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WHEN THE MOUNTAINS BECKON

OUR SIGNÉ MAN, HAVING CLIMBED THE HIGHEST PEAK IN THE WORLD, BELIEVES IN MAKING THE MOST OF THE OPPORTUNITIES HE HAS TODAY, BOTH PERSONALLY AND PROFESSIONALLY

AT THE AUCTION

SIGNÉ BRINGS A SELECTION OF WATCHES FROM THE UPCOMING CHRISTIE’S ‘IMPORTANT WATCHES’ AUCTION, ALONGSIDE AUCTION INSIGHT FROM REMY JULIA

REACHING FOR THE MOON

INSPIRED BY THE WORLD OF ASTRONOMY, THE MOON-PHASE TIMEPIECES BY A. LANGE & SÔHNE ARE TRUE MANIFESTATIONS OF FINE CR AFTSMANSHIP AND MECHANICAL PERFECTION

CALIFORNIA CALLING We embark on a journey following the groundbreaking California series of the legendary carmaker – Ferrari

SEBASTIAN VETTEL

Scuderia Ferrari SF15-T

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Big Bang Unico Ferrari King Gold Carbon.

Manufactured UNICO movement. Column-wheel chronograph with a 72-hour power reserve. Dial made of unique King Gold red gold alloy. Bezel made through a fusion of carbon fiber and 18K gold. Strap in brown leather stitched onto rubber. Limited series of 500 pieces.

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Savoir faire 030

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FASHION THAT REMAINS

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Going beyond set trends, Lucas Ossendrijver presents Lanvin’s men’s universe

REBEL WITH A CAUSE

SARTORIAL RENDEZVOUS

Re-imagining grace and elegance, Paul Poiret’s fashion defined new boundaries

The voice of bespoke, Fabio Attansio’s online presence represents the revival of tailoring traditions

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MASTER OF THE HOUR Gerald Genta continues inspiring the world through his iconic watch designs

MAN OF CLASSIC ELEGANCE

Santoni’s footwear are an ideal example of balancing traditional designs with modern ideas

ESSENTIALS Retain your facial glow during the upcoming summers using Aesop’s Parsley seed range and Shiseido’s hydro master gel

Riva brings its 88’ Florida to the region

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SKY’S THE LIMIT

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THE SPIRIT OF POLO

Signé talks to Anthony de Hass from A. Lange & Söhne on the challenges of complicated watchmaking

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With soft and fluid silhouettes carried by suave colors, Giorgio Armani adds new designs to its line

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STEERING TOMORROW

A statesman and a mountaineer, Sheikh Mohammed Abdulla Al Thani, reveals his passion for scaling heights

AN ERA OF EASE

A BALANCED TAKE

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A passionate art-lover, Lorenzo Sconci explains why art is in his nature

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CUTTING-EDGE CARPET DESIGN Fusing traditional weaving with modern art, Jan Kath gives carpet designing a new look

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Sprezzatura

Ralph Lauren, through its Fall 16 collection, brings the essence of polo back in style

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Art & Design

For Her

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Cyril Zammit talks about the journey of Design Days Dubai and what it represents

FASHIONABLE ART Celebrating the regional success of cARTel, May Barber discusses the world of wearable art

066 FAIRY TALES BY HAMDA Hamda Al Fahim translates her personality and fairytale fantasies into gracious gowns

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Obsession

Remy Julia, explains facts and myths about auctioning ahead of the Important Watches Auction in Dubai

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CALIFORNIA CALLING

BID FOR STYLE Christie’s adds a new line – Elements of Style, to its auction catalogue. Michael Jeha explains

We take a look at the California series of Ferrari, exploring what distinguishes them from the rest

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THREADS OF HOPE

THE OMEGA LEGACY

By giving opportunities to create handcrafteds teddy bears, Taunina empowers underprivileged women

FACETS OF ART Aiming to unite regional artists and collectors, BMW launches BMW contemporary

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Unveiling Omega’s profound legacy is Omega’s Vice President of Sales, Mr. Raynald Aeschilmann

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AT THE AUCTION

Audemars Piguet highlights the works of Sun Xun, a Chinese artist at the Art Basel Miami Beach

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designdaysdubai

designdaysdubai.ae

14–18 MARCH 2016

THE GLOBAL HUB FOR COLLECTIBLE DESIGN

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Heritage

La dolce vita

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REACHING FOR THE MOON Watchmaking meets astronomy through the creations of A. Lange & Sôhne’s moon-phase watches

