Signe - Edition 22 by Signé

S I G N É

THE NEAPOLITAN KING

LUCA RUBINACCI SHARES HIS THOUGHTS OVER A VERY CANDID CON VERSATION WITH SIGNÉ

BOOTMAKERS STORY

THE PATINATED HISTORY OF ONE OF THE MOST CELEBR ATED BOOTMAKERS OF OUR TIME

THE NEW ICON

RE-IMAGINE THE RELATIONSHIP BETWEEN FORM AND FUNCTION WITH THE ALL NEW DB11

THE LEGENDARY BARTER

We recount the most decorous real estate agreement in New Yorks history. One that paved the way for Cartier’s most iconic store on the planet

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CONTENTS

Savoir faire 026 EMBODYING MASCULINITY Master perfumer Christophe raynaud discusses his latest masterpiece, the masculine Roberto Cavali’s Uomo

030 SETTING THE SCENE Hala Khayat, Head of Sales for Christie’s reveals what goes on behind the scenes of curating an auction

Scholars

Sprezzatura

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OFF THE CUFFS The unparalleled interpreter of the mood of the moment, Karl Lagerfeld has always walked the unconventional path to success

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PECULIAR CREATIONS

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Cedes Milano crafts some of the finest products from naturally available classic materials, transforming nature into modern classics

DRIVE INSPIRED Designed for the sophisticated customer, the Giorgio Armani for Bugatti capsule collection can be best described as Dynamic and timeless

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THE NEAPOLITAN KING

THE ENHANCED BESPOKE EXPERIENCE

Luca Rubinacci, The undisputed king of Italian bespoke tailoring shares his thoughts over a very candid conversation with Signé

Ascots and Chapels propose a shirt for life with the launch of their latest ‘Enhanced Shirt Experience’ service

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ESSENTIALS Italian fashion label Bottega Veneta bottles the breath-taking landscape of Italy in a striking new line of fragrances called Parco Palladiano

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RACING IN STYLE. WORLD SPONSOR AND OFFICIAL TIMEKEEPER SINCE 1988.

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MILLE MIGLIA

CONTENTS

For Her 056 CANVAS OF LIFE A non conformist by nature, Sheikha Lulu al Sabah walks the unconventional path towards merging the political and art sphere

Obsession

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Philanthropy

THE LEGENDARY BARTER

CREAM OF THE CROP Chanel reinstates its progressive outlook on fashion with a high jewellery collection where each piece is a work of art inspired by wheat

The sensational story of what definitely is the most decorous real estate agreements in New Yorks history

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THE SMOKING HOT TUXEDO With its infamous debut in 1966, the Le Smoking by Yves Saint Laurent pioneered the movement of dressing women in masculine styles

THE SOCIAL STITCH Ermenegildo Zegna participates in the restoration of the rural landscape of the Punta Meso to its original beauty

THE BESPOKE BOOM

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The british bootmaker John Lobb extends its line of customised offering for clients by introducing a never seen before range of bepoke sneakers

Omega celebrates the successful completion of the first round-the-world flight through the launch of a limited edition Solar Impulse watch

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FLIGHT INTO FUTURE

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Pioneering since 1906. For the pioneer in you. Inspired by the beginning of modern sea travelling, the Montblanc 4810 Chronograph Automatic embodies the precision of fine Swiss watchmaking and artisanal refinement with the iconic exploding star. Discover the full story at montblanc.com/pioneering. Crafted for New Heights.

CONTENTS

La dolce vita

Heritage 092 We step back into time and recount the patinated history of one of the most celebrated bootmakers of our time

BAREFOOT LUXURY REDEFINED

Aston Martin re-imagines the historic relationship between form and function with the introduction of the all new DB11

Stretching over Nine hectares of pristine landscape, The St.Regis Maldives Vommuli is set to be the largest over water villas in the Maldives.

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102 SWATCH TO THE RESCUE Horlogical powerhouse Swatch Group moves forward on their path towards Swiss domination of the global watch industry

THE MIDAS TOUCH

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After the dynamic success of El Sur and Pret-To-Go, Kunal Lahori launches his third ambitious project Bazxar, an exciting ‘foodmarket-restaurant-wine-bar’ concept

From dining to shopping, Signé selects a few newly opened outlets for you to discover this month

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THE NEW ICON

BOOTMAKERS STORY

Haute Société

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NEW IN TOWN

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FIRST MOVERS WILL ALWAYS CHANGE THE WORLD. BUT WHICH ONE? >> Discover our approach at juliusbaer.com/visionary-thinking

Julius Baer is the leading Swiss private banking group and present in some 50 locations worldwide. From Dubai, Frankfurt, Geneva, Guernsey, Hong Kong, London, Lugano, Monaco, Montevideo, Moscow, Nassau, Singapore to Zurich (head office).

SCHOLARS

OFF THE CUFFS

Often addressed as the ‘Unparalleled interpreter of the mood of the moment’, Karl Lagerfeld is an icon revered for his bold designs and reinventions. The creative force behind Tommy Hilfiger, Chanel and Fendi in addition to his own brand, Karl makes every collection he works on, a spectacle to adorn for a lifetime

Diksha Vohra The fashion icon, Karl Lagerfeld, who has designed some of the finest attires adorned by celebrities and commoners alike, can be spotted from a distance, thanks to his signature black suit and black shades. Born in Hamburg Germany, the acclaimed fashion designer has interestingly never revealed his actual birthday. His father, Christian Lagerfeldt, was the one who introduced condensed milk in Germany and his mother, Elizabeth, was a renowned violinist. With two siblings, Karl was raised in a wealthy environment and recollects dinner table conversations often involving intense subjects like religious philosophy. Karl was one designer who never followed usual norms. For instance, he removed the ‘t’ from his surname because he felt it sounded more commercial, as he wrote in his book ‘The Karl Lagerfeld Diet’. From a young age, his inclination towards the world of fashion was visible to all. As a child, he would often cut out pictures from fashion magazines and was also quite critical of what others wore to school. During the 1930s when Germany was undergoing a volatile period with Hitler rising to power, Karl along with his family moved to a rural area in Northern Germany. Later Karl immigrated to Paris when he was 14 where he studied drawing and history. Two years after, he submitted his sketches and fabric samples to a design competition, where he ended up taking the first place in the coat category and

Soon after winning the competition, Karl began working for the renowned French brand Pierre Balmain as a Junior Assistant. He remained with the company for three years after which he worked at Jean Paton, Krizia, Charles Jourdan and Valentino. His career, however, took a major turn when he joined Fendi in 1967 and Chloe in the following decade. All of the above only paved his way to becoming a designer for Chanel in 1983 where he began designing their readyto-wear collections. Having worked for various brands, it was finally in 1984 that Karl launched his eponymous label ‘Karl Lagerfeld’, which in his opinion channelled ‘intellectual sexiness’. Even though Karl has worked on various collections for different brands, he is mostly known for his incredibly popular pieces like the Chanel Classic Bag with the CC logo on it, the Chanel Boy Bag and the Chanel Lego clutch. He is also the man behind the iconic ‘ice cream cone’ shaped heel shoes, which went on to become the talk of the town for its unique, catchy yet sleek design. On a personal level, Karl preferred to keep himself engaged in sketching and designing throughout. He once mentioned, “I’ve never smoked. I don’t drink. I don’t even drink coffee. I don’t like to smoke. I have nothing against other people smoking. If you want to smoke, you go ahead. But for me, I need my hands for sketching. I have no time for

designing so seriously that he didn’t give way to any forms of distraction that could take him away from his work. “I don’t use cell phones. I read, I write, I love faxes, I like to take notes. I hate to be on the phone; I think it’s an intrusion. I am reading, I am sketching, I don’t want to be interrupted”, he adds. He is also known for having lost a lot of weight and bringing out a diet book ‘The Karl Lagerfeld Diet’. He said, “I think that fashion is the healthiest motivation for losing weight.” He also revealed that dieting isn’t any fun: “You have to be a real bore like me for it to work”. In 2005, Karl sold his brand to Tommy Hilfiger, but he maintained full design involvement. Later he was seen designing the evening dress for Lily Allen’s wedding reception. Willing to push his boundaries of creation, Karl also designed unique glassware items for Orrefors. With clear, black and milky glass, the collection embodied his minimal clean aesthetic. What I enjoy most is doing something I’ve never done before,” the designer said of his collection of glasses, vases and bowls. Keeping his focus on his goals, Karl Lagerfeld is one designer who walked the unconventional path to success. Through his designs, he spoke about his revolutionary thinking and classic aesthetics, maintaining the charm throughout. As a photographer, designer and a filmmaker, Karl has left an

meeting another winner, Yves Saint Laurent, a man he later became good friends with.

a cigarette! Then I have no time for alcohol because I fall asleep instantly.” He took his

unmatchable legacy behind, an inspirational path for many to follow in decades to come.

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SCHOLARS

T H E N E A P O L I TA N K I N G

When you come to a Rubinacci store, you are always speaking to a Rubinacci. It’s a personal affair.

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Photo : Maria Barros

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SCHOLARS

T H E N E A P O L I TA N K I N G

When you come to a Rubinacci store, you are always speaking to a Rubinacci. It’s a personal affair. When you go elsewhere, you are dealing with a sales person. When I started to present myself as the face of the brand online, my father thought it was too early for us to make such a bold move. But I was always confident that clients come looking for a tailor not because of a brand name but for the personal touch that you receive while dealing with a person. I think today Rubinacci has managed to succeed because we have put a face to the name and that when you walk in here, you know who to expect.

tried any flavours himself? I think all my customers are unique. I should be able to look at each client through different eyes and dress them as unique as they are. My style reflects my passion in understanding style itself. This makes me a good tailor and helps me suggest what is perfect for my clients.

People always want to know what my real style is. People see me in different styles through the week; sometimes sporty, sometimes formal, sometimes casual, sometimes white loose trousers and at other times grey stick tight pants. The reply I usually give is that you cannot

I don’t think there is a fashion capital today. When my grandfather started the Rubinacci atelier back in the 1930s, he called it the London House because London was the capital for men’s elegance in those days. Today there is a broad range of what can be defined as fashion. Today fashion is being created all over the world. Having said that, you can always spot a gentleman from a distance. He goes to a tailor to have his personality represented through the way he is dressed. A gentleman is someone who is comfortable with what he is

suggest the best things in life if you have never tried it yourself! How can an ice-cream maker imagine or make the best flavour if he hasn’t

wearing and not necessarily caught up in following something that is in fashion.

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T H E N E A P O L I TA N K I N G

A gentleman is someone who is comfortable with what he is wearing and not necessarily caught up in following something that is in fashion.

The signature element of a Rubinacci jacket is not what you see on the outside. We usually recommend styles that suit our client, and we try to dress everyone differently for that reason. The real signature of a Rubinacci suit is on the inside. It’s in the construction of the suit, and in the structure of the trouser. Our jackets are extremely light because we don’t use a lot of padding, and we use very light canvas. This gives our product the feeling of being a second skin. This is why when you wear a Rubinacci suit it feels entirely different from the others. It not only reflects your style you feel extremely comfortable in it. We have been recognised by the Financial Times as the biggest tailoring house in Europe. Before I officially joined my father in running the family business, I went to Savile Row to study about English tailoring from Kilgour. I was working with them for a year before returning home and joining the family business at the age of 20. When I came back to Naples and joined the family business, I remember asking my father to introduce different tailoring techniques to our atelier because at the end of the day Neapolitan tailoring was just Neapolitan tailoring and English tailoring was just English tailoring. We have since evolved past that definition. We have the best tailors in Italy at the moment. We have 40 skilled tailors in-house, and we are building a modern contemporary atelier based on the Neapolitan structure.

capacity of around 900 suits a year, and we almost always deliver that amount every single year. It is impossible to increase the production of handmade suits overnight because it takes extremely skilled manual labour and a lot of time to create a single suit. Bespoke has to represent the requirements of a few, and it will always remain a treasure. Add to that the fact that all our stores are personally handled by someone from the family. Every bespoke customer is being taken care of by either my father Mariano, my sister Chiara or Myself. With a total of three stores altogether in Naples, Milan, and London, this is the best we can do without changing our philosophy of running a bespoke business. It’s not just great at tailoring; I am a great Sailor as well! For over 15 years I was actively involved in competitive sailing at the Italian state and international level. Sailing introduced me to the concept of healthy competition, working together and the importance of teamwork while being sporty at the same time. These are concepts that are vital for running a business.

A lot of people will want one, but only a few will be able to

The greatest inspirations come from places where you least expect it. I travel a lot for work and also for pleasure. Every opportunity I get to step away from the store, I head out into the mountains or out to sea for a change in scenery. I am a very active person, and I enjoy the adrenaline I get from snowboarding and kitesurfing. It is crucial for a designer, and for someone who suggests styles to various people to explore and to have a wider perspective. When you are stuck inside

get a Rubinacci bespoke suit annually. We have no expansion plans, simply because we wouldn’t be bespoke anymore. We have a

the city, inside your office the whole time you tend not to think outside the building.

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EMBODYING MASCULINITY

EMBODYING MASCULINITY The world of perfumery breathes its latest offering through Roberto Cavalli’s Uomo, created by the master perfumer Christophe Raynaud. The man who has creativity running through his blood talks about his fragrances and transformations the industry has witnessed over the past two decades

Diksha Vohra Fragrant, diffusive and powerful and three key attributes that are a must for every perfume, believes Christophe Raynaud. With over 25 years of experience in this field, perfumery for him is not about elitism but about the warmth of sharing and that is where he finds his peace of mind. Having worked with the Firmenich team for a while, Raynaud experiments with his offerings yet again by creating Roberto Cavalli’s first men’s fragrance – Uomo. The fragrance sophisticatedly blends the brand’s traditional Italian heritage with rock boldness. Signé sits over an exclusive interview with the creator himself, exploring the realms of perfumery further.

be a perfumer, and together we would launch the biggest company in the world. The idea of being a perfumer remained in my mind even years after the conversation so I pursued the goal and fulfilled his prediction. Today he is a renowned fashion designer too, but we don’t have the biggest company in the world. Perhaps one day even that might come true.

is not easy to create today, neither was it in yester years. Even though times have changed, the difficulty remains the same since people, in general, have varied tastes and once you are done understanding one sector, the other evolves in terms of new tastes and preferences.

You knew you were going to become a perfumer since your childhood. What is the story behind this realisation? I used to be a swimmer when I was young, and I used to go to the Swimming Club with my best friend who wanted to be a fashion designer since his father was one. We used to talk about our future goals and one such day he announced that he was certain in the

The industry has for long been saturated with perfumers. How difficult was it back then to make a mark for yourself? Perfumery is an art, and it continuously develops, grows and changes by each day. It takes a while to become a perfumer in fine fragrance as the market is quite large to study and understand. Like a musician, I began by learning about the notes and the raw materials. Then I started mixing ingredients and making samples. After a lot of trial and error, I would finally get the scent I had in mind, which would sometimes take days and sometimes even take months. A perfume that sells, in my opinion, needs to be powerful, diffusive and quite technical in its composition. It should be

Every artist draws inspiration from something they do. Where do you draw your inspiration from? My travels are my points of inspiration. Wherever I travel, I love observing people and their sense of tastes for perfumes. Especially in Dubai, people smell exquisite which makes me want to visit the city more often. It is a paradise for me. On the other hand, travelling helps me explore new and varied raw materials that are quite culture-specific. I enjoy visiting fields and smelling different crops, flowers and roots, just to increase my knowledge and imagine a fragrance using particular spices. For instance, I recently produced a fragrance for Alexander McQueen which uses different aromatic spices from India and it became a

future he would be a fashion designer, I would

original and long lasting, which unfortunately

huge success.

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EMBODYING MASCULINITY

Do you travel keeping in mind a creation brief by a brand or do you explore different lands and combine various regional ingredients together at a later stage when the brand approaches you for a project? It is both ways mostly. I am always planning some or the other fragrance in my mind so when I travel I explore various ingredients to see which suits my need right now. During the process, however, I do come across a lot of ingredients that are good and could potentially be used to so I keep a note of them and later on, whenever the brand desires, I go back to them and use them.

the manufacturer of the fragrance informed me that my leather fragrance had sold out and I was delighted. Later on to my surprise, I found out that a plastic shoe selling shop had purchased my perfume to diffuse it in the air so that their client would get a feel of being in a leather shoe shop. Even though it did not turn out to be a big hit in the market, it was still my first try and would always be special to me.

and resins of trees which would be warm but not of a sugary aroma. Since the fragrance had to exhibit a sort of rock boldness, I added tinges of violet, honey and lavender. These ingredients are uncommon to a masculine perfume but I thought would do justice to the freshness and the sensuality required. In addition, the brand wanted me to add a python effect to the fragrance for which I added some saffron, and it complimented the other ingredients beautifully.

Which was the first fragrance that you created? I don’t remember the name of the fragrance, but I created it when I was very young. I was working around leather at

Coming to Uomo, what inspired the creation of this fragrance? Roberto Cavalli had approached me to create a fresh men’s fragrance for them that needs to be distinct since it was their first offering to the market. They had given me the colour black to work with. Since black as a colour has a very deep and masculine appeal, I decided to

What kind of a man did you picture in your mind while creating the Uomo? The man I imagined was young and viral. He wouldn’t care about what others think. He would ooze a sense of sensuality and individuality. The fragrance is meant for one who beats casualness and closes the doors

that time and the fragrance was very noble, masculine and of very high quality. One day

work around that and create something of a dark resilience. I was working with dry woods

of thoughts and perceptions through his unspoken tastes.

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SETTING THE SCENE

SETTING THE SCENE This year, as Christie’s celebrates its 250th Anniversary worldwide and 10th Anniversary in the region, Hala Khayat, Head of Sales at Christie’s Dubai unveils the behind the scenes story, as the renowned art-house gears up for the October auction

Diksha Vohra Connecting celebrated artists with collectors from across the globe, Christie’s has carried art from one corner of the world to another for over two centuries. This year marks the 250th anniversary of the brand that not only exposed regional artworks to the mainstream audience but also educated the masses about the different forms of art, nurturing the passion for collecting and preserving. Ten years ago, the British marque entered the region, and since then it has been witnessing and contributing to the transformation the art industry has undergone. Celebrating their commendable success, this year’s October auction will include some never-seen-before pieces of various artists. Signé speaks to Hala Khayat, Head of Sales at Christie’s Dubai on the action that goes on behind the scenes, the process of finalising the catalogue and the auction itself. How has Christie’s changed the way people perceive art today? As a concept, art is too broad and has existed for centuries. Christie’s has played a pivotal role in globalising the market for various types of artwork. Initially, the market for regional artists was localised. For example, an artist from Egypt would only sell in Egypt and not elsewhere. However, once Christie’s entered the market, these artists got an opportunity to expose their creation on an international level. This international exposure has changed the history of contemporary art forever. We, at Christie’s, come with about 250 years of experience in exploring art from different corners of the world and bringing it to those who value it the most. They want to see the light, and we shed the light. Since you auction some of the rarest collections of distinguished artists, how do you source these artworks?

A lot of times the dealers or the artists themselves contact us through email. Depending on the type of art, Islamic, Indian, South Asian, Latin American and more, we send it to the relevant department to conduct the required research. From most collections of the artists, we usually take the earlier works, the ones that are hardest to find every season. So there is always an element of surprise. Sometimes we travel to a country to meet an artist and while he be would be showing his collection to us, we find something else in his atelier that he didn’t think was important. So that’s also how also we source certain unique pieces. However, we majorly deal with the secondary market since many artists don’t like to get involved with the commercial aspect of auctioning and selling. From all these artworks, what are the various criterias you consider before finalising the auction pieces? Once an artist contacts us, we travel to the place where the artist is either based or working. During this period, we do our research on the different types of artworks by the artist as well as other artists around that area. Often the primary client introduced or recommends us to other artists that we would potentially be interested in featuring the artworks of. Then we select a few pieces, sit with our team, discuss and filter the relevant artworks. Art is a very recent phenomenon in the Middle East. How educated are the regional clients when it comes to purchasing these collectables? Art has been around the Middle East for a while but the people in the region, by nature, used to travel a lot. During the travel, they preferred keeping themselves light, and that is why they would only take the necessities with them. Collection comes

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SETTING THE SCENE

‘Mahmoud Saïd - “Village De Choueir”

with a settlement, which the Middle East has witnessed in the last few decades. Coming to Dubai, the region has witnessed an unimaginable exposure to art in the last decade. From Art Dubai to Art Abu Dhabi to DIFC to Al Serkal Avenue, so many art galleries have made Dubai their home, and they are working hard on educating people for the same. Unlike any other country where art is taken for granted, it is pleasurable to see so much growing interest in the regional audience for art. In fact, I learn a lot from the collectors here as they find unique passions, and we try and find pieces they love. Once the pieces are shortlisted, what comes next? After shortlisting the pieces, we catalogue the works and then send it for printing. Once the catalogue is ready, we get busy with planning the sales and that’s exactly when the marketing starts. Closer to the auction dates, we start inviting art aficionados, conduct reception dinners and host tours for schools and other institutions to create a buzz in the market. Then comes the grand day of the auction itself, which altogether takes about two to three hours and each painting only takes about two to three minutes to be sold.

purchase the artwork. Coming to estimating the price range, let’s say a mediator has contacted us for selling four works by the same artist. We would then check the size and scale of the artwork like is it done in A4 or on canvas, and if so, how big is it, is it rich with composition or worked upon as a sketch. Then we check which period of the artist’s career each of the pieces belongs to as we give a higher estimate for pieces belonging to the critical periods of the artist’s life. Some artists are brilliant in their beginning but in due course, their quality declines whereas some artists start slow and one day they produce a collection that becomes the talk of the town. So after considering these aspects, we check the condition of the work itself. Other aspects, like the artist’s story, where he is from and where are his works displayed – in his house only or in museums or Government institutions, also affect the estimation.

How do you calculate the estimated price range during the auction? We, at Christie’s, prepare an estimated price range – low to high – for the pieces on auction. However, we do not have any say on

How is Christie’s involved in art education in the region? Factually Christie’s role is not to educate, but we do because we believe in sharing what we have inculcated over the years. These catalogues are tools to go back into history and discover the art that existed. Especially in this region, we do not have a lot of written art history in English so we invest our time in translation, rewriting academic papers and more, only to help everyone delve deeper into art history. In London, we have an art school where we offer recognised

the price at which the piece finally gets sold out. Once the auction bid begins, it is entirely up to the bidders to bid at any price they like and

degrees, and here in Dubai we do conduct short courses for our local art aficionados.

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Shafic Abboud-“Les années de l’oiseau”

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P E C U L I A R C R E AT I O N S

PECULIAR CREATIONS Over the past three decades, Cedes has been producing some of the finest handcrafted products of utility using natural materials. The works of their skilled craftsmen are not only antique in nature but speak about the traditional Italian ritual of crafting everything to perfection

Diksha Vohra Since time immemorial, the eyes of the affluent have looked out for the finest antiques created through natural materials which they could hand down to their future generations. Cedes, however, is a brand that has embodied this concept into contemporary utilities, crafting some of the finest products from naturally available classic materials. The brainchild of Manuela Casati, Cedes was founded in 2009 with an aim to unleash the importance of preserving craftsmanship. Located in Milan, the space is open to all who appreciate quality products and are interested in understanding the manufacturing process. The company philosophy is revealed through a glance at the materials on display and at the well-maintained equipment, simply but efficient. Cedes believes that two main factors contribute to the quality of the product offered â&#x20AC;&#x201C; the intrinsic value of the raw material and the accuracy of the manufacturing process. Keeping this in mind, the company has not laid much focus on the brand of the products because they want their discerning clients to appreciate them for their real qualities, unlike other products of their kind in the market. Selecting natural materials only coming from the countries of

veterinary and environmental regulation. As and when the raw materials become available and fit to use, they are purchased and stored in the workshop for future production. From crocodile skins to mother of pearl to tusks to horns, Cedes brings the best materials together to produce some strikingly unique products. Leather, by default, is essential whenever high-end furniture is concerned. Where a wallet requires light and soft-to-the-touch leather, a case cover needs a compact and smooth material, and a bag demands elastic yet solid leather. Colours, finishing and tanning provide a wide range of materials with different characteristics. Cedes offer a wide selection of full-grain lambskin, Saffiano goatskin, embossed calfskin and ostrich leather to produce a complete range of accessories. Their leather undergoes mainly vegetable tanning because it helps preserve its natural characteristics. Coming to the second of their signature offerings, crocodile is the finest leather possessing a quality of its own. The leather is solid and velvety at the same time with a harmonious pattern. The skins can be tanned in a traditional way to get an effect of brightness, which preserves solidity, or can undergo napa tanning, which makes the

origin, the marque ensures that everything they use complies with

leather opaque and incredibly soft.

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The mother of pearl, another natural raw material, whose beauty and perfection have originated several legends, today is still used as an extremely refined decoration for precious objects. Their craftsmen select two main varieties of mother of pearl: Pinctada maxima, white with green, silver or golden shades, coming especially from Australia and the Southern Seas, and Pinctada margaritifera, from the Fiji Islands and Tahiti, with different shades from white-grey to the deepest black. The third in the series is wood. Woodwork is one of the most ancient crafts requiring manual skills, experience and technical evolution at the same time. The finest exotic woods, of South American or African origin, self-containing vegetal oil, with a proper finishing turn into silky and glossy objects. Deep black Gabon ebony, thick grain Makassar ebony, scaly and fascinating Snakewood, colourful shaded Cocobolo are used to create the finest products. Shine is obtained through a simple waxing, with no need of flatting varnish. The next, Stag antlers, are deciduous bones growing seasonally. For this reason, in the ancient Celtic culture, the beautiful stag antlers were considered as an important symbol: they represented life, rebirth and the passing of time. The antlers collected at the end of winter are very solid they require a complicated processing procedure which results in the creation of beautiful and country-like objects. Due to their passion for tusks, they have a limited production of objects made of it. They use mainly warthog tusks and mammoth fossils. They polish and brighten the material with the utmost care in order to enhance its colour and touch. Another interesting material they use is horns. Since prehistory horns have represented a source of raw material: being extremely resistant, every single part of a horn is used to make a wide range of utensils or simple ornaments. They select horns of different species such as antelopes, oxen, buffaloes. Each species owns various unique organic features that are maximised by refining and polishing processes. Being so solid, light and flexible at the same time, bamboo can be used in countless ways - food, production, textile or decorative use. In Asia, where it grows abundantly, it can have different meanings: in China, its longevity is considered as a wish for a long life; in India it represents friendship and in Japan, it is considered as a sacred barrier protecting Shintoistic temples. They only manufacture the roots of the plant. A flatting varnish strengthens the material and makes it resistant to water and humidity. Considering the art of metal working dates back to ancient times, their mention amongst precious raw materials cannot be missed. Cedes uses metals and alloys for different purposes: brass, copper and steel are shaped, turned and milled using specific equipment or simply handcrafted with using chisels, puncheons and gouges. When assembled with natural materials, metals create modern and functional objects. Polishing or galvanic processes complete the finishing enhancing the quality of the products. With high-quality raw materials being used, the products produced last a comparatively longer life. Requiring adequate maintenance, the presence of these products in a surrounding is enough to speak volumes about the tastes of the owner, who values quality above anything else.

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S AV O I R FA I R E

THE ENHANCED BESPOKE EXPERIENCE

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THE ENHANCED BESPOKE EXPERIENCE The world of bespoke tailoring has always revolved around sharp suits, clean cuts and a flawless fit, but it doesn’t have to end there. Luxury couturier Ascots and Chapel’s “Enhanced Shirt Experience” redefines the world of customised tailoring, delivering an experience faultlessly akin to buying a high-end luxury car

Niyoshi Chudgar Ascots & Chapels has an illustrious history that dates back to London in 1847 and has established a name for itself as a well-known bespoke tailoring brand. With the skills of master tailors that are famous for their quality proficiency, they offer unmatched service, coupling refined quality with the individuality of their custom made pieces to suit every man’s unique sartorial needs. This season they set a new benchmark in the creation of hand-crafted clothing through the much lauded “Enhanced Shirt Experience”. We are certainly not alone in our sartorial ambivalence. A sudden surge of interest in bespoke suiting, especially among younger men, has rapidly developed in the recent years. For the first time in generations, many gentlemen have become neo-traditionalists, obsessing over the minutiae of their wardrobe: debating structured versus unstructured jackets, deciding the best knot for their tie, and confused whether pants should break over their shoes. Ascots & Chapels, with a 130-year old heritage in creating high-end bespoke garments, has recently launched one of their most ambitious projects – “The Enhanced Shirt Experience”. Nothing can truly match the effect and appeal of a well-fitted shirt to make a man stand out, and the Enhanced Shirt Experience ensures just that. The collection consists of three hand-crafted shirts finished with Mother of Pearl buttons, engraved cufflinks, along with three cuffs, three collars, three pocket squares and a pair of metal collar stiffeners. A first-ofits-kind for the region, the collection has been designed with considerable attention to detail to ensure that they deliver a ‘Shirt for Life’. The luxury couturier’s keen focus on personalisation is also expressed in the use of trims such as inner linings, contrasting handmade button holes and the option to include custom monogramming. They have incorporated a special iron-on name tag for the shirts – to prevent wear-and-tear from laundromats To ensure that their customers benefit from their rapidly growing international footprint, they also allow suits to be ordered in Doha, Dubai or Abu Dhabi and picked up or altered at their boutiques in Mayfair, London as well as New York. The brand puts a significant emphasis on deft craftsmanship and personalisation- they believe in delivering luxury through exclusiveness. A product can be referred to as blatant luxe when it is handmade and tailored as per your requirements; thus we can rightfully call the Enhanced Shirt Experience a status symbol for modern-day couture luxury.

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S P R E Z Z AT U R A

DRIVE INSPIRED

DRIVE INSPIRED Giorgio Armani has unveiled a new capsule collection in collaboration with Bugatti, the French luxury car maker. The brands have come together for the first time to promote a vision of dynamic and timeless elegance. The drive-inspired ‘Giorgio Armani for Bugatti’ capsule collection is made for a sophisticated man who continually seeks out exclusive luxury

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DRIVE INSPIRED

Clothing includes a coat and blouson jacket in refined double cashmere, superfine cashmere sweaters, a leather jacket with raised collar and concealed hood, as well as treated denim jeans that look as soft as velvet, thanks to their handmade flocking.

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DRIVE INSPIRED

The collection features details that reference the iconic motifs of the Bugatti brand. The horseshoe-shaped emblem on the front of the cars is seen on pendants for bags, while Bugatti’s brand colour blue appears on inner linings of bags, in interior pockets and on the treads and insoles of footwear. The palette, focused on the three stylish and timeless colours of cognac, army green and blue, is a recurring element of the collection.

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DRIVE INSPIRED

The highlight of the accessories is an elegant briefcase in soft calfskin, made entirely by hand, with a convenient front pocket; there is also an exquisite version of this piece in matte crocodile, lined with tactile and luxurious Bugatti blue suede. In addition, there is a roomier weekend bag, while small leather goods, available in calfskin or crocodile skin, include belts, wallets, iPad cases, and beauty cases featuring a prominent zip closure.

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DRIVE INSPIRED

The offering is rounded off with calfskin sneakers with crocodile details, which have a blue interior and a ‘Giorgio Armani for Bugatti’ label, a sports driver blazer in crocodile skin, available in cognac and army green, and a cap in double cashmere cloth with trim in Bugatti blue.

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DRIVE INSPIRED

Calfskin and crocodile hide are abundantly featured across the various leather goods in the collaboration, which includes backpacks, carry-alls and outerwear. The capsule collection is available at select Giorgio Armani boutiques and Bugatti lifestyle boutiques.

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ESSENTIALS

EVOKING THE SCENT OF VENETO PARCO PALLADIANO COLLECTION Italian fashion label Bottega Veneta bottles the breath-taking landscape of Italy in a striking new line of fragrances called Parco Palladiano. The launched collection tells a magical tale the senses while capturing the timeless beauty and the legacy of the Palladian villa in the fashion house’s native Veneto region. Numbered in Roman numerals, the six fragrances are developed by Tomas Maier in collaboration with Michel Almairac, Daniela Andrier and Alexis Dadier. Each scent is an ‘olfactory trompe l’oeil’, arresting varied experiences in the Palladian garden. With the launch of this collection, Bottega Veneta has commenced a new chapter in the history of Haute Parfumerie.

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FOR HER

C A N VA S O F L I F E

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CANVAS OF LIFE Unlike other royals, Sheikha Lulu Al Sabah is an absolute non-conformist, walking the unconventional path towards merging the political and art sphere. We explore depths of her passion for art

Born in Kuwait, Sheikha Lulu Al Sabah has travelled the world over, exploring art from different angles. With a vision to make a difference in the world through raising funds from exhibitions and conveying political messages through art, she prides in being different and in doing things differently. Unfolding layers of her personality, we sit over an open conversation with Sheikha Lulu Al Sabah. It was during the Gulf War in the 1990s that Sheikha Lulu’s family had sent her to Paris. A move that ended up being a turning point in her life, it was in Paris that she discovered her love for art and dancing as an expression of that love. Kuwait, as Sheikha quotes, was quite different back then from what it is today. The city was quiet and comfortable, but there weren’t many avenues to discover and nourish native talents. Remembering her childhood, she tells how when she was 13 years old, she mentioned to her mum that she wanted to be surrounded by artists, poets, sculptors and singers all around, to which her mom reminded her that she wasn’t living in the 18th century for such dreams to come true. She mentions, “On one hand, I was getting opportunities I wouldn’t ever get in Kuwait and on the other hand, my parents were tensed because of the war. I felt I thrived more in the school versus from where I had come.” She learnt dancing in Kuwait in the early years of her school. During summers, she recollects visiting the US and the UK for dance camps to pursue her passion further. She dreamt about becoming a choreographer, which was cut short by the time she was 16 years of age. Since her students could not keep up with international standards, she couldn’t continue which followed into years of finding-a-direction phase. The next destination on her path of self-discovery was Switzerland, followed by Kuwait and then finally the US.

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“To me, politicized art is art that inculcates change and art that makes you think” SHEIKHA LULU AL SABAH

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“I secured my graduation and post graduation degrees in History” she mentions while emphasising her interest in gender inequalities. The concept of art inspired through history is what motivated her most. During the initial years of her career, she worked for Phillips de Pury and Christie’s. It was apparently during her tenure with Philips de Pury that she ended up buying the gallery space in DIFC. Despite working mainly with western art, which she developed an interest for, she felt the calling to present Kuwaiti art to mainstream art aficionados. She reveals that despite being a Kuwaiti princess, she wasn’t aware of the richness of their regional art so there arose a need to expose Kuwaiti art and artists to the world. That was when she launched JAMM in association with bored Pavelic. The art gallery was first launched in Kuwait and then brought to Dubai. The reason behind this move was first to put Kuwait on the world’s cultural map by giving it some exposure and then make the art more accessible to a global section of collectors in Dubai. In 2007 the art scene in Dubai had just started developing. Art Dubai, Christie’s and many other galleries launched more or less around the same time. Being a witness to the establishment and the growth of the art galleries around, she felt at home when she walked through the outposts. Before setting up her galleries, she owned a design consultancy in Kuwait and would go on to carry out pop-up exhibitions in London, Dubai and Kuwait. She wants to focus now on London’s art scene doing pop-up exhibitions to raise funds for charitable causes. Getting into art was a natural progression for her since she used to dance. Even though she hasn’t ever produced art, through her learning and experience, she developed an understanding of art. She adds, “Even in terms of business, I can liaise with artists well. I think essentially art helps us understand the world better.” She is also interested in politicised art, “To me, politicised art is art that inculcates change and art that makes you think” she remarks. Inspired by the Egyptian art carved on the walls on streets during the uprising, she wants to convey powerful messages through art. Sheikha Lulu believes in making a difference through her work. With her exhibitions and shows focusing on raising funds for the needy, she also supports women’s rights in the GCC through her efforts, hoping to make the world a better place to live.

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FOR HER

CREAM OF THE CROP

CREAM OF THE CROP Chanel’s new high jewellery collection is a nod to Coco Chanel and her longstanding association with wheat. Following the journey of the grain, each piece is a work of art and a gentle reminder of the famous couturier’s progressive outlook on fashion

Beverly Pereira Luxury fashion house Chanel and the concept of timeless fashion will always be intertwined with the history of fashion. It was the French luxury house’s creator, Gabrielle “Coco” Chanel, who gave the world the ‘little black dress’ and the legendary Chanel suit. The couturier, who was born in 1883 in Saumur, France, will forever be remembered for her simple, understated attire and accessories. In fact, Chanel as a fashion house was built on the premise of simplicity and comfort. Chanel herself once stated that “Luxury must be comfortable. Otherwise, it is not luxury.” After her mother’s death, a young Chanel was put in an orphanage, where she picked up the skill of sewing. Her first career, before she reached her 20s, saw her perform in French clubs, where she soon picked up the name “Coco”. Chanel entered the world of fashion when she opened her first shop on Rue Cambon in 1910, where she sold hats. She would later open more stores once she began

her sophisticated way of dressing. Little did people know that she would go on to disrupt the way women dressed in the early 1900s and beyond. When she launched her first perfume, the iconic Chanel No. 5, her business was poised to grow. Her innovative mindset led to the introduction of the famous Chanel suit that paired a collarless jacket with a wellfitted skirt. For its time, it was a revolutionary concept that borrowed menswear elements while giving importance to comfort. A tremendously involved supporter of the arts, Chanel lived a life that always served to inspire. Even today, the French fashion house’s legacy remains rooted to its founder’s affinity for timeless, comfortable and sophisticated fashion. The House continues to place importance on the use of symbolic iconography, not unlike the way Chanel would have done it herself. One such recurring motif is that of wheat. It is said that Chanel enjoyed fond memories of this grain right from her childhood. For one, she spent much of her

fields of wheat. Interestingly, Chanel’s date of birthday, August 19, coincides with the harvest festival of the region. This harvest celebration held at the end of the summer symbolised renewed prosperity and abundance. Her father too was often said to symbolically equate wheat with all things good and wholesome. Naturally, her bond with wheat carried forward well into her adulthood. In fact, wheat motifs were a recurring part of her entire life. Whether it was in Chanel’s apartment at Rue Cambon, in her suite at the Ritz or in her home in La Pausa, wheat was present in all forms — be it real, in wood, bronze or as a motif in a commissioned painting by her friend and artist Dali. Like a lucky charm of sorts, the wheat motif featured on many of her early designs that notably include a 1961 ivory gown that she had designed with embroidered imagery of stalks of wheat for French actress Jeanne Moreau. The newest high jewellery collection by

making clothes. Even at the time, although not exactly well established, she was known for

early days in the Auvergne countryside, a region in central France known for its endless

the fashion house fittingly pays tribute to Chanel’s affinity for the symbolic nature of

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wheat. The collection, Les Blés des Chanel, celebrates Chanel’s association with wheat. Well positioned as a fundamental element in the famous couturier’s life, the wheat motif once again reminds us of wheat as an eternal symbol of abundance, renewal, luck, prosperity and endless creativity. Les Blés de Chanel showcases 62 high jewellery pieces, each of which takes on the softness associated with a wheat field gently swaying in the breeze. Interestingly, the collection follows the life cycle of wheat across seasons like spring and winter. In May, for example, the new wheat seedlings sprout from the ground, tender and green. They move on to form ears of wheat in June

July and August, they bask gently in the sun, filling the countryside air with the fragrance of summer. It is also at this time that the crop is unmistakeably ready for harvest. Premiers Brins, Brins de Printemps and Brins de Diamants feature diamonds, peridots, crystalline and aquamarines in a bid to play with transparency as an ode to the tenderness of young wheat shoots during early spring. The golden warmth of the harvest season is symbolised through variations like Moisson Ensoleillée, Bouquet de Moisson and Moisson de Perles that utilise yellow sapphires, pearls and diamonds. Moisson d’Or, a beautiful, long necklace that presents a sheath of wheat tied by a

diamonds and sapphires as its central motif. Made of 977 yellow sapphires, the piece has a total weight of 477.5 carats. The inspiration behind this is carried forward on a pair of earrings, a ring and a brooch that feature a yellow cushion sapphire of 17.1 carats as its centre stone. The Fête des Moissons high jewellery set evokes rows of braided wheat through a necklace, ring, bracelet and a pair of earrings. A statement necklace places a yellow rectangular 25-carat diamond with cut corners that illuminate a bunch of wheat further set with 121 multi-coloured diamonds with a total weight of 46.7 carats, 932 yellow diamonds that weigh 40.4 carats, and 165

when temperatures rise. In the months of

yellow sapphire of 16.8 carats uses a spray of

white diamonds.

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Again offering multiple variations of the wheat motif, sets like Champ de Blé, Impression de Blé, and Blé Infini reimagines the imagery of wheat as a precious and sparkling pattern design. Evoking the softness of wheat during the month of June is the Cascade d’Epi necklace and earrings. Symbolising ear-of-wheat blooms, the motif appears soft and golden, curling gracefully around the neck or ears of the woman who wears them. Champ de Blé pays homage to wheat in the early summer. Although a tad more abstract in design than the rest of the pieces from the Les Blés de Chanel collection, this series is just as outstanding, if not more, than the others. Notably, this set features diamonds entangled in a network of foliage that is mounted on yellow or white gold. Lastly, the Légende de Blé necklace quite simply portrays a majestic ear of wheat in white gold and diamonds that appear to wrap

1. Bague “Premiers Brins” ring 2. “Premiers Brins” Brooch 3. “Brins de Diamants” Watch 4. “Brins de Printemps” Bracelet

around the neck of the wearer, leaving behind a hint of summer.

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“Fête des Moissons” Necklace

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FOR HER

THE SMOKING HOT TUXEDO

THE SMOKING HOT TUXEDO From the Little Black Dress to the mini, several once-scandalous women’s garments have melded into the fashion industry seamlessly over the past decades. In a celebrated league of its own, however, is ‘le smoking’, the first tuxedo for women, designed half a century ago by the iconic Yves Saint Laurent

Niyoshi Chudgar Of any androgynous fashion staple, it’s tough to imagine one that has gained as exalted a position on the runways (and everywhere else) as Le Smoking. Since its 1966 debut, Yves Saint Laurent’s epicene suit has been reinvented by just about every designer in the business, immortalised by Helmut Newton, and remains a red carpet favourite of many. It is one of the most enduring and influential fashion creations of the last century, and on its 50th anniversary, it continues to inspire one and all. In a season of hi-luxe virile womenswear, there is only one celebrated piece that comes to mind: the tuxedo jacket, or to use its decidedly chicer French appellation “Le Smoking”. Introduced in 1966, Yves Saint Laurent presented a revolutionary tuxedostyle suit during a time when women wearing pants was frowned upon by all. The iconic style has now gained a cult status symbolising confidence and female sexual empowerment. Born in 1936, Yves Saint Laurent lived his entire childhood in Oran, Algeria. At the age

were presented to Michel de Brunhoff, director of Vogue, who published several of them immediately. Following a stint at fashion school, Saint Laurent was introduced to Christian Dior by de Brunhoff, and he went on to work with the legendary fashion house for several years to come. After taking over as art director for Dior, Saint Laurent launched his first collection for the company, the Ligne Trapéze. It was a booming success and won him a Neiman Marcus Oscar. In 1960, he created his radical “Beat Look” collection which used couture techniques to polish street style fashion. However, his designs proved to be too bold for the house of Dior and a year later they lifted bars on his national service. In 1962, Saint Laurent set up his own fashion house, deftly continuing his reign in the couture world. His most radical and celebrated couture collection was in Autumn Winter 1966-67 called “Pop Art”. It comprised of a jacket and trouser in Black Grain de Poudre, the first with

straight, piped in satin, cuffed and worn short over Spanish heeled boots – for the first time in the history of haute couture a women came out in the catwalk wearing a smoking suit. Fast-forward 50 years, and it’s clear that what was unveiled that day at 5 Avenue Marceau, Paris was one of the most significant and powerful designs in 20th-century fashion history. Fashion had witnessed a major event, and French newspaper Le Monde congregated the suit as an emblem of the 60’s. By appropriating male apparel and allowing women to wear it, Saint Laurent had effectively transferred attributes of power from one gender to another – at that instant he successfully crossed from the aesthetic domain to the social one. It pioneered long, minimalist, androgynous styles for women, as well as the use of power suits and the pantsuit in modern-day society. Le Smoking became a controversial statement of femininity – a sexuality that did not rely on ruffles or exposed skin but instead lingered beneath the sleek silhouettes of a perfectly cut

of 17, he travelled to Paris where his drawings

four button down pockets and the second cut

jacket and trouser.

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PHOTO: Helmut Newton

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By appropriating male apparel and allowing women to wear it, Saint Laurent had effectively transferred attributes of power from one gender to another – at that instant he successfully crossed from the aesthetic domain to the social one.

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A YSL Saint-Laurent paris women jacket with satin shawl lapel in black wool and YSL Saint-Laurent paris women low waisted tuxedo pant in black textured wool

There is an enigmatic fascination about a woman in the most masculine piece of clothing. Marlene Dietrich, with her love of on- and offscreen cross-dressing, embraced it. Offering a sophisticated new attitude, Le Smoking, with its sharply tailored, understated lines, became the pioneer to the power suit. Diane Keaton, Liza Minnelli, Charlotte Rampling, Lauren Bacall and Faye Dunaway figured among the constellation of strong women contributing to its legendary magic. Fashion photography further echoed the influence of this suit at the vanguard of feminine modernity and liberation, in shoots that featured androgynous models with slicked-back hair and mannish three-piece

It was Newton who elevated Le Smoking to its iconic status with his shot for French Vogue in 1975, taken in a dusky Parisian alleyway–Rue Aubriot–in pure elegant simplicity that became the epitome of panache. In a crisp white cravat, cigarette entwined with a model dressed only in black stilettos in stark monochrome simplicity; Newton created a piece of iconography that to this day has never gone out of fashion. The Saint Laurent woman adapts to masculine silhouettes to highlight her femininity. As a result, the fashion house emphasised on couture as a social phenomenon that is aimed at the widest possible audience. It reflected life and not a

daring and on the cutting of fashion while suggesting their alliance with escalating feminist politics—it successfully demanded: “If men can wear this, why can’t I?” Le Smoking remains as relevant today as it was in 1966. Reinterpreted again by current creative director Hedi Slimane, the Saint Laurent tuxedo jacket is sold in 10 variations, from the single-breasted classic through to the full coat. Saint Laurent himself attributed the enduring appeal and iconic status of Le Smoking to the fact it encapsulated an attitude or mode, rather than any particular details of the garment. “For a woman, le smoking is an indispensable garment with which she finds herself continually in fashion because it is

suits, a style that was first popularised in photographs by Helmut Newton.

fantasy world. So, dressing in a YSL trouser suit declared that the wearer was irreverent,

about style, not fashion. Fashions come and go, but style is forever.”–Yves Saint Laurent.

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OBSESSION

THE LEGENDARY BARTER

THE LEGENDARY BARTER While the architectural landscape of New York City changed noticeably over the last century, one majestic landmark remains a testimony of a glorious era gone by. The prestigious 653 Fifth Avenue Cartier boutique is about to celebrate its 100th anniversary in 2017, after having undergone a breathtaking two-and-a-half year renovation. The venue which is undoubtedly the world most glamorous boutique is now double its retail size on the inside and better than it was before

Pierre Camile Cartier was the grandson of Louis-Francois Cartier, the Cartier founder. An imaginative and enterprising gentleman, Pierre was a visionary from the early days and was someone who had a deep-rooted sense of legacy. After working at Cartier in Paris, London and Russia, Pierre Cartier relocated to New York in 1909 at the age of 31 in order to open the salon at 712 Fifth Avenue. It was the first fine French jewellery boutique in America. Pierre Cartier’s success in New York was immediate. By 1910 he became well-known in the United States from the press coverage received by the epic story of how he had successfully negotiated the sale of the infamous 44.52 carats “Hope” diamond to Mrs Evelyn Walsh McLean an American mining heiress and socialite. The sensational Hope diamond story was far from the only press coverage Pierre Cartier received. From the moment he settled in the city with his beloved wife, Elma Rumsey, an heiress from St. Louis, Missouri, they became active members of New York society. His clients bore prestigious names, such as the Leeds family, Unzue, Blumenthal, Lydig, Huttons, Astors not forgetting the Vanderbilt, Morgan, Ford or Rockefeller families. In time, as their confidence increased, they also became friends of Pierre Cartier. New York banker J.P. Morgan was Elma’s cousin. The couple’s names appeared in newspapers every month among society figures at cultural events or for their generosity to charitable organisations including the Metropolitan Opera, the Brooklyn Museum of Art and the Red Cross.

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“The Cartier Mansion is an icon, I don’t think there is any other store like it in the world.” TH I E R RY DES P ON T

It was 1912 when Pierre Cartier started dreaming of a magnificent location for a Cartier boutique in New York City. For five long years, he looked for a building on a par with Cartier’s famous rue de la Paix flagship in Paris and London boutique on New Bond Street. When a neo-Renaissance style mansion situated in the heart of Manhattan became available, he knew he had finally found the perfect place. But the story doesn’t end there. This mansion would serve as the basis for perhaps the most decorous real estate agreements in New Yorks history. Pierre proposed the legendary swap to the mansion’s owner, a swashbuckling businessman named Morton F. Plant, after his beautiful wife May Cadwell, better known as Maisie, fell in love with a natural pearl necklace she saw at the then Cartier Salon located on the fourth floor of

Necklace of natural pearls created in 2016 in tribute to the legend of the Mansion.

712 Fifth Avenue. Morton Plant, a railroad and steamboat tycoon, in an effort to please his beautiful young second wife, Maisie, traded this Fifth Avenue mansion to Pierre for $100 and the strand of natural pearls. The jewel’s one million dollar price was equivalent to the cost of the prime real estate. In fact, the pearls were somewhat more expensive than the $925,000 value the estimated Plant property was said to be worth in 1916. The high price of the pearls was due to the fact that the deal was done in the days before cultured pearls fully entered the marketplace. It took Cartier years to assemble the 128-graduated perfectly matched natural pearls in the necklace Maisie Plant wanted. Cartier thus acquired the iconic piece of real estate that has been their flagship in America ever since 1917.

maintain the spirit of a grand home. As a gracious host, he established a mode of operations that is followed in spirit to this day. He ensured that the glamorous sales rooms always featured rich jewels, amazing watches and spectacular objects. Pierre went to great lengths to find remarkable gems for clients. An art connoisseur, he employed gallery spaces in the Mansion to stage decorative arts exhibitions. Pierre welcomed an array of guests to the Mansion over the years from royalty, society and celebrities to esteemed French pilots touring the United States, making it a must-see on par with other famous landmarks of the city. A legacy still very much alive today.

CARTIER MOVES IN Designed by architect Robert W. Gibson for businessman Morton Plant in 1904, the private home was considered one of the finest in an area filled with exceptional residences. To transform the Mansion into a House of Cartier, Pierre Cartier hired the renowned architect William Welles Bosworth in 1917. There were very few changes made to the exterior of the building besides the main entrance being moved from 52nd Street to the Fifth Avenue side of the building. Stately display windows with bronze details framed by green Verde marble were added to the new façade. The design garnered Cartier a Gold Medal in 1917 from the Committee of Architectural Harmony, a group in the Fifth Avenue Association,

THROUGH THE AGES The Cartier Mansion has always been more than just a destination for beautiful jewellery, watches and accessories. A synergy between Cartier and New York City began as soon as the Mansion opened in 1917. Pierre Cartier established the practice of public exhibitions in the galleries, making the Mansion a cultural destination. In the original 1917 transformation of the Mansion into the House of Cartier, there was a state-of-the-art workshop located on the fifth floor. Several of the firm’s master craftsmen relocated from Paris to direct the manufacturing and oversee the production of exceptional jewels such as the extraordinary emerald and diamond brooch commissioned by the American composer Irving Berlin for his wife Ellin in 1937, a

known for its sensitivity to the aesthetics of the neighbourhood. When the Mansion was opened for business, Pierre wanted it to

magnificent diamond and sapphire motif necklace custom made for Marjorie Merriweather Post the same year.

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THE LEGENDARY BARTER

Cartier Boutique Decorated-1980

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Grand Staircase

THE TRANSFORMATION The reopening of the Mansion marks the end of the largest renovation in Cartier’s history. It took a total of two and a half-year to design, conduct interior demolition, reconstruction and decoration. The new Mansion at once preserves the heritage of Cartier in New York and improves the client experience. French-born architect Thierry Despont, whose portfolio includes designing Bill and Melinda Gates’ home and restoring the Statue of Liberty, was responsible for the refurbishments. Designed in the manner of a grand house, there are many expansive rooms for clients to walk through and peruse jewellery, watches, objects and accessories. There is an abundance of private areas for clients to be seated with sales associates and consider special purchases. The new boutique space is quadruple the size of the previous one, expanded from 8,600 square feet on two floors to 44,100 square feet on four floors. Almost everything in the interior design was custom made. Among the innumerable special items are 101 window treatments and 43 different fabrics and leathers for the walls, furniture and draperies. Architect Thierry Despont designed 35 unique furniture styles for the Mansion. There are 30 new chandeliers modelled after the originals placed in the building under the direction of Pierre Cartier. A great deal

to fit the new rooms. As in the other two Cartier historical boutiques located in Paris and London, antiques are a key part of the interior design. Each of the 110 antiques acquired for the Mansion was chosen in concert by the Cartier Heritage department and Thierry Despont. While clients will have the luxurious feeling of being in an early twentieth century home, they will also enjoy twenty-first-century technological amenities. In advance of a visit to the Mansion they can make an appointment at cartier.com with a sales associate for a particular meeting time. Upon entering the Mansion, they will have access to free Wi-Fi. The browser on their smartphones will automatically go to a unique landing page including a floor directory, product highlights and the Mansion’s history. If clients drop off a repair in the Service Salon, they will receive a text five minutes before their item is ready for pick-up giving them an opportunity to lounge or explore the Mansion. All sales associates will have tablets that give them the ability to conduct a transaction anywhere in the Mansion. Of all the changes to the Mansion, the most historically significant was the façade. The Fifth Avenue entrance was moved slightly north to the center of the building. This alteration creates the same type of classical symmetry on Fifth Avenue as there is on the original main

of the cerused oak wood panelling was preserved from the original décor, refurbished and reinstalled with supplemental sections manufactured

entrance to the home on 52nd Street. Since the Cartier Mansion is an official landmark, plans for the exterior had to be approved by

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OBSESSION

THE LEGENDARY BARTER

“I wanted to give people the feeling of being in the grand house that it once was and to restore it to its full glory.” TH I E R RY DES P ON T

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Andy Warhol Salon

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OBSESSION

THE LEGENDARY BARTER

Panthère Hall

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French Neoclassic salon

the New York City Landmark Preservations Commission. Permission was granted when the design was presented along with a watercolour rendering dating from the 1917 transformation of the home into the Cartier Mansion. It showed one of the ideas originally considered had the door positioned in the center of the building. In other words, the new look of the façade actually dates back to the beginning of the epic fairy tale of the Cartier Mansion in New York. Overall, Despont says, “It has been an extraordinary opportunity working on the Cartier Mansion and going back to what I think is really the practice of architecture which is the collaboration of a team with a designer, artisans and craftsmen to create things of beauty and lasting value.” BOUTIQUE FEATURES At the Mansion’s two main thresholds, the mood is immediately set. “When you enter on Fifth Avenue in the Maisie Plant Salon there will

entrance to the Mansion on 52nd Street is a grand foyer with a specially made panel by the Parisian lacquer workshop Atelier Midavaine, a concierge desk and classical staircase. This is the Panthère Hall. Several rooms of the Mansion are inspired by and dedicated to prominent figures in Cartier’s history. Each salon in the new Cartier Mansion is named after some of the marque’s most famous patrons. The Jeanne Toussaint mezzanine, named after Cartier’s legendary artistic director, is a private area for clients to commission unique High Jewelry. It is decorated in a manner reflecting the creativity of Mademoiselle Toussaint with richly-colored fabric walls, furniture covered in embroidered fabrics and herringbone wood floors. In the Pierre Cartier room, where classic jewels are displayed, the décor features green velvet draperies, two antique sofas, lounge chairs, a fireplace, a desk, bevelled mirrors on the wall and cerused wood panelling. An oval room on the second floor named the Princess Grace Salon

be a beautiful perspective, a straight line through the entire floor all the way to the back where there is a mezzanine,” says Despont. The original

where the ballroom was once located is devoted to diamonds and Grace Kelly, who received a Cartier engagement ring from Prince Rainier of

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OBSESSION

THE LEGENDARY BARTER

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Princess Grace Salon

Monaco in 1955. “It is very glamorous and romantic, with ornaments and elements of architecture such as wall carvings that we found in the original mansion,” explains Despont. “There are beautiful taffeta silk curtains that filter the light into the white room and a fabulous chandelier.” On the white walls are white crests of Monaco accenting the woodwork. Cartier dedicated the Elizabeth Taylor Salon on the second floor to the ultimate in High Jewelry creations. In recognition of Cartier’s illustrious 169-years of watchmaking, the entire third floor is devoted to timepieces for men and women. The feminine space has a light palette on the walls, columns, draperies and mirrors. Men’s watches are positioned in the middle of the floor in a room with cerused oak walls embellished with moldings and mirrors named the Andy Warhol Salon. There is a men’s watch lounge named after the great Brazilian aviator Santos Dumont, who inspired Louis Cartier to create the world’s first modern watch in 1904 specifically designed to be worn on the wrist. The fine watchmaking Gary Cooper Salon has a minimal, masculine décor of tobacco-colored leather walls and red leather armchairs. It is intended to serve as an active backdrop to the most exclusive and complicated timepieces featured in the area. There is a contemporary spirit on the fourth floor where the accessories are located. “The room has red leather walls and a red ceiling

and minimal.” In the center of the room, there is a large wenge wood screen style display of handbags, leather goods, scarves and eyewear. An intimate fragrance cabinet of approximately six square meters stands within the accessories room. It has the same style of red leather walls and houses twelve numbered scents created by Mathilde Laurent, Cartier’s in-house perfumer. When one of the boxes containing a fragrance is opened, a small video screen on the wall displays a short movie reflecting the mood of the scent. A luxurious Service Salon is housed in the remaining space on the fourth floor. It features comfortable chairs, seating a bar area serving complimentary beverage service and charging stations to power smartphones. The fifth floor is devoted to the workshop. The sixth floor is a private entertaining area that will change styles according to the event being staged. The enclosed space ends in a glass wall that can be opened like an accordion onto an expansive terrace overlooking Fifth Avenue. “The Cartier Mansion is an icon,” says Thierry Despont, the lead architect for the two and a half-year long historical renovation. A classicist with a profound sense of history, a passion for craftsmanship and a flair for mixing techniques from the past seamlessly into contemporary work, he employed a number of styles throughout the building. “I wanted to give people the feeling of being in the grand house that it once was and

that are the same material as Cartier’s iconic red jewellery boxes,” says Despont. “The display will be like a contemporary museum, elegant

to restore it to its full glory,” he explains. “I don’t think there is any other store like it in the world.”

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OBSESSION

THE BESPOKE BOOM

THE BESPOKE BOOM British bootmaker, John Lobb’s passion for the human touch had won him a cult following the world over. We delve into the realm of bespoke and the label’s latest offering of customised services to create fashionable footwear specific to your needs and wishes

Niyoshi Chudgar

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Bespoke shoemakers across the globe are Bespoke shoemakers across the globe are cashing in on the growing demand for exclusive, high-quality footwear fuelled by celebrity devotees and their love for custommade luxury. With hand-crafted leather de rigueur on the streets, men are resorting to extreme measures to make their feet stand out from the crowd. We explore the world of one such designing czar, John Lobb, as the label launches it’s much anticipated Levah collection. As the month-long spectacle of haute couture shows draws to an end, and the

place among the style connoisseurs across the globe. Fashion aficionados are adopting a more discerning way of shopping with bespoke apparels and accessories rapidly becoming the most coveted pieces in the industry. These savvy consumers who are acquiring distinctive, made-to-measure pieces are part of what is being coined “the new luxury”. This army of high flyers is being measured up by an exceptional breed of tasteful designer-dressmakers, contemporary tailors and artisanal shoemakers. They are feeding the growing demand for a more anonymous look that seamlessly meets the

Although custom footwear is slowly becoming a lost art, a handful of labels are steadfastly keeping the age-old craft alive. One such celebrated bespoke brand is famed footwear label, John Lobb. The label’s distinctive shoes present sculptural silhouettes, nuanced colours and subtly concealed details that enhance comfort and exude custom-made finesse. Once you step out in a pair of bespoke shoes, modified to your foot’s individual characteristics, tailored to your taste and requirements, it’s hard to wear anything else. John Lobb has been upholding the brand’s

world’s boutique buyers close their order books, a silent revolution has been taking

needs of the customer in terms of fit, lifestyle, and uniqueness.

traditional savoir-faire and bespoke experience for over 150 years.

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OBSESSION

THE BESPOKE BOOM

Above all else, the label is known for its incredible vision and inability to recognise the words “it can’t be done” when conceiving a pair of shoes. Such progressive thinking has allowed them to create some of the footwear industry’s most heralded designs And when a label carrying such deep rooted history ventures into the sneaker world under a new creative director, the fashion world gets excited. Introducing the Levah Collection, a clean-cut plimsole sneaker created for those days you need to give the loafers a break. As you would expect and like their meticulously

velveteen calf leather, the shoes have a stitched sole and come in three colorways inspired by the landscapes of Cornwall, England where John Lobb was born. For the bespoke purist, the brand provides premium leather options including the finest calfskin, uniquely textured grain calf and buttery soft suedes. Their artisanal process is carried out in their Paris workshop at 32 rue de Mogador. Each pair requires an average of 50 hours of work done by highly qualified craftsmen. Levah combines the values of quality and

also includes adding personal initials through the monogramming service. Through the ‘By Request’ service customers can choose their own materials that meet their needs and desires. Customers can select the colour of contrasting binding on the tongue alongside their preference of metal eyelets and waxed laces. The onset of the bespoke rage has resulted in a newfound interest among men and youths in learning the trade. With the launch of Levah, we can envisage that ageold shoemaking traditions will imbue a new

crafted dress shoes, it is an immaculate piece of work. Crafted from your choice of suede or

craftsmanship attributed to John Lobb with the versatile characteristics of a sneaker. This

generation of loyalists with an appreciation for the human touch.

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PHILANTHROPY

THE SOCIAL STITCH

THE SOCIAL STITCH Ermenegildo Zegna has been associated with supporting various social projects across the globe. Through Fondazione Zegna, the brand has, along with Fondo Ambiente Italiano, contributed to the restoration of Punta Mesco to its original beauty

Diksha Vohra Known for producing some of the finest quality of suits and dresses adorned by celebrities and commoners alike, Ermenegildo Zegna also devotes its time and effort in helping local communities, scientific research and environmental protection campaigns. The founder of the brand, Ermenegildo Zegna, was the first to initiate philanthropic projects under the brand when he fostered the growth of his

brand introduced Fondazione Zegna, which focuses on the conservation and preservation of the environment. In addition to these, the foundation also works on the sustainable development of local communities, while supporting medical and scientific research and education and training for young people. Unlike other philanthropic projects, Fondazione Zegna plans developments that would last longer than at least three

using their expertise, knowledge and skills, the organisation not only forms a base to start from but also educates the residents on how to carry out those tasks independently. To facilitate their planning and execution, the foundation liaises with local partners who have strong roots in their respective territories. Through their partners’ local experience and their inherent expertise, the risk of failure is substantially reduced.

hometown Trivero (Italy) during the 1920s. Following the footsteps of the founder, the

years, while enabling them to become selfsupporting over time. Giving the initial push

In collaboration with FAI (The Italian National Trust) in Italy, Fondazione Zegna

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has worked on numerous environmental projects throughout Italy. From Villa Della Porta Bozzolo in Varese to Castello di Masino and its park near Turin and Bosco di San Francesco in Assisi, both organisations have created history in the world of environment protection. These experiences have strengthened the bond between them, which has inspired the foundation of the latest and most important project, the restoration of Punta Mesco, a rural landscape within the Cinque Terre National Park in Liguria (Italy), one of the UNESCO World Heritage sites. The uniqueness of Podere Case Lovara lies not only in the fascinating beauty of its clifftop position, but also in the experimental model being applied to the regeneration project and in the commitment to ensuring the productivity of a landscape that for centuries has shouldered the imprint of mankind on a natural setting that requires the highest

the almost 2 kilometres of existing dry-stone walls has been restored and around 5,000m2 of olive groves have been regenerated, with the planting of 80 new olive trees and the creation of a vegetable garden and an orchard encompassing around 250m2. In addition, a biodynamic agriculture route has been laid out in partnership with the Italian National Association for Biodynamic Agriculture, geared towards the development of ecological processes in the running of the farm, with a view to ensuring the health of the produce and the continued use of the soil, without recourse to pesticides, synthetic fertilisers or weed killers, opting instead for natural products to increase the fertility of the soil. Today at Podere Case Lovara the vegetables being cultivated are those that are suited to the context and require limited amounts of water (in order to reduce water consumption). Two buildings have been renovated to support the farm and

restoration of the Casa Bianca (White House), the older building, which dates from the late 18th century, has seen the “philological” reconstruction of collapsed sections, the conservation of the three-dimensional layout the building and the enhancement of the grounds. A great deal of attention was paid to the restoration of the plasterwork on the facades, the reconstruction of the (partially collapsed) slate roof, and the recovery and reuse of the wooden components. In addition to the above, Fondazione Zegna is also involved in other social and educational fields such as Care & Share in India, Amref in Africa and San Patrignano community where the focus lies on preventing infantile death and providing training for those recovering from drug addiction issues. They have also launched the Ermenegildo Zegna Founder’s Scholarship program for those who need financial assistance in

possible level of protection. As of today, More than one-quarter of

will welcome day-trippers who want to visit the site and learn more about the area. The

achieving their academic as well as extracurricular goals.

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PHILANTHROPY

FLIGHT INTO FUTURE

FLIGHT INTO FUTURE Solar Impulse, the first aircraft powered only by the sun, has completed its first roundthe-world flight. Celebrating the onset of a new era in the history of aviation, Omega launches the Speedmaster Skywalker X-33 Solar Impulse Limited Edition

Diksha Vohra Omega, the renowned watchmaking brand, has been commemorating moon expeditions by launching exclusive watches under its Speedmaster series for

landing light system, an energy dispatcher and the Omega Instrument, which helps the pilots maintain the stability of the plane on approach and landing. The lightweight landing light

that emits a loud noise every 20 minutes so that he does not fall asleep during critical times. Ensuring further safely, in 2007, the brand also provided the Solar Impulse team

a long time. Taking a step further, Omega partners with Solar Impulse, supporting the first ever flight powered by solar energy. After years of preparation, relentless efforts and many astonishing flights that began in March 2015, the round-the-world mission has finally completed. Where carbon emissions and global warming are increasingly becoming a cause of worry, this mission is a great achievement for the future of renewable energy. In addition to this, the flight has also set a number of records including the new world record for a solo endurance flight by travelling for 117 hours and 51 minutes from Japan to Hawai. It was in the year 2003 that Bertrand Piccard presented the idea of a solar-powered plate to the Ecole Polytechnique Federale de Lausanne, which agreed to a study conducted by the engineer and pilot – Andre Borschberg. The project was launched in November that year. Ever since it all began, Omega has been a keen supporter of the Solar Impulse project and along with providing capital; it has also made some key technological contributions

system has an impressive ‘watt to weight’ ratio and illuminates the landing area brilliantly, and interestingly it weighs only a kilogramme. On the other hand, the Omega instrument, exclusively designed by the Solar Impulse head of flight test operation Claude Nicollier and the European Space Agency (ESA), indicates the flight path and alerts the pilots if wing angle exceeds the normal limit. The Solar Impulse is also equipped with energy dispatchers on each wing. Making use of the bi-directional functionality, the dispatcher ensures that either gondola battery can support the other on the same wing if at all one engine fails. Solar energy is used to power the instruments in the cockpit through highvoltage batteries in the plane’s gondolas. A DC-DC Converter converts the energy from the batteries to a low voltage, enabling the plane’s cockpit electronics to function with solar energy. To prevent any accidents, an efficient warning system is installed on the aircraft. To ensure that the pilot reacts quickly to emergency warnings from the Omega instrument installed, the sleeves of

with the test bench that enabled the engineers and developers to simulate the plane’s electric system on the ground. The most notable contribution of Omega, however, has to the Speedmaster Skywalker X-33 Solar Impulse Limited Edition. Celebrating the unique partnership between the watchmaking brand and the Solar Impulse, the timepiece pays tribute to a great team who succeeded in their ambitious aim. At a closer look, The lightweight grade 2 titanium 45 mm case is complete with a ceramic bezel with a chromium nitride scale whose minute track scale is coated in white Super-LumiNova, as are the skeletonized black and white hour and minute hands. The central seconds hand is distinguished by its green and black colour combination. The outer caseback is also stamped with the Solar Impulse ‘Around the World’ patch and engraved with the words ‘Tested and qualified by ESA’. The notable accomplishment has certainly left many mesmerised and has opened the door for future innovations. Omega, yet again, manages to capture the historic moments on

to the project. Omega’s contribution to the Solar Impulse project includes a lightweight

the flight suit vibrate. Furthermore, a timer called the Omega Buzz is also set by the pilot

its instruments, which would leave a lasting impression on the sand of time.

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The most notable contribution of Omega, however, has to be the Speedmaster Skywalker X-33 Solar Impulse Limited Edition. Celebrating the unique partnership between the watchmaking brand and the Solar Impulse.

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THROUGH THE AGES

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BOOTMAKERS STORY The foundations of Berluti date back to Paris in 1895 and have been built by four generations of the Berluti family, who cult ivated an exceptional know-how in the mastery of shoe making, a deep understanding of fine footwear and a passion for leather and patina

Berluti today is far more than a bootmaker, in 2005 fine leather goods were introduced and, in 2011, with the appointment of Artistic Director, Alessandro Sartori, a complete clothing collection. Today, made-to-measure or ready-to wear clothing collections offer an innovative alternative, while remaining firmly rooted in the Berluti ethos. Staying true to its traditions, the company is turning its shoemaking expertise to menswear. Attention to detail and compliance with the rules of cutting and assembly are the cornerstone of the company’s expertise. Berluti has had outlets in many capital cities since 2013, with its Maison openings in Paris, London, Shanghai, Tokyo and, most recently, New York. The tailoring know-how of Arnys workshops has been deployed to create our “Grande Mesure” fully bespoke tailoring service, supplementing the company’s shoemaking expertise and opening up unlimited horizons with the option of a head-to-toe bespoke wardrobe. As opposed to ready-to-wear suits, or “semi-mesure” suits which are adapted from existing models, Berluti offers Grand Mesure suits that are made to fit only the client for whom it was conceived. A Grande Mesure suit is entirely conceived by and for the client. It is cut exclusively to his measurements so that it will perfectly mold to his body. And he can choose every last detail, from the width of the lapels to the style of the buttons and the color of the lining, while taking full advantage of the seasoned experience and advice of the master tailor. For the House of Berluti, offering Grande Mesure was obvious. The House already offered unique expertise in its bespoke footwear and ready-to-wear collections, so it was only natural and a point of pride to offer a Grande Mesure service of the highest caliber. Berluti chose the House of Arnys with its 40 years of tailoring excellence as a partner in tailoring its suits. This move saw Berluti become the first House to offer a bespoke service to dress men from head to toe.

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THROUGH THE AGES

1895 Alessandro establishes the first Berluti store on rue Marbeuf in the 8th arrondissement of Paris. In that same year Torello was born, the fifth and last child of Alessandro and Zénaïde Berluti. A hard-working perfectionist, Alessandro rapidly found work with orders from a number of fellow-countrymen, experienced shoemakers with their own establishments. Everywhere between the Opéra and the Tuileries the newly established grand hotels of Paris welcomed an international clientele in search of novelty and Parisian elegance. And here Alessandro set up his own bootmaking workshop, to craft shoes for these wealthy men who were not only connoisseurs but also extremely exacting clients.

1865 October 20, Alessandro Berluti was born in Senigallia, a tiny Italian port town in in Le Marche on the Adriatic coast. It was here that he began carving out his future as an apprentice, constructing carriages from wood, seats and reins in leather.

1882 With his skills now honed, Alessandro Berluti was ready to discover the world and took to the road at the age of 17. A few years of journeying and adventure led him to Paris, the city of light and joie de vivre where he sets up his bootmaking workshop.

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Since 1895 each successive Berluti generation has cultivated an exceptional mastery of last-making and a deep understanding of fine footwear. The consistent result has been shoes of exceptional comfort and elegance, expressed in the House saying: “you cannot be elegant if you are not comfortable and well shod”. These techniques and this expertise, initially developed for bespoke footwear, were also brought into service for the ready-to-wear collections.

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THROUGH THE AGES

1922 With the Roaring Twenties were gathering speed, Torello plunged himself enthusiastically into the bootmaker’s craft that his father had taught him to love. His approach was very advanced from the start: he thought in terms of volume while others were still thinking simply in sizes. He was particularly focussed on the beauty of the finished shoe.

1895

1928

Early in the 1940’s the shop on rue du Mont Thabor had become too small to receive a clientele accustomed to luxury and comfort, so Torello acquired larger premises at 26 rue Marbeuf. Here, a stone’s throw from the Champs-Elysées, he was able to give shape to his passion for creation. Torello and his wife Assunta had one child, a son called Talbinio. Torello, motivated by the same passions and desires as his father, followed an almost identical path. He had inherited his father’s greatest gift: hands to express his creativity and intelligence. The young Torello could turn his hand to almost anything, but what he liked best were the noble materials - wood, leather and cloth – from which he could craft accoutrements for the elegant living of the day. A carpenter, cabinet maker, his greatest pleasure lay in creating and shaping beautiful things, bringing a touch of the exquisite to daily life. Echoing the Art Deco style of the period he preferred simple, clean lines, introducing the “Richelieu à plastron” (lace-panel Oxfords) and comfortable “Sans Gêne” elasticated boots.

To satisfy the flood of orders and receive his clients in comfort and style, Torello bought the lease of a shop at 9 rue du Mont Thabor. From there his fame spread, to such a point that wealthy international clients from the nearby grand hotels had their names put down on his waiting list for the privilege of wearing shoes made by Berluti.

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Berluti’s artisans produce shoes using four distinct specialist techniques, each one of which helps form the personality of the shoe. Hand-stitched Blake construction, where the outer sole is stitched directly to the insole, is ideally suited to lightweight, flexible shoes. Goodyear welting, where the upper and sole are first stitched to the welt, is perfect for both comfort, durability and future repair, which Berluti can provide. Norwegian assembly has the welt flush to both the upper and the sole, and gives a durable shoe with a very waterproof finish. Berluti also produces softer and suppler shoes with a non-welted tubular construction, such as driving shoes or slippers, which have a hand-sewn vamp.

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THROUGH THE AGES

1959

1962

Talbinio introduced ready-to-wear de luxe shoes, a selection of entirely handmade models in the great bootmaking tradition, but immediately available. This idea, at the dawn of a new era, opened the door to a very specific and younger clientele. Talbinio was joined by his young cousin Olga, who injected a burst of creative energy into the family business.

Talbinio introduced ready-to-wear de luxe shoes, a selection of entirely hand-made models in the great bootmaking tradition, but immediately available. This idea, at the dawn of a new era, opened the door to a very specific and younger clientele. Talbinio was joined by his young cousin Olga, who injected a burst of creative energy into the family business.

1993

2005

The LVMH group acquires Berluti

fine leather goods were introduced

2011 Antoine Arnault is appointed CEO of Berluti. Berluti acquired Paris tailor house Arny’s and launched its first prêt-àporter menswear collections. Alessandro Sartori is appointed Artistic Director.

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Perfected during the 1980’s, the famous Berluti patinas revolutionised the world of male footwear by introducing colour at a time when the majority of men’s shoes were either black or brown. These patinas overlay the Venezia leather with colours that are both transparent and exceptionally deep, bringing individual life to each pair of shoes, for each patina is the unique result of hand-finishing by Berluti’s expert colourists.

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THROUGH THE AGES

2016 Appointment of Haider Ackermann as the new Creative Director And will present his first collection during Paris Men’s Fashion Week in January 2017.

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H E R I TA G E

S W AT C H T O T H E R E S C U E

SWATCH TO THE RESCUE It’s no secret that the Swatch Group once played a grand role in reviving the Swiss watch industry. Thirty years down the line, the group continues to demonstrate its prowess and industry-saving abilities backed by ingenuity, innovation, and widespread visibility

Beverly Pereira The Swatch Group has a knack of making heads turn. It’s also safe to say that the Swiss group revolutionised the wristwatch market and the way we wore our watches when it introduced the Swatch watch in 1983. Three decades on, the iconic and colourful

remembered for giving the world a colourful plastic watch, become the world’s leading watch group? The story behind the Swatch Group is an intriguing one that goes back to a period much before the 1980s. Since the first half

Swatch watch is hard to miss. The cult wristwatch stands for more than just a way to measure time, and it still serves as a fascinating method of selfexpression. It’s not hard to believe then that the Swatch Group, at this point in the history of watchmaking, wears the watchmaking badge of the world. With its 18 strong brands including Omega, Tissot and Longines, its multibrand Tourbillon and Hour Passion retail labels, and an independently owned retail network, the group is not only well-positioned but also equally wellrepresented across the world. Of course, this is in addition to the fact that the Swatch Group manufactures its own watch movements and components, supplied not only to Swatch Group brands but also to the entire Swiss watch industry and to select watchmakers outside Switzerland. Then there’s the endless investment of time and money that goes into research and development. From developing advancements in microelectronics and micromechanics, right up to being active in the telecommunication, automobile and service sectors, as well as in the field of sports timekeeping, the group has been steadily pushing the boundaries of technology. So, how did a company,

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of the 16th century, Switzerland had been closely tied to the fine art of watchmaking. In fact, so widespread was the Swiss watchmaking industry at the time that it quickly branched out from Geneva all the way to the Jura Mountains. Swiss mechanical watches, renowned for their craftsmanship and unrivalled efficacy of their movements, continued to dominate the world markets well into the 1970s — until the advent of the quartz crisis, that is. At a time when the fine art of watchmaking was fast being replaced by technological advancements in the Japanese watch industry, the birth of a revolutionary Swiss brand in 1983 would change things for years to come. Swiss Corporation for Microelectronics and Watchmaking Industries Ltd (SMH) —renamed as The Swatch Group in 1998 — was born as a merger of two longstanding Swiss watchmakers since the 1930s, ASUAG and SSIH. The group was a result of an ingenious move made by its founder, Nicolas G. Hayek, who was responsible for this notable merger that enabled the survival of both companies during the quartz crisis. Another critical decision that aided the revival of the Swiss watchmaking industry was the launch of the low-cost, high-tech, artistic and emotional Harry Winston Histoire de Tourbillon 7

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watch — the Swatch, which derived its name from the term ‘second watch’.

Breguet Tradition Répétition Minutes Tourbillon 7087

Glashutte Senator Chronometer Regulator

Over three decades down the line, the Swatch Group and its iconic Swatch watch remain inseparable. However, along the years, the group diversified to offer a range of Swatch-branded watches that include diving watches, thin and flat-bodied watches, and metal-bodied watches. Even the Swatch Sistem51, a purely mechanical automatic wristwatch with just 51 components, and the recently launched Swatch Bellamy, a quartz watch equipped with a near-field communication chip that facilitates contactless payment, speak of the group’s continued advances in product design and technology. Aside from the Swatch family of watches, the group has acquired more than just a handful of watchmaker companies — many of them being Swiss watchmakers — over the years. Placed across various price ranges and categorised as the Prestige and Luxury range, the High range, and the Middle range, the Swatch Group owns some of the biggest and most well-known jewellery and luxury watch companies.

Prestige and Luxury range, its High range of watch brands includes the likes of Rado, Longines, and Union Glashütte. The Middle range of watchmaking brands under the Swatch Group umbrella includes Tissot, Balmain, Calvin Klein watches and jewellery, Mido, Certina, and Hamilton. The ubiquitous Swatch watch brand and Flik Flak, its watch brand from children, make up the group’s entry-level range. It’s not difficult to get your hands on any of the brands from the Swatch empire, even if you happen to be waiting for a flight at any airport in the world. Hour Passion, the Swatch Group’s watch-andjewellery multi-brand retail stores are present at some of the world’s busiest airports. Even its exclusive range of watches and jewellery aren’t too hard to come by if you walk into Tourbillon, the group’s multi-brand retail mark for its Prestige and Luxury range and many of the Swatch product lines. The Swatch empire is currently overseen by Hayek’s son Nick Hayek

While brands like Omega, Breguet, Harry Winston, Blancpain, Glashütte Original, Jaquet Droz and Léon Hatot fall into the group’s

Jr., who serves as the group’s CEO. Currently reigning in the world of watchmaking, the group presented growth and positive developments

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in certain markets and segments in its halfyear report. That it has reported double-digit growth in retail sales in Mainland China and

new Olympics-themed watch models, it is expected to enjoy this level of success well into the second half of the year, too.

Southeast Asia says a lot about the company’s Omega will soon launch its much-awaited prowess even in the age of the smartwatch. Seamaster Planet Ocean Deep Black models When compared to last year’s report, Swatch and the Speedmaster Moonphase Master Group luxury brands like Blancpain, Omega, Chronometer. Tissot, too, will continue to enjoy Longines, Breguet and Glashütte Original presented widespread visibility, in part due to its engagement an improvement in Mainland China in the first three with the Tour de France as official timekeeper and weeks of July 2016 itself. also thanks to the launch of the new Tour de France The Swatch Group’s widespread presence across T-Race. the world has largely contributed to a large net sale International visibility is also set to increase of 3716 million Swiss Franc in the first half itself. The through its involvement with the NBA, the North Jaquet Droz antimagnetic Omega Co-Axial Globemaster collection, American professional basketball league and the The Charming Bird the Swatch NFC Bellamy launch in China, Switzerland, and WNMA (the women’s basketball league). The all-new Brazil, and the Swatch POP collection not only achieved particularly NBA collection by Tissot coupled with the launch of the wellgood sales in the first half of 2016 but can also be credited with fulfilling priced Tissot Ballade Silicium Chronometer will further aid this every order. Also credited with a wider retail network, Harry Winston, growth. The outlook for Longines in the Asian market is set to known for its extensive range of diamond jewellery and noble watches, expand further thanks to new launches like the Equestrian and came in with a particularly strong half-year and a record month in Symphonette collections. June 2016. Presented to the world earlier in July this year, the Swatch Touch One cannot ignore the role of Omega as the official timekeeper at Zero Two that comes fitted with a fan and fitness and timing functions the Olympics in Rio de Janeiro. From a group perspective, this level of has also taken the world by storm. Even when the group ventured engagement — albeit a huge expense for the group — only generates out of its comfort zone to offer Swatch loyalists the Swatch Sistem51, that much more of a positive stimulus. As bestsellers like the Longines a mechanical wristwatch in steel, it continued to disrupt the face of Master and Grand Classique, and the Tissot T-Touch Expert Solar watchmaking. Intriguingly, in an age when people are abandoning continue along an excellent growth path, it is noted that the Swatch mechanical watches, the group seems to have come to the rescue of Group will retain a sizeable portion of the ‘Swiss-made’ watch industry. the watch industry, yet again. Just as the Swatch Group was born in a If the group’s notable brand Omega achieved a global boost during the Olympics, thanks to international visibility and the launch of nine

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bid to re-energise the Swiss watchmaking industry, it is evident that the group’s success is set to come full circle.

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Blancpain Villeret Quantième Annuel GMT

Longines Railroad

Omega Seamaster Planet Ocean

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THE NEW ICON

THE NEW ICON The first product launched under the company’s ‘Second Century’ plan, DB11 is the bold new figurehead of the illustrious ‘DB’ bloodline and an authentic, dynamic sporting GT in the finest Aston Martin tradition

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I had my first glimpse of the DB11 as the sun came up over the orange Tuscan sky in Siena. The first product launched under

terms of Aston Martin design, the front grille is a timeless and truly iconic signature. For DB11 it has been developed; amplified into a

the company’s ‘Second Century’ plan, DB11 is the bold new figurehead of the illustrious ‘DB’ bloodline and an authentic, dynamic sporting GT in the finest Aston Martin tradition. The DB11 is at first glance a big block of an art installation. It’s apparent that Aston Martin has re-imagined the relationship between form and function with a series of new design details. Foremost amongst these are the front-hinging clamshell bonnet, distinctive LED headlights and accentuated lines of the iconic Aston Martin grille. In

stronger and more significant feature. Exerting greater influence on the overall design, it is the source from which all the body’s form and surface lines emanate. It’s hard to miss what is undeniably the largest hood in the car industry. A profile free of lines cutting through it to avoid contaminating the purity of the front profile of the car. All the lines start to take place on the side of the car and continue at the rear, creating a new and unmistakable graphic.

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STEP INSIDE I hardly needed the invitation to throw myself into the car. The impression of being stately overwhelms you on the inside. Fine materials and highly skilled hand-craftsmanship are the DB11 interior’s crowning glory. Continuing the tradition established by DB9, DB11 presents traditional materials and techniques in modern, dynamic ways that suit the car’s sporting character. Trim inlays have been brought up to date, with some woods avoiding high-gloss finish for open grains in which you can see and feel the texture. It looks more natural and authentic. Likewise, DB11 is a showcase for some of the most imaginative use of leather you’ll find in any car at any price. Nexus Quilting. Celestial Perforation. Brogueing. Each technique adds a different layer of intricacy, visual detail and tactile delight to the interior. Made, rather than manufactured, it’s what gives DB11 its warmth of character and why the Aston Martins of today and tomorrow will always be a true expression of craftsmanship. DB11 is packed with technological advances, but it is also a handcrafted car made from the finest materials for an immaculate quality and an unmatched sensory experience. But who pays attention to technology when you’re already so deeply emotionally involved?

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THE DRIVE When you’re driving through Tuscan countryside, saying that roads were very demanding, would be an understatement. The roads were either narrow or curved with very few appearances onto the highway, and every curve was sporting an alternating curve, almost as if they were sold in pairs. With the suspension switched to GT mode, the car appeared to know somehow what lay ahead, barely blinking as I pulled the car in and out of turns. And while the roads were being tossed aside in its wake, inside of the sanctuary I felt none of the hurry of the outside world.

AERODYNAMICS By the time I stopped for lunch, I had already bonded with what is definitely one of the finest tourers to come out of Britain in very a long time. Lunch was an opportunity to meet up with Marek Reichman, the

had pioneered a bold new design language. One that’s unmistakably Aston Martin, yet fresh from nose to tail. Respectful of the DB line’s immaculate design legacy, but energised by the challenge of creating a successor to spearhead Aston Martin’s ‘Second Century’ plan, Reichman and his team have produced an exceptional and exciting shape that incorporates countless new details and truly groundbreaking aerodynamics. Aerodynamics are a key ingredient of DB11’s design. He explained how the airflows had been carefully engineered to avoid the need for a rear spoiler and inevitably the cars pure and elegant design. Careful concealment and seamless integration have preserved the clean surfaces and uninterrupted flow of lines from nose to tail, while at the same time creating areas of surprise and intrigue. The DB11 is definitely the first chapter in a new book by Aston Martin, a chapter that definitely strengthens a long and prosperous bloodline of DB cars. As Dr Andy Palmer, Aston Martin Chief Executive Officer, put it “We aspire to make the most beautiful cars in the world. DB11 is the absolute embodiment of what an Aston Martin should be, and we have worked tirelessly to ensure that DB11 combines both exceptional design with the latest technology throughout. It is not only the most important car that Aston Martin has launched in recent history but also in its 103-year existence.” Though many of these improvements and innovations are hidden from view, you can feel them at work in every facet of the car. DB11 is the most powerful, most efficient and most dynamically gifted DB

Chief Creative Officer, to discuss the striking exterior profile of the DB11. With Reichman at its helm, the award-winning in-house design team

model in Aston Martin’s history. As such, it is the most significant new Aston Martin since the introduction of the DB9 in 2003.

Reaching out for a bit of adrenaline I attempted to throw the car into its Sport+ mode, prompting some aggression out of the 8-speed gearbox. The car came to life with a concert roar. With a squeeze of the throttle I had reached a hurried 200 kph at 6th gear, and somehow switched the engine sound from mellow to malevolent. Perhaps the most visceral and celebrated element of DB11’s sonic identity is its exhaust note - a magnificently rich and potent soundtrack. I snapped my foot off the accelerator. I had awakened the 5.2-litre twin-turbocharged V12 engine, and it had responded by throwing me back into my seat and reminding me how 600 bhp coming online in an instant can be dizzying.

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THE MIDAS TOUCH A restaurateur, style icon, or 21st-century business tycoon – call him what you may, for all hats fit charmingly well on Kunal Lahori’s head. We take you beyond the superficiality and into what drives him to launch his ambitious projects, his insatiable hunger and the essence of what makes Kunal who he is

Niyoshi Chudgar Dubai-based Kunal Lahori is UAE’s restaurateur du jour. His Midas touch has turned his restaurant chains into neighbourhood hangouts for the most desirable of neighbours—fashionable, successful and the crème de la crème. He has a thriving business empire, two successful gourmet chains and an army of admirers and imitators. With an expanding realm and a huge fan base among the youth, his ideas have never had more reach or impact than now. Kunal is back with a new venture as he launches yet another exemplary enterprise – Bazxar at DIFC. The pioneer of world class restaurants and scion of the famous Palmon Group bears an astounding track record of successful management across a variety of industries. He is an intelligent, soulful, articulate and a passionate entrepreneur who embraces luxurious living with a deep obsession for gastronomy. An avid traveller and collector of luxury cars, Kunal moved to the UAE three decades ago to root himself within this accelerating market and to pursue a career across a range of services. Having served for 13 years at various levels, the young entrepreneur holds the position of an Executive Director at the family run Palmon Group. Beyond his sophistication, world travels, and a life lived in opulence lies a simpler and deeper love for food that has inspired him to penetrate into the cryptic gourmet industry. The thirty-three-year-old has managed to turn every one of his ventures into a raging success in a city where the odds of a trendy new restaurant’s survivgal are terrifyingly small. Kunal launched his first venture, the award-winning El Sur in 2015. An enterprise that quintessentially feeds his spirit and has fast become a shining star in Dubai’s vibrant circuit of affluent bistros. Located in the elegant Westin Hotel, the Spanish tapas eatery imbibes a relaxed and elegant ambience where guests can unwind and enjoy extraordinary service with a keen attention to detail. As a result, in its first year, it was nominated for the Best Newcomer award by Time Out, it subsequently was included in the Ahlan 100 Top Bars and Restaurants and was also nominated for the Ahlan Best Restaurant Awards in fine dining category. Captivated by the city’s eclectic restaurant scene and his fast-paced success, Kunal launched his next enterprise, Pret-To-Go. A unique homegrown deli that includes a brew bar, a sandwich station, and a line of wellness shots. Offering working professionals access to nutritious food and beverages imbibing fresh produce that satisfies both appetites and taste buds. Kunal has been instrumental in the development of this exceptional concept and

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Bazxar, DIFC-Dubai

meticulously designed the menu to encompass handcrafted fresh food with an extensive variety to cater to different palates. The first PretTo-Go outlet opened in DIFC in November and offered a selection of natural and wholesome food, with a delivery service spanning across the financial hub. After the dynamic success of El Sur and Pret-To-Go,

‘food-market-restaurant-wine-bar’ concept that has been described as deliciously explosive by loyalists. Launched in June 2016, Bazxar further fosters his profound value of excellence, offering an unusual approach to dining morning to night. The restaurant is split between a Vietnamese food station, serving items like steamed bao buns, soups and noodles; a “Meat District”, serving burgers and hotdogs; a bakery and coffee counter; and a wine bar, offering a list of 30 delectable wines by the glass. In an attempt to keep the experience innovative and evolving they conduct regular masterclasses and “chef incubators” as well. Bazxar offers more than just fine dining. With its elaborate pairings and sophisticated ambience, the restaurant offers patrons a meal and an experience they will not forget. At this pivotal point in his career, Kunal has got restaurants spread across the UAE. Making him one of Dubai’s most relevant restaurateurs, the king of what we might call the Gastronomy Era, in which fast food shares the table with haute cuisine and deliciousness

Kunal launched his third ambitious project Bazxar, an exciting

matters more than decor.

Bazxar is an exciting ‘food-market-restaurantwine-bar’ concept that has been described as deliciously explosive by loyalists.

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BAREFOOT LUXURY REDEFINED Officially opening to guests on the 1st of November, The St. Regis Maldives Vommuli Resort is set to be the largest over-water villas in the Maldives

The St. Regis Maldives Vommuli Resort stretches over nine hectares on the Vommuli Island of Dhaalu Atoll; one of the most unspoilt Atolls of Maldives and is surrounded by pristine landscapes, thick tropical vegetation, a fine white-sand beach, a brackish lagoon, and the glistening turquoise Indian Ocean. A large ‘House Reef’ surrounds the island, which is defined by several distinct ecological zones: lagoon, beach, coastal, and jungle. All of the resort’s accommodation and recreation activities are divided according to these zones, with each offering unique activities. Unlike any other Maldivian resort, guests are transported into a newfound paradise with each of its 33 on-land villas and 44 overwater villas featuring private pools and personal St. Regis Butler service. The St. Regis Maldives is home to the John Jacob Astor Estate, the largest threebedroom overwater villa in the Maldives, with a total size of 1,540 square meters that features a two-storey main villa and two connecting lagoon villas. The captivating address also holds one of the largest integrated recreational areas in the country, the Vommuli House. The resort also contains The Vommuli Dive and Water Sports Center where marine enthusiasts can explore the private island and enjoy endless ocean excursions in the clear water. World-class dining complements the alluring destination with six distinct dining venues offering freshly-caught seafood, and the unique tastes of the Indian Ocean. Indulge in the exceptional dining experience at the pop-out restaurant, Cargo, an old shipping crate in the middle of the forest serving global street food and at the signature overwater bar, The Whale Bar, serving tapas with stunning views of a dramatic sunset. From casual pizza at Crust, a modern Italian cuisine at Alba, vintage select wine, and food pairing at Decanter or Asian-themed food and drink at Orientale, guest can savour a variety of sophisticated cuisines. The Iridium Spa and Exercise Room provide opportunities for complete well-being and renewal. The discreet spa features two Ayurveda couple spa suites, four couple spa suites and the Blue Hole pool, the only heated seawater hydro jet pool in the Maldives. The experience is enriched with bespoke consultation with highly qualified doctors specialised in Ayurveda, Acupuncture, and an Anti-gravity Yoga Instructor.

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NEW IN TOWN

TRENDY MEXICAN R E S TAU R A N T From bustling eateries that are upending scrumptious street food to the opening of innovative, high-concept restaurants, the food scene at Al Habtoor City is on the rise. At the heart of the stellar new complex of The Atrium, a soulful homegrown Mexican come Latin American eatery ZOCO opened its doors with much fanfare. It serves sophisticated, modern takes on typical dishes in an impeccably designed space. The house specialities range from familiar tacos and guacamoles to traditional signature family recipes from the streets of Mexico. Chef Jimmy Rojas Lopez will be serving up a menu made for fiesta style sharing. Think small plates with big flavours alongside expert Bar Chefs mixing up crafted cocktails and mescals in authentic Latin American spirit.

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THE INDIE BLEND R E S TAU R A N T INDIE DIFC combines a unique blend of a restaurant, lounge and three exclusive bars within its relaxed, rustic interiors. Guests can expect an eclectic selection of non-mainstream music, premium cocktails and exquisite cuisine. Their urban menu is a blend of international flavours and cooking techniques, including a selection of tapas and speciality foods with an experimental nature. The element that distinguishes the experience of dining here is the sharing concept that makes the atmosphere even more appealing. An alternative and edgy contribution to the DIFC hub, INDIE successfully bridges the gap between work and play, attracting both professionals and experience-seekers alike. The unique layout of INDIE DIFC enables a variety of settings to suit any mood.

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FASHION MEETS LUXURY BOUTIQUE With exquisite interiors and a wealth of details about each piece showcased, the new Maison Boucheron boutique takes you on a journey of luxurious discovery, giving you the ultimate shopping experience. Preserving its original decor concept, which was inspired by the codes of the Parisian Maison, the boutique features a double height façade, with enhanced fixtures that spaciously display the brand’s classic creations. The 875sqft boutique evokes a soothing, tranquil impression, where elegant timepieces are showcased alongside iconic jewellery creations. It rediscovers the brand’s 158-year rich historical roots, where cutting-edge watchmaking is combined with visionary design aesthetics. In the finest tradition of French High Jewellery, Boucheron also offers a specialised order service, guiding the client through every step of the creation.

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