HER Outfit by Salvatore Ferragamo Shoes by Christian Louboutin

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The Ferrari Roma is powered by a mid-front-mounted turbocharged V8 engine which comes from the family that has won the overall International Engine of the Year award for four years running. In the Ferrari Roma, it produces 612 hp at 7,500 rpm - the best weight-to-power ratio in its segment at 2.37 kgper-cv. Coupled with the new 8-speed DCT gearbox that was first introduced on the SF90 Stradale, the Ferrari Roma can accelerate from 0-to-100 kmph in 3.4 seconds. Its low weight combined

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with the latest version of Ferrari’s Side Slip Control and other systems deliver exceptional driving pleasure and comfort.

Ferrari Roma owners will have access to Ferrari’s extended seven-year maintenance programme offered with all Ferrari cars at Al Tayer Motors and Premier Motors. It is part of a range of after-sales services offered by Ferrari to satisfy its clients’ desire to preserve the performance and excellence of the Maranello masterpieces.

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To request more information or to arrange a test drive of the new Ferrari Roma, please scan the QR code below:

AL TAYER MOTORS L.L.C. Sheikh Zayed Road, Al Manara Dubai, United Arab Emirates 800 MOTORS (668677) contactcenter@altayer-motors.com

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AUTOMOTIVE • A CAR FOR THE PURIST

A CAR FOR THE PURIST Dubai’s Jannarelly Automotive is all about recreating the pure driving experience from the past

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Design-1 is the aptly named first model of Jannarelly Automotive, a Dubai based manufacturer of limited-series, hand-built vehicles, mostly with in-house components.

Penned by its Chief Designer Anthony Jannarelly, Design-1 embodies the brand’s “Retro-futuristic” concept. Its 325hp for just 810 kg enables a 0-100 kmph acceleration in under four seconds. However, this car is not about breaking performance records, but rather about recapturing the pure driving pleasure offered by the classics of the mid-twentieth century.

“The Design-1 was intended to be a personal project, portraying what I wanted in a sports car today,” says Anthony.

He adds, “Design-1 is inspired by the timeless cars of the 60s, set out to unify design from yesterday with technology from today. This is a term we at Jannarelly call - Retro-futuristic.”

Anthony is a designer well known to this region’s collectors and enthusiasts of high-end, hyper-exclusive performance cars.

His pen brought to life the distinctive lines of W Motors’ Lykan Hypersport and the Fenyr SuperSport models. He also designed the Zarooq SandRacer.

He then teamed up with Frenchman Frederic Juillot to cofound Jannarelly Automotive in 2016. While Anthony doubles as the brand’s Chief Product Officer, Frederic is the Chief Operations Officer. The brand’s CEO is Alexander Lee, with 20 years of experience in the automotive and technology sectors.

The retro-futuristic sports car concept of Jannarelly brand is built on four pillars: classically proportioned design, unfiltered driving experience, customisation and authentic customer interactions.

The curves and vents of the Design-1 unmistakably reminisce the Ferraris and AC Cobras of the days gone by, when cars were designed with pens and computers intervening between the driver and the road was unheard of. The car aims to achieve a perfect balance between unfiltered driving experience and sufficient practicality for road trips.

Design-1 was conceived with a “Le Mans barquette” configuration: a small aero screen, a tubular chassis and a 6-cylinder engine at the rear. However, clients in Europe looked for more protection from the elements, which led to

Design-1 Aero by Jannarelly Automotive

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AUTOMOTIVE • A CAR FOR THE PURIST

Design-1 Coupé by Jannarelly Automotive 94

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Anthony Jannarelly, CoFounder and Chief Product Officer, Jannarelly

the development of three interchangeable profiles: Trackday, a roadster with a simple windscreen, the original design; Lifestyle, an open-top roadster with full windshield; Touring, a roadster with a hardtop which takes the weight up to around 850kg.

The car’s long-hooded proportions, like the classic frontengine sports cars of old, betrays its central rear engine and rear-wheel-drive layout. The car rests on a tubular steel and aluminium chassis, covered with carbon fibre or fibreglass body components. The removable hard carbon roof may be painted or left visible.

As the Design-1 was conceived to maximise driver experience, it was developed on the track as well as the road with minimal electronic driver aids. The driver’s skill is what drives this car, not electronics; as it is in most classic sports cars.

At the heart of Design-1 is the award-winning V6 3.5-litre engine sourced from Nissan. It is the latest generation of the engine that powers the Nissan 350Z, generating 239 kW and 371 Nm of torque. The car has a top speed of around 350 kmph.

The V6 generates a raw, exhilarating noise for much of the rev-range through its twin pipes. The engine powers the rear wheels through an old-school six-speed manual transmission with no technological interference. An optional automatic transmission is available.

The front and rear wheels have double wishbones suspension with inboard shock absorbers at the front. The setup is mechanically adjustable to suit the required driving style, whether on the track or on the road. The standard steering is not power-assisted, which means it may pose a challenge in the parking lot, but on the road, it offers exceptional and precise feedback from the front tires. The car also comes with parts to customise the car to make it more track or road-oriented.

The driver-oriented cabin focuses on functionality combined with quality materials. The cabin is not spacious by any stretch of the imagination, but it was never meant to be. Premium leather and carbon fibre are found throughout the cabin. Air conditioning controls are hidden under the dash, for a neat and clean feel. The control switches are within reach, with the instrument panel displaying the vital information in front of the driver. It offers the bare minimum in terms of creature comforts. For music and navigation, it has a Bluetooth system to connect to the driver’s phone, and a USB port to charge it.

Production of Jannarelly Design-1 is limited to 499 units.

The brand’s plans include new variants of the Design-1 (including an electric variant) and the Design-2, a larger GTstyle coupe.

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A U T O M O T I V E • I M M O R TA L I S I N G B E A U T Y

IMMORTALISING BEAUTY Rolls-Royce has elevated the concept of bespoke artistry to a whole new level with the launch of its latest flagship, the Phantom

The Phantom Rose is a blousy, creamywhite flower, offering a full bloom of 50 petals and rich perfume. The only place in the world where this rose blooms is in a specially designed bed running alongside the reflection ponds at Rolls-Royce’s head office and manufacturing plant at Goodwood, West Sussex.

British Rose breeder Philip Harkness - of the multi-award-winning Harkness Roses and whose family has been breeding roses since 1879 - took eight years to develop the rose. On commissioning the rose, Rolls-Royce Bespoke Designer Sina-Maria Eggl - who had hands-on

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involvement in the project from day one - says, “The rose had to embody Rolls-Royce’s poise, elegance and allure. The result was a very pure, delicate but voluminous white flower: sensual, but strong in presence, with an alluring aroma and extra winter durability.”

The Phantom Rose was bred exclusively for the marque as a source of inspiration for the 2,000 skilled men and women at the Sir Nicholas Grimshaw plant. Not surprisingly, it was the inspiration for the marque’s Bespoke Designer Ieuan Hatherall’s ‘RollsRoyce Rose Phantom.’

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Sina-Maria Eggl, Bespoke Designer, Rolls-Royce SIGNÉ • EDITION 39

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A U T O M O T I V E • I M M O R TA L I S I N G B E A U T Y

Making of The Phantom Rose

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Nymphenburg Immortal Beauty

A Bespoke commission by Ayad Al Saffar - a SwedishLebanese businessman - the car’s interior illustrated the Phantom Rose in varying stages of maturity throughout the interior; via the most exquisite embroidery consisting of over one million stitches.

Earlier, in 2017, the Phantom Rose made its first appearance inside a Rolls-Royce car, as the centrepiece of a one-off commission for a Phantom’s Gallery called ‘Immortal Beauty.’

Driven by Rolls-Royce’s philosophy that true luxury is personal, “The Gallery is an innovation that furthers RollsRoyce’s unparalleled bespoke capabilities. Patrons are now invited to commission artworks for their own personal Gallery within Phantom, in essence, bringing art, within art,” explains Torsten Müller Ötvös, CEO at Rolls-Royce.

Positioned front and centre, a Phantom’s Gallery is the focal point of its interior, and the perfect stage for a bespoke work of art to be displayed. An application of protective glass runs uninterrupted across its fascia. “Clients may sometimes request the use of materials that are too delicate to be used normally in a car. So, we designed a beautiful protective layer of glass in which clients can exhibit, admire and reflect their commissions,” says Eggl.

For the Immortal Beauty commission, stems of the Phantom Rose were flown to the world-renowned Bavarian porcelain

manufacturer Nymphenburg, founded in 1747. The rose was examined, from bud to full bloom, before being hand-crafted by master craftsman Anton Hörl. The result: the finest black and white porcelain ever created by the company, depicting elaborate blossoms consisting of up to 80 individual elements.

To bring the porcelain rose to life, the experts at Nymphenburg had to innovate processes not seen in their 270year history. First, it took them three months to develop an entirely new porcelain formula with which to create porcelain as fine as rose petals. They then had to figure out how to work with white and black paste at the same time without crosscontamination. And finally, the delicate white and black porcelain had to be fired in a single process for the first time.

Eggl observed, “Our search for the quintessential English rose led us to the award-winning Harkness Roses. Here we collaboratively bred a rose worthy of its newly found immortal being. Nymphenburg and Rolls-Royce engaged in an artistic dialogue, allowing an advancement of existing methods of manufacture and shifting the limits of what’s possible.”

Immortal Beauty is part of a collection of unique creations by artists and master artisans from around the world invited

by Alex Innes, Rolls-Royce’s Bespoke Designer and Creative Lead Designer of ‘The Gallery’ Artist Commissions. Here are some of the outstanding examples it has produced.

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Thorsten Franck Digital Soul

Helen Amy Murray Whispered Muse

Thorsten Franck is a product designer from Munich. His Digital Soul commission is bespoke in the strictest sense of the word. He begins by capturing the patron’s DNA signature.

Using a proprietary algorithm, it is rendered graphically, and then 3D printed on to the largest piece of steel to feature in a production car. It takes more than one day of hand-polishing to produce a surface worthy of being plated in nearly 50g of 24-carat gold. In addition to being the owner’s signature, the glistening work interacts with the changing light to produce a ballet of light and shade as the car moves.

British artist, Helen Amy Murray, is a master sculptor of fabrics. She collaborated with Rolls-Royce Bespoke Colour and Trim Designer, Cherica Haye, to create Whispered Muse. The sculpted silk appliqué produces a serene landscape like aesthetic, but upon closer examination, a subtle draped female form appears; that of The Spirit of Ecstasy. “I wanted my Gallery commission to look soft and

organic. The subtle spacing of lines brings the draped figure into perspective,” explains Murray.

A Moment in Time was produced by Based Upon, an artists’ collective in London. “We tried to capture a moment as though the Spirit of Ecstasy’s shawl was allowed to drape over the car at high speed, capturing the moment that leaves time standing still, as the Spirit of Ecstasy trails all in her wake,” said Lex Welch, Co-founder of Based Upon. A swath of silk being pulled through a tank of water was captured on camera. Then, through an elaborate moulding and machining process, was reproduced on a solid billet of aluminium. It was then polished to accentuate the curvature of the fabric.

Astrum, meaning star or constellation, was a concept produced by Alex Innes of Rolls-Royce and Richard Fox of Fox Silver, the British Designer and Goldsmith well known to Rolls-Royce owners. A starburst of solid silver spears emanates from a centrally placed single brilliant cut diamond,

Based Upon A Moment in Time

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Richard Fox Astrum

Nature Squared Iridescent Opulence

encased in platinum. Each spear carries pear-cut amethysts at its end. The background is engraved for a guilloche effect that provides visual depth to the display. Violet de Nuit, a rich amethyst lacquer, is used to reflect and intensify the colour of the stones. The clock carries an additional guilloche design in sterling silver with the same amethyst tint.

Swiss-based Nature Squared creates beautiful things by applying technical innovation to transform ethically sourced and sustainable natural materials. For Iridescent Opulence, they chose Feathers, which exude luxury but were previously impossible to incorporate into a car. Some 3,000 tail feathers were selected for their iridescence and then hand-sewn onto an open pore fabric. Additive manufacturing was used to emulate the musculature of a natural wing to bring realism to the artwork. The clock, acting as the centrepiece, is inlaid with Jade green abalone to emphasise the lustrous texture of the feathers.

Liang Yuanwei, a highly acclaimed Chinese artist, applies paint thickly, in seemingly random strokes, that it appears almost sculpted from silk or satin. For Autumn Palette, the West Sussex countryside was her muse. “My artwork for ‘The Gallery’ is reflective of the impression that I get from the marque, having seen the human and natural environment of Rolls-Royce Motor Cars’ headquarters. I wanted to capture the atmosphere and reproduce it,” says Yuanwei.

The eighth generation of the Phantom was launched in 2017, destined to be the most luxurious car in the world with unprecedented levels of customisation options. The Phantom’s Gallery takes the concept of personalisation to a whole new level. It also elevates Rolls-Royce’s longstanding commitment to arts and crafts, exemplified by the effort and dedication that went into producing the muse of the marque - the Phantom Rose.

Liang Yuanwei Autumn Palette

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AUTOMOTIVE • IMMERSIVE LUXURY

The new 2021 Mercedes-Benz S-Class

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IMMERSIVE LUXURY Mercedes-Benz’s new S-Class is all about creating an immersive experience for the driver and the passengers

The flagship of the Mercedes-Benz brand since 1972 the S-Class - is not only the world’s best-selling luxury sedan, but the release of every new generation of the S-Class is a highly anticipated affair, as much by the brand’s loyal customers as by the industry experts.

“With the latest generation,” scheduled to arrive in the Middle East market in January 2021, “we want to offer our customers innovation, safety, comfort and quality as never before,” says Ola Källenius, Chairman of Daimler AG and Mercedes-Benz.

The list of technological innovations debuting in the new S-Class is seemingly endless, as has been the case with every new generation of the model since its inception. However, there is one that stands out above the rest - the MBUX or MercedesBenz User Experience. No other innovation in recent years has so radically changed the operation of a Mercedes-Benz as MBUX. The second generation of this learn-capable system debuts in the new S-Class.

As a result, the vehicle interior is even more digital and intelligent. Brilliant displays on up to five large screens, in part with OLED technology, make the control of vehicle and comfort functions easier. The possibilities for personalisation and intuitive operation have become far more extensive.

One of the highlights is the new 3D driver display, which presents a spatial view at the touch of a button for the first time.

The 3D effect is achieved without having to wear 3D glasses.

Instead, two different head-up displays (HUDs) are offered.

The larger HUD provides augmented reality content - such as animated turn-off arrows, or Active Distance Assist information - which are virtually and precisely projected onto the view ahead, which appears to be at the appropriate depth. The display area corresponds to a monitor with a 77-inch diagonal.

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The new 2021 Mercedes-Benz S-Class

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The voice assistant “Hey Mercedes” has become even more learn- and dialogue-capable. It can now activate online services via the Mercedes-me App, explain vehicle functions and answer general knowledge questions. In the new S-Class, it can also be controlled from the rear.

Using cameras in the overhead control panel and learning algorithms, MBUX Interior Assist recognises and anticipates the wishes and intentions of the occupants. It does this by interpreting head direction, hand movements and body language, and responds with corresponding vehicle functions.

It can also notify the driver if, for example, a child seat on the front passenger seat is not fastened by the seat belt before the journey begins.

Using WLAN and sensors, the MBUX Smart Home enables the new S-Class to remotely monitor and control home automation functions such as the temperature, lighting, electrical appliances, motion detectors, window contact sensors and many more.

The interior of the new S-Class is designed to be “a refuge between the home and workplace” by way of the Energizing Comfort programmes. At the touch of a button or by voice command, it combines different comfort systems into a holistic experience which includes a suitable atmosphere in the interior.

This employs innovations such as a massage based on vibrating motors in the seat cushion and resonance transmission by the Burmester high-end 4D surround sound system. This makes bass tones feelable. Direct reproduction of the sound resonance in the seats adds another level to the three-dimensional listening experience – 4D sound inspired by the acoustic massage. The

perceived intensity of the sound can be individually adjusted for each seat. The music becomes even more emotional thanks to this feelable component. Two exciters are integrated into the backrest of each seat for this purpose. The Energising Coach even suggests an appropriate vitalisation or wellness programme based on vehicle and trip data. It also factors the information about sleep quality and stress level into its intelligent algorithm.

The holistic approach also inspired the sculptured look of the dashboard, centre console, and armrests, which appears to float above an expansive interior landscape. The systematic reduction in the number of controls underscores the minimalist appearance of the interior. A subtle divide between the upper section of the dashboard and the large trim element structures the area and creates horizontal breadth.

On the performance front, the new S-Class comes with an optional E-Active Body Control suspension that not only offers a synthesis of comfort and agility but also provides additional protection in the event of a lateral collision. The Airmatic air suspension with continuously adjustable damping ADS+ is standard equipment. The optional rear-axle steering, with a steering angle of up to 10°, reduces the turning circle by 1.9 metres, to less than 10.9 metres. That’s comparable to a compact car.

The new S-Class will be launched with the six-cylinder in-line petrol engines in various output classes. A V8 engine with an integrated starter-generator (ISG) and 48-volt onboard electrical system will be available soon after.

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ART & DESIGN • PREMIUM WOODCRAFT

Lobby of Giorgetti Houston, the brand’s first branded real estate project in Houston, Texas

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PREMIUM WOODCRAFT Giorgetti’s furnishings and accessories traverse the boundaries between art and function

Meda is a city in the Lombardy region of northern Italy, about thirty kilometres north of Milan. The city gets its name from a nearby 8th-century convent which in the past hosted aristocrats and royalty - including Henry VI and Emperor Maximilian. These royal patronages created a demand for quality furniture, which led to the local farmers to take up carpentry. By the late 1800s, Meda was renowned throughout Europe for its high-quality woodcraft. It attracted the best masters from the art schools of Paris, Venice and Milan, and had its own municipal design and carving school.

It is in this Meda that Luigi Giorgetti opened a furniture shop with about eight workers, and then – in 1898 – the first Giorgetti factory. The business - primarily manufacturing semi-finished products - grew rapidly, both in sales and reputation.

In the 1920s, it began exporting to the US market. By 1960, finished products began to be produced and exported.

The second half of the last century was characterized by the launch of Giorgetti’s renowned collections and sub-brands - starting with the Gazebo and Gallery collections. The Matrix sub-brand is characterized by highly innovative designs by guest designers. The Dry collection is handmade using interlocking pieces and without glue. Progetti is an iconic series of armchairs and sofas with a unique handle in Pau Ferro wood.

In the 1990s, Giorgetti began to collaborate with architects, city planners, intellectuals and others who had never designed furniture before. This was part of a deliberate shift towards placing greater emphasis on design and art. It also began organizing its “Exhibitions,” a series of institutional and cultural programmes built around specific themes, including “Giorgetti Centenary 1898-1998.” These exhibitions travel throughout Italy and abroad and are hosted in cultural centres and by sales partners.

This decade began with the launch of Giorgetti Atelier - elaborate showrooms that reproduce an elegant domestic setting featuring the brand’s products. The first one opened in Milan in 2011, and was followed by six others in Antwerp, Mumbai, Singapore, Jakarta, Rome and Guangzhou.

The last four years saw the launch of GK kitchen - Giorgetti’s first kitchen line; the Atmosphere collection of furnishing accessories; Open-air - the first outdoor collection. In 2018, Giorgetti acquired Battaglia Interior Contractors to improve its effectiveness in delivering turnkey solutions for complex, bespoke, and largescale designs.

Throughout its history, and across all product lines, Giorgetti has stayed true to its “Made and Manufactured in Italy” ethos. From design to actual production, the entire process is made in Italy by highly skilled personnel. Each product is designed to be functional and made of long-lasting quality materials. Innovative, eco-friendly and efficient technologies are prioritized where automation is involved.

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Model unit at Giorgetti Houston

Machinery is used in the production process where the wood can be shaped and cut with a higher degree of precision. During machining, the raw materials are subjected to stringent quality and performance tests at every step. Those that pass are handworked and finished by Giorgetti’s artisans. Each finished product undergoes performance tests and comparison test against the original design. Apparent irregularities – such as differences in colour, structure, size and the specific materials used – are not to be considered defects, but rather peculiarities that make the product unique and special.

This May, Giorgetti began a new chapter in the company’s long history with the opening of Giorgetti Houston - its first branded real estate project in Houston, Texas. Ready for occupation, the 32-unit premium residential building is located in one of Houston’s most coveted area – the Upper Kirby District.

The building’s lobby not only sets the mood for anyone arriving but is also a gallery for Giorgetti’s refined, sober and contemporary aesthetics. The wooden floors and furnishings of the hall reveal the exceptional quality and craftsmanship. The Godron wall covering creates a highly decorative pattern thanks to a composition of triangular and rhomboid elements.

The building’s 32 apartments - two and three-bedroom - are spread over seven floors. Each flat is customized in its layouts, finishing and furnishing by Giorgetti. They are also equipped with wiring for audio systems, safety devices and air conditioning.

The interior is dominated by a combination of wood and textile coverings. The colouring takes its cue from the light or deep tones of the fine fibres. Great attention is also given to details: wood and leather alternate with metal elements, glass and mirrors.

Each apartment has Listone Giordano hardwood flooring for the living spaces. Kitchens feature Macroer cabinetry

by Giorgetti, quartz countertops and Gaggenau appliances, including a 36” built-in two-door refrigerator. Bathrooms have quartz countertops, porcelain tiles and frameless glass shower enclosures. Each apartment has ample outdoor living space with 30” DCS Gas grill, ceiling fan and Elkay Plumbing. Some even have outdoor fireplaces.

The common area amenities offered by the building include richly landscaped grounds, a fitness centre with weights, weight machines and cardio equipment, a resistance pool and a coldwater plunge pool, garages and 24-hour reception service.

Outside is Upper Kirby, a lively and elegant neighbourhood. It boasts fine-dine restaurants, art galleries, luxury boutiques and Levy Park - a meeting place and a hub for cultural events - all within walking distance.

To mark its 120th anniversary in 2018, Giorgetti published “Object to Project -- Giorgetti Design Since 1898” - an exquisite volume curated by Francesca Molteni and Cristiana Colli. Interweaving erudite reflections and emotive images, it illustrates the history of the brand and its “Made in Italy” style. Rather than being an introspective look at the company, the narrative offers the observations and recollections from a wide range of observers; from the founder and employees to designers and writer, the director Fondazione Pirelli Antonio Calabrò, and the architectural historian Fulvio Irace. It’s a book that also reveals the processes and products, the iconic pieces and behind-the-scenes secrets of the company from Meda.

Giorgetti is one of those rare companies that has been at the forefront of their chosen crafts for a very long time. The secret to their success has been their constant commitment to traditional craftsmanship, technological innovation and bold, distinctive designs.

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OBJECTS OF DESIRE

BEOPLAY E8 SPORT

BY BANG & OLUFSEN Beoplay E8 Sport features the B&O’s signature anodised aluminium ring, along with thoughtful design details such as a ridged grip for adjustments with damp fingers. Switching between tracks, taking calls and activating Transparency Mode can be done with a simple tap or swipe of the finger.

Its IP57 certification means protection from dust, sweat and water intrusion of up to 1 meter for 30

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minutes. It has Bluetooth 5.1, AAC and aptX codecs for connectivity and sound reproduction on all iOS and Android devices.

Beoplay E8 Sport comes complete with a premium wireless charging case, five ear tips, three ear fins and a USB-C charging cable. The case is made from B&O’s signature material - strong and corrosion-resistant anodised aluminium.

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ESPRESSO VELOCE RS BLACK EDITION

BY SUPER VELOCE Espresso Veloce’s newest addition to their family of mechanical masterpieces pays tribute to the last modern classic Porsche 993 air-cooled flat-six engines that were raced competitively. It is a more aggressive, more masculine and all-black version that is handcrafted from the finest aerospace-grade material such as surgical stainless steel, aluminium alloy, titanium, and carbon fibre. Distinguishing features include a sizeable top-mounted cooling fan, detailed faux cylinder heads, and six vertical “throttle bodies.” It weighs 21.5 kilograms with dimensions: Length 380 mm x Width 420 mm x Height 340 mm. The 993 Units will be manufactured globally for Porsche enthusiasts and coffee connoisseurs.

LUXURY SCRABBLE

BY GEOFFREY PARKER

WATCH TRUNK T64 - SANTOS

BY T.T. TRUNKS

The “Inlayed” board is hand inlaid and embossed with the Scrabble values in silver. Separating each playing square is a fixed chrome metal grid. This keeps the letters stable when spun on the integral Lasy Susan turntable which is built into the underside of the plinth. Each Scrabble letter is made up of printed cowhide with traditional English Bridle hide in the centre for strength. It is bound by hand in Dauphin calf leather. The “Printed” board is printed onto a cowhide in any colour. This board is then inlaid into a leather frame and placed atop a handbound tray which contains all of the gaming components.

A case for the collectors of exquisite timepieces in a simple yet elegant layout. It has three winders for automatic watches at the top, followed by three levels of storage drawers for watches, and one for 16 pairs of cufflinks. It also has secret compartments to add a layer of mystery. External materials feature Santos cowhide leather cover, polished nickel-plated brass jewellery pieces and polished brass base.

Interior features Dinamica Stone Gray and Chocolate microfiber upholstery and padding.

Dimensions: L46 x H51 x D27 cm.

THE FIFTH ELEMENT

BY MB&F + L’ÉPÉE 1839 L’Epée 1839, the premier Swiss watch and clockmaker, has mastered the precision manufacturing of intricate curves and circles within circles that make up the large structure of the Fifth Element - an analogue weather station comprising four elements: clock, barometer, hygrometer, and thermometer. Each element is a selfcontained module that is completely detachable from the “mother ship” or interchangeable within it.

Ross, the alien pilot rotates around the mother ship’s cockpit, as he sits on the Fifth Element’s manuallywound, air-regulated movement.

Over 500 individual components form the mother ship and its interchangeable elements; more than many grand complications.

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L A D O L C E V I TA • T H E A R T O F C O F F E E

THE ART OF COFFEE We bring you a series of our favourite blends from the masters of coffee, Nespresso, and take a deep look into what makes each one so special

Ispirazione Firenze Arpeggio Firenze, or Florence, is the geographical, integral and cultural heart of Italy. It is the birthplace of the Renaissance, which marked the resurgence of classical values in art and society. Its dialect gave birth to the modern Italian language through the works of literary giants such as Dante, Petrarch and Machiavelli. Lying at the crossroads between the north and the south of the country, the Florentine coffee is a blend of influences from different regions. The city’s historic cafes, some dating from the early 1700s, are landmarks in their own right, frequented by locals and tourists alike. Caffè Rivoire, the chocolate maker to the royal house of Savoy, was established in 1872. Caffè Gilli, a belle époque gem that has been serving

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guests since 1733, is the oldest in the city. Caffè Concerto Paszkowski, established in 1846, is a national monument and the meet-and-greet hub during the Pitti Fashion weeks.

Ispirazione Firenze Arpeggio’s roasting style replicated the city’s preference for the middle-of-the-road approach by combining light, fruity notes traditionally found in the North of Italy with the dark, cocoa notes from the south. It is a blend of Latin American Arabicas centred around a malty Costa Rican Arabica. An intense roast of the coffee beans develops the distinct characteristics of each of coffees. As a result, the espresso is dense and creamy with a malty aroma that gives way to the cocoa notes. The crema has a creamy, velvety texture.

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Ispirazione Palermo Kazaar Palermo - a nearly 3,000 years old city, and the capital of the autonomous island-province of Sicily - has played an important role in the socio-political events of the region. A bridge between Africa and Europe, the island has been ruled by Rome, Byzantine, Arabs and Spain. Its heritage is multicultural.

Its choice of coffee is rustic, strong, spicy and Robusta-heavy.

Ispirazione Palermo Kazaar is curated to capture the island’s preference for a dark coffee with African and Arabian influences.

It is intensely roasted - typical of the south - with a wild and spicy character – a signature of the island. Palermo Kazaar’s intensity comes from blending four bold yet distinct coffees: two types of unwashed Robustas, a washed Robusta and a washed Latin

American Arabica. The washed Robusta is “a rare find” that adds a clean taste, creamy texture and an elegant touch of robustness to the blend. The washed Latin American Arabica lends a natural sweetness. The growers of the washed Robusta and Arabica process them with special care to ensure premium results.

The coffees in this blend are split roasted to bring out each of their distinct qualities. The washed Arabica and Robusta get an intense roast. This develops the bitterness, body, and peppery notes of the Robusta, and the sweetness of the Arabica. The two unwashed Robustas get a shorter and lighter roast to bring out some of their finer aromatic notes. The espresso that results has a thick, syrupy body.

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

LOVE FOR IMPERFECTIONS Max Poglia has grown to become a highly respected and in-demand designer of imperfect things

Max Poglia at his workshop in New York

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Max Poglia is a designer who has managed to carve out a niche for himself. His handcrafted products are of such a high quality that his customers, distinguished in their own right, are willing to wait for up to three months or more to get their hands on one of them. They are willing to wait because, according to Max, they “value the craftsmanship” and “the story” behind each piece.

Offered under the Poglia brand, Max handcrafts knives, vegetabletanned leather bags, loom-woven blankets and accessories such as corkscrews, bottle openers and candles, among others. In addition to his own designs, Max entertains

bespoke commissions for discerning clients, which sometimes comprise entire sets for restaurants or homes.

Born and raised in Southern Brazil with Italian heritage, Max’s creations have an intentional focus on his heritage, and to simpler times. It all began soon after Max and his wife, model Cecilia Timm, moved from Milan to New York in 2008. He had earned a degree in advertising and was searching for a suitable position.

While on vacation in his native region of Southern Brazil, he decided to design the “perfect” picnic accessories - a bag to carry the meal, a blanket to spread on the grass, and a knife. Max credits his know-how to his

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grandfather, who owned a hardware store for more than 50 years. Among Max’s proud possessions are the knives his grandfather made for his store’s 35th anniversary. Back in New York, when Max presented his picnic-themed set to friends, the word got around, and he started receiving requests.

Every piece created by Max is unique.

They embody his love for “imperfect beauty,” and are based on his principle of “ethics and aesthetics.”

Max does not draw inspiration from what’s popular but by letting his mind and hands wander over a sheet of paper.

He brings his designs to life based on whatever material is available at hand.

Any imperfections are not brushed over

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Poglia Handcrafted knives (Image Courtesy: Tomo Hatano) 116

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Poglia Signature Bag and Hat

but highlighted. If a blade breaks, rather than being discarded, it is turned into a pocketknife. The idea behind Max’s imperfect beauty is to keep things as simple and organic as possible.

This leads naturally to Max’s principle of ethics and aesthetics. He uses only recycled or organic materials sourced from local farms in the South of Brazil. Steel reclaimed from abandoned agricultural tools like plough disks is Max’s primary source of old carbon steel. This material offers better strength, durability and a unique blade finish that is impossible to replicate. For the knife handles and other decorative elements, Max uses reclaimed Brazilian hickory wood as well as the horn and bone from buffaloes and cows reared in the traditional Gaucho farms.

Each knife is handcrafted in Brazil.

The knife blade is cut and forged from the reclaimed steel by a second-

Max Poglia, Founder and Designer, Poglia

generation master blacksmith. It is then worked on by a small team of local artisans. Max oversees the entire process before applying the final finishing touches himself in his workshop in New York.

Poglia bags are handmade by a family-owned workshop in the South of Brazil. Each bag is made with onehalf of a vegetable tanned cow-hide leather. That means fewer seams and improved overall durability. The leather is designed to develop its unique patina and finish as it ages. However, this process can be expedited if required through a signature weather-ageing process.

Poglia’s vegetable-tanned leather is certified by LWG GOLD, which assesses the environmental compliance of leather manufacturers and promotes sustainable environmental practices.

As with the other Poglia products, all original markings and natural

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imperfections in the leather are preserved to highlight its uniqueness and integrity. Any leftover leather scraps are used to make leather sheaths for the Poglia knives or small accessories with near-zero waste.

Max primarily sells his products through online channels. He unveiled his first collection under the Poglia brand at Buvette, the acclaimed restaurant with locations in New York and Paris. He also designed the restaurant’s visual identity in collaboration with its founder and Chef Jody Williams. In 2013, Max produced a Poglia collection exclusively for the two restaurants of BedfordPost, a charming inn owned

by Richard Gere. Max has since collaborated with Clos19 of the LVMH Group, Barneys New York, and The Explorers Club, along with accruing high-praise from critics.

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DOUBLE MOON TRIPLETS IWC Schaffhausen, Solaris and Orlebar Brown collaborate to offer a complete lifestyle package

The Swiss luxury watch manufacturer IWC Schaffhausen, the Venetian yacht builder Solaris, and the British resort-wear and lifestyle brand Orlebar Brown have announced an exceptional three-way lifestyle collaboration built around a customised Solaris 55 sailing yacht.

Elaborating on how the three components of the collaboration complement each other, Christoph GraingerHerr CEO, IWC Schaffhausen told us: “At the heart of our nautical universe is the “Double Moon”, a customised version of a Solaris 55 racer/cruiser. We carefully adapted the yacht to some of the design codes found in our new Portugieser collection. Because the yacht would not be complete without a well-dressed skipper, we are also launching the Portugieser Yacht Club Chronograph Edition “Orlebar Brown”, together with a 9-piece collection of matching resort wear. The yacht, the chronograph and the fashion collection all breathe a crisp, modern and casual summer seaside atmosphere, and they catapult you right to the holiday destination of your dreams.”

The choice of a nautical theme for the collaboration was determined by “The history of the Portugieser,” according to Christoph; which “is deeply rooted in seafaring and navigation. The first Portugieser from the late 1930s was inspired by deck observation watches, nautical precision instruments used for navigation on ships. We wanted to emphasize this maritime heritage by creating a contemporary universe of sailing, conveying a fresh and modern style that speaks to our customers.”

The Solaris 55 is a 55-foot long sailing yacht optimised for performance sailing with a small crew, while also offering “maximum comfort” for extended cruising. It has been adapted to the design codes of the new IWC Portugieser collection. The yacht’s name, “Double Moon”, is reminiscent

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The Solaris 55 Sailing Yacht

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The IWC Portugieser Yacht Club Chronograph Edition ‘Orlebar Brown’

of the unique moon-phase display of IWC’s legendary perpetual calendar. Presented for the first time in 2003 in the Portugieser Perpetual Calendar (Ref. 5201), it depicts the phase of the moon as seen in both the northern and southern hemispheres.

“For this special project, we worked side by side with Christian Knoop - creative director of IWC, and his team,” Fabrizio de Falco, Product Manager, Solaris Yachts told us. “They often came to the yard to analyse with our production team every detail and every building process. We are very satisfied with the result! In this Solaris IWC 55’ edition, you will find the perfect combination between performance, innovation and design. The traditional manufacture of the hull, the quality and finish of the interiors joinery are all very distinctive features of Solaris.”

Christian Knoop, a long-time sailor himself, added: “The Solaris 55 is an elegant and modern sailing yacht with sleek lines, sport-inspired features and high-quality furnishings. It perfectly matches the nautical universe of the Portugieser.”

The Solaris 55 “Double Moon” has a dark blue and white colour palette and details in polished chrome. The hull, mast, boom and deck superstructure are mostly dark blue and white.

Inside, the main bulkhead, the bulkhead at the stairway, and the window area are clad in black.

Orlebar Brown has furnished the cabin with colourcoordinated textiles such as seat cushions and towels. The saloon table features an integrated glass display watch box.

The rudder and the handrails at the stairs are covered with braided blue leather, inspired by the calf leather used for IWC’s Boutique Edition watch straps.

Cleats, winches and other details in polished chrome link to the finished metal cases of the Portugieser watches. The navigation area under deck prominently features four luxuryfinished instruments - a clock, a barometer, a hygrometer and a thermometer - also in the IWC Portugieser style. These instruments have been available as an accessory on Solaris yachts since the announcement of the partnership earlier this year.

Detailing the merits of the timepiece in the triumvirate, Christoph told us: “The Portugieser Yacht Club Chronograph Edition ‘Orlebar Brown’ is a rugged and water-tight nautical chronograph, which feels equally at home on the deck of a yacht and dry land. It has a yachting-inspired colour scheme with its polished stainless-steel case and its dark blue lacquered dial with white and red printed details. The watch is fitted with a blue rubber strap with a top textile layer that features the same pattern as the ropes that you typically will see on the deck of a sailing yacht. We also developed a unique buckle, which takes inspiration from the iconic side-fastener of Orlebar Brown’s signature swim shorts.”

The nautical chronograph (Ref. IW390704) has an elegantly-proportioned case that is water-resistant up to

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White towelling blazer with blue trim from the Orlebar Brown x IWC Capsule Collection

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Orlebar Brown x IWC Capsule Collection

6 bar. It houses the IWC-manufactured calibre 89361 with flyback function. It displays the measured hours and minutes together on a subdial at 12 o’clock and has a power reserve of 68 hours. The co-branded side-fastener buckle, featuring white and red colour accents, are often used in Orlebar Brown’s product range.

The nine-piece capsule collection by Orlebar Brown includes a white towelling blazer with blue piping and a cotton or silk knitted polo. The signature piece of the collection is a photographic swim short depicting a Solaris 55 sailing yacht in front of Porto Rotondo in Sardinia.

“The inspiration given to us for the IWC Portugieser watch was very clear,” said Orlebar Brown, the founder and Creative Director of the British resort-wear and lifestyle brand. “The watch is called the Yacht Club, so we had to think about the spirit of adventure and expiration that is intrinsic to IWC. The man who would be wearing the Portugieser watch really helped us imagine what the Orlebar Brown collection would look like, whether it was our hero fabrics, such as the towelling, linen or jersey. The palette was white, and the big blue sea or big blue sky just gave us a very clear starting point from which to design the collection.”

Pointing to some of the highlights of the collection and the brand’s offerings, Orlebar added: “There are two highlights for me. One is the white towelling blazer with the blue trim,

but also the swim shorts. Swim shorts are integral to Orlebar Brown. The swim short is what we started with in 2007, and there are over 60 elements that go into making these shorts, they have the side fastener to adjust, they have a very much tailored approach and are based on a traditional pattern of a man’s pair of trousers. All carry a five-year guarantee. We genuinely believe that they are the original and best swim shorts for men.”

He added: “Using photography on our shorts is something we have been doing for many years now and it’s a great way for us to do our storytelling, and with the IWC collection, this was no different. Using an image of the Solaris yacht on the big open seas really summed up the mood of the collection and gives the customers a really clear way of seeing the environment the collection should be worn in.”

The “Orlebar Brown x IWC Capsule Collection” is available online through the brand’s website. The Portugieser Yacht Club Chronograph Edition “Orlebar Brown” is available at IWC boutiques and from authorised retailers.

As for the yacht, Fabrizio informed us: “After the launch of the project, we have had many requests to see and try the yacht from our best clients from all nationalities. We are scheduling meetings and sea trials these days.” He went on to conclude: “We at Solaris really hope that this is the beginning of a great story together.”

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AMONG GORILLAS AND MISTS Gorilla’s Nest by One&Only, Kerzner International’s latest property in Rwanda, is an exceptional jungle retreat

Mountain gorillas, the majestic and awe-inspiring creatures that turned Dian Fossey from a primatologist into a pioneer of the modern conservation movement, are mostly found in the lush and oft-mist covered Virunga Mountains, a range of extinct volcanoes deep in the heart of Africa. Rwanda’s portion of the range, along with its ecology and its priced gorillas are preserved by the Volcanoes National Park - home to the highest number of Mountain gorillas. Dominated by five dormant volcanoes, the park is categorized as a rainforest because of its montane ecosystem.

Just five minutes’ drive from Volcanoes and two and a half hours from Kigali International Airport is Gorilla’s Nest, One&Only’s second resort in Rwanda, after Nyungwe House.

The resort was officially inaugurated by Paul Kagame, the President of Rwanda this February.

His Excellency Mohammed I. Al Shaibani, Executive Director and CEO of Investment Corporation of Dubai (ICD) and Chairman of Kerzner International, said following the inauguration: “Rwanda is now regarded as one of the safest countries in the world, progressive--with a clear and positive vision for sustainability, conservation and protection of our sacred wildlife including the magnificent mountain gorilla.”

Michael Wale, CEO of Kerzner International - the Dubai based Holding company that owns the One&Only and Atlantis hospitality brands - added: “Our ambition is to become a part of the soul of any destination we enter. We are thrilled to be introducing our second One&Only in Rwanda. The One&Only Team, led by Craig Storkey, Area Manager, have been providing something completely complementary for our discerning guests to discover at One&Only Gorilla’s Nest and One&Only Nyungwe House, delivered with our renowned personalized experience.

Rwanda is the perfect location for One&Only, and we are

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proud to be a part of the destination, working together with the Rwandan Government to ensure the long-term sustainability of the experience.”

The resort is a beautifully designed private sanctuary that seamlessly blends into the mountain garden that nurtures it. As one arrives, one is first greeted by the panoramic views of the Virunga range, and one is enchanted by the fragrant flora of the resort; where roses bushes and eucalyptus trees grow all year round. Not only does the plant-life contribute to everything from your welcome drink to your dinner and the logs burning on the fire – every plant and tree is chosen to encourage flourishing wildlife. The idea is to create an ecosystem that is constantly growing.

The resort’s accommodation comprises a collection of 21 jungle-chic havens. Ten of them are Forest King Lodges, four Two-Bedroom Forest Lodges, five Virunga Suites, one Ingagi Suite and one Silverback Suite. Surrounded by Eucalyptus trees, these individual free-standing lodges and suites are designed to frame nature. Strategically positioned on stilts, they sit suspended over sprawling gardens at eye level with the tall eucalyptus trees and the mountain views.

The decor is modern with a contemporary African feel, showcasing the colours of the earth, timber and the local volcanic rock; all enhanced by Rwandan Imigongo inspired patterns and artefacts. Private decks, floor-to-ceiling windows, in-room fireplaces, binoculars, and a library of books, all invite guests to immerse themselves into the distinctly African surroundings. The two suites offer spacious living and dining areas, as well as a natural experience with outdoor bathtubs high amongst the trees, while offering the ultimate privacy.

Nest is the resort’s main restaurant, offering both indoor and outdoor dining, as well as a private dining area for up to

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Gorilla’s Nest by One&Only

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22 guests. Executive Chef Bryan English and his team focus on local and organic ingredients, making use of the abundant produce from local farmers as well as his own Chef’s Garden.

Similar to Nyungwe House, the culinary team develop new menus daily with a focus on Rwandan and African influences, based on guests’ preferences and dietary needs. Private outdoor dining experiences, barbeques and picnics are also an option for guests, as well as at the Pool Bar throughout the day.

The resort’s spa is presented in partnership with the South African brand Terres d’Afrique. Guests are offered holistic treatments using African plant-based ingredients at two treatment suites in a private building. Guests have the opportunity to select treatments tailored to a specific area of the body. Three signature treatments, only found at Gorilla’s Nest, pay homage to the location, taking inspiration from the local community and surroundings. Guests have access to Club One, offering a relaxation room, an open-air heated pool and plunge pool. The resort also has a Fitness Centre with steam room and sauna, and the Pool Bar offering healthy options with fruit juices evolving into evening cocktails.

Given the location of the resort, it should come as no surprise that a wide range of activities are offered to the guests; from on-resort activities to those in the surrounding countryside and villages, and within the national park - a protected home for not just the mountain gorillas but also the golden monkeys and over 300 bird species.

The activities are managed by the resort’s Experience Centre, where each itinerary is tailor-made based on guests’ preferences and physical abilities by the centre’s “Experience Team.”

Activities that guests can enjoy on-campus include Coffee Tasting with the resort’s barista and local coffee expert.

Musanze, also in the Kinigi region where the resort is located, is a well-known coffee farming area in Rwanda and guests will get the opportunity to taste a variety of coffee beans sourced from a female-run cooperative coffee farm. Guests can also enjoy yoga on one of the outdoor decks overlooking the wild vistas, learn photography at the Studio, immerse themselves in the colourful, fragrant rose garden of the resort, or lose themselves at the outdoor movie screenings under the stars.

Beyond the resort, guests can cycle to a nearby community where they can learn about the Rwandan culture and history, the art of basket weaving and enjoy the traditional dance and music performances to name a few. There are trails for early morning runs or nature walks. For the more adventurous, there is the signature gorilla trek, hiking to spot golden monkeys through the jungle canopy, birdwatching, or traversing the ancient Mount Bisoke in a challenging 8-hour hike.

Tourism activities across Rwanda resumed in June, and its airports reopened for scheduled commercial flights in August 2020. As of September, the country had opened itself for international travel; however, all arrivals must have a negative COVID-19 (SARS-CoV 2) certificate.

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A HOMAGE TO AMSTERDAM’S CRAFTSMANSHIP Hotel The Craftsmen, the latest incarnation of a 1652 heritage property, is all about the city’s crafts

A landmark 17th century building on one of Amsterdam’s oldest canals, last year, reopened its doors as Hotel The Craftsmen. After what was a year of extensive renovations, the luxury boutique hotel offers a unique design based on its rich history and craftsmanship.

The Craftsmen is spread over three historical canal houses at the Singel, which are together listed as a national monument dating from 1652. Roelof Swaen, deputy to legendary Dutch sea admiral Michiel de Ruyter, constructed the oldest of the three buildings in 1652. His ‘Huis de Swaen’ (The Swan) was initially a ferry house but was turned into a hotel in the nineteenth century.

An original stone plaque on the sidewall of the building, shows a swan, referring to its historical name.

In 1917, an Amsterdam local by the name Brouwer bought Huis de Swaen and opened his hotel, aptly called Hotel Brouwer. Exactly 100 years later, the Brouwer heirs sold it to the current owners, the Zandbergen family. The latter took on the challenging task of turning the national monument into a luxurious boutique hotel.

During the extensive redesign, the original 17th-century architecture had to remain intact in accordance with the requirements of Amsterdam’s monument care. As a result, authentic elements were either preserved or meticulously restored. Any new design elements had to respect the distinct historical character and charm of the property.

For instance, it was stipulated that in some places within the hotel, the original features or elements had to be brought

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back. These can now be admired by guests staying at the hotel, including authentic bedsteads, a so-called ‘Keulse goot’ (a 17thcentury indoor gutter) and Delft Blue tiles. The rich history is also reflected in the monumental staircase, the exposed beams and eaves, the original wooden floors and in the intimate and narrow hallways.

Michelle Zandbergen, daughter of the Zandbergen family and the one responsible for the day-to-day operation of the hotel, said: “Amsterdam has a wonderful history of craftsmanship, we want to bring that cultural heritage to life by not only creating a beautiful hotel, but also by letting the guests touch and feel the craftsmanship that is behind it. To achieve that we have combined the raw, authentic crafts that define this city with a modern, luxury boutique experience.”

The Zandbergen family turned to artist Stef van de Bijl, to reimagine the hotel. He brought in more local craftsmen such as illustrator Aart Taminiau and steel designer Joram Barbiers.

With their collective expertise and craftsmanship, they have given antiques and curiosa, a contemporary and practical function within the hotel. Period delft blue tiles, bedsteads, monumental floors and the original staircase pair perfectly with beautiful antiques, vintage finds, modern materials and clever reuse of craft related items that the designers introduced to offer the comfort of today.

Amongst the unique elements are an old canoe serving as a ceiling lamp, a wardrobe made with the emergency exit door of a Fokker F28 jet airliner, and reclaimed aluminium shoe-

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The Boat Builder Signature Room

Hotel The Craftsmen Old piano keys turned into a unique desk at The Tiny Instrument Maker

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stretchers from the 1940’s getting a second chance in life as wall mounted reading lights. Every corner, nook and cranny offers another design surprise.

The hotel offers fourteen distinct and well-appointed rooms.

Each room’s design represents a local craft, and they are, therefore, named after prominent craftsmen - such as the Boat Builders Signature Suite, The Instrument Makers Single Room and the Bike Builders Deluxe Double Room.

Twelve of the fourteen hotel rooms boast impressive views of the Amsterdam canals. The other two are located at the back of the hotel and overlook the vibrant Lijnbaanssteeg alley. The rooms offer exquisite baths, Dyson hairdryers, comfortable beds and carefully selected amenities.

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The breakfast, served in the art-filled gallery overlooking the canal, offers an extensive selection of freshly baked bread and pastries. Guests can further enjoy fresh cold cut fruits, fresh juices, teas and any coffee they like. They can also order eggs in any style or try warm Dutch traditional Poffertjes.

These are “Dutch pancakes” that are fast becoming a favourite among the guests.

The Zandbergen family has hand-picked receptionists, concierge and other staff to offer a personalised experience for their guests. The hotel’s ambassadors are the core of this experience, from hosting breakfast to providing tips and tailored recommendations for selective adventures in Amsterdam, the ambassadors are at the guests’ service.

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