ON A BED OF ROSES

F.P.Journe’s library is today one of the leading repositories on watchmaking

A DRIVE TOWARDS INFINITY Taking luxury driving to an unmatchable height with its innovative design is the Infiniti Q70

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Totora Cebicheria Peruana set to open towards the end of this month brings fresh Peruvian flavors to the Arabian land

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A MATTER OF TIME

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This spring, Alila Jabal Akhdar in Oman brings the very tempting Rose Package for an ideal weekend getaway

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Haute Société

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With Jimmy Choo and Alexander McQueen’s new boutique opening, there is a lot to check out this month. Also a spa treatment at the Loft Fifth Avenue would give the season a perfect start

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www.thecartel.me

The cARTel Presents

Fashion: A second Skin Introducing The Artworks Of Renowned Artists

Patricia Millns & Una Burke Curated By May Barber

Opening: 14Th March 6:00 Pm Public Days: 15Th - 31St March Venue: The cARTel, 6 Alserkal Avenue, Al Quoz 1, Street 17, Dubai UAE

WATCH THE FILM AT JIMMYCHOO.COM | DHABI THE 11 +973 1 758 2807 S ABU IGNÉ ◊ ED I T GALLERIA I O N 1 8 AT SOWWAH SQUARE TEL +971 2 676 9399 BAHRAIN AL AALI MALL MANAMA TEL DUBAI THE DUBAI MALL, FASHION AVENUE TEL +971 4 339 8925 | DUBAI MALL OF THE EMIRATES TEL +971 4 354 9264 DUBAI BLOOMINGDALE’S, THE DUBAI MALL TEL +971 4 350 5333 | DUBAI HARVEY NICHOLS, MALL OF THE EMIRATES TEL +971 4 409 8888 DUBAI LEVEL SHOE DISTRICT TEL +971 4 501 6630 | SAUDI ARABIA JEDDAH THE BOULEVARD TEL +966 1228 93191

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REBEL WITH A CAUSE

REBEL WITH A CAUSE Paul Poiret broke the shackles of fashion in the early 1900s with his unfettered designs of free-flowing gowns and exotic attire. The French couturier not only developed the blueprint for the future of fashion, but also pioneered the business of promoting it

Beverly Pereira Every decade or so, there comes along a designer who defines and influences fashion. French couturier Paul Poiret, who rose to fame in the early years of the 20th century – even before WWI – remains a definitive figure in the history of women’s fashion. He was a visionary who laid the foundation for modern dressing through his ideas that were well ahead of their time. Poiret, who was born in Paris in 1879, adopted oriental and neoclassical elements in his creations and popularised flamboyant turbans, gowns and harem pants.

The early years of the 20th century represented a period in time when constricting corsets were still being widely used since the Renaissance Period. It was during these years that Poiret captured the attention of women with his liberating designs. Most notable are his high-waist gowns with flowing silhouettes in vibrant colours such as orange, red, green and purple, and in sumptuous fabrics like velvet, silk and brocade. He brought to the West the exotic Turkish-style harem pant that was widely adopted by women at the time.

Poiret’s passion for the world of fashion design was evident from an early age. He first worked as an apprentice to an umbrella maker and was known to collect leftover scraps of silk to be transformed into dresses for dolls. As a teenager, he made a mark in the real world when he managed to sell some of his sketches to the famous French couturier Madame Louise Chéruit. His drawings continued to make their way onto the desks of prominent Parisian couture houses, and eventually the renowned French designer Jacques Doucet hired him in 1896. Poiret’s first design was a simple red cape that was said to have sold by the hundreds. He was later hired to design

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practical dresses for Maison Worth. However, Poiret’s free-spirited, unconventional designs proved to be too modern for the house’s conservative clients.

The designer undoubtedly elevated the act of designing clothes to the status of art.

His simple and loosely constructed creations were well received, even though they were a departure from the dress sense of the early 1900s. In fact, Poiret often said that his designs gave women exactly what they wanted – freedom. Having set up his own fashion house in 1903, he often designed costumes for theatre and, understandably, his extravagantly priced designs retained the same level of shock value offstage, too. He employed Far Eastern and oriental influences in his controversial kimono coat, and translated his vision of Grecian columns into draped dresses with wide necklines.

Although he was already the talk of the town in Paris, Poiret possessed a natural ability to market his brand of distinctive attire with flair. He did this by hosting extravagantly themed parties. Long before fashion houses used fragrance launches as a gateway to brand popularity, Poiret had already done it. He introduced Parfums de Rosine, a line of fragrances named after his daughter, at an opulent party in the gardens of his home in 1911. Lanterns, tents and live tropical birds dotted the Arabian-inspired event named ‘La mille et deuxième nuit’ or ‘The Thousand and Second Night’.

Poiret went on to launch a home décor division in his design house that year. Maison Martine, named after his second daughter, was his creative outlet for home furnishings like textiles, furniture, wallpaper, rugs, lighting fixtures and ceramics. The designer’s

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progressive aesthetic was evident in his own patterns, some of which were inspired by the vibrancy of tropical foliage and well ahead of their time. Maison Martine found itself growing by leaps and bounds as Poiret opened outposts across Europe and the United States.

By 1913, Poiret was considered one of the foremost authorities in the field of fashion, art and design. Not only was he a successful couturier, he was recognised as one of the finest interior designers of his time. He also established the experimental art school École Martine in Paris that trained young, workingclass women. Poiret was known to encourage his students to use their imagination and draw inspiration from nature. He often purchased many of his students’ sketches to be used on décor sold at his store.

With the arrival of WWI, Poiret left behind his fashion and design house to serve in the military. However, things took a turn for the worse in the aftermath of the war, when the designer returned to Paris. His business was on the brink of bankruptcy and new designers like Coco Chanel were riding the wave of popularity with simple yet stylish clothes that reflected high levels of workmanship.

Although Poiret’s own designs paved the way for the future of fashion, they appeared poorly manufactured in comparison.

After shutting down his fashion house in 1929, word has it that Poiret sold his leftover stock by the kilogram as rags. Yet, it is notable that even in debt, Poiret didn’t once succumb to the changing face of fashion. Today, as his timeless work is displayed in major museums across the world, he remains one of the most innovative and fearless designers who created silhouettes that live well beyond the Belle Époque.

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MASTER OF THE HOUR

MASTER OF THE HOUR From his childhood to world domination in the art of horology, we encapsulate the life and laurels of the legendary Gerald Genta. His design genius – having designed more iconic models than anyone else in the history of timepieces – is embedded in several watches that we still see every single day

Niyoshi Chudgar Charles Gerald Genta was a prolific inventor and possibly the most influential watch designer of the century – his name is deeply rooted in the veins of horology’s history. Well-known for his eponymous line of timepieces, Genta’s collaborative work with acclaimed brands like Patek Philippe, Audemars Piguet and Universal Genève gives him an inestimable repute in the watch-making trajectory.

Christie’s auction house called his work “the Fabergé of watches”, reinstating the Swiss domination of the luxury timepiece industry.

In a glorious career spanning 50 years, Genta earned the laudable distinction of being the only designer whose name alone sells watch models worldwide.

The lean and elegant Genta was described by those who knew him as a true gentleman.

Born in 1931 to a Swiss mother, and father of northern Italian ancestry, Genta had an early ambition of becoming an artist. After facing fierce opposition from his parents against pursuing this career, he finished jewellery and goldsmith training and earned a Swiss federal diploma. It is said that once he graduated from his apprenticeship, he made himself two promises – the first was that he would never become a goldsmith,

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Bulgari octo watch sketch

and the second that he would never work as someone’s subordinate. He never broke either of the two. There was no arrogance or conceit in Genta’s vow; he simply picked and chose clients that suited him.

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The ‘50s and ‘60s were not a time when independent watch designers were thriving – it was not seen as an occupation for specialised professionals. Designing was primarily done by in-house artists. Genta got his first assignment with Swiss luxury watch company Universal Genève SA, which was gaining international acclaim for its chronograph models. He went on to make several astounding inventions like the Polerouter Microtor, as well as the Golden and White Shadows during the 1960s. The shadow was a result of the “Quartz Crisis” – the introduction of quartz watches that largely replaced mechanical watches during that decade.

The designer’s work with Universal laid the foundation of his following collaborations with prominent brands throughout Europe. It is widely known that his wife, Evelyne Genta, confirmed that he contributed to the creation of the Omega Seamaster and Constellation – the bulk of successful sports watches that are sold today. In the early years of his career, Genta also designed Patek Philippe’s hugely popular model, the Golden Ellipse.

He went on to collaborate with iconic brands like Chopard, Piaget, Vacheron Constantin, Van Cleef & Arpels, Chaumet and Seiko, along with his much lauded association

Throwing light on his design philosophy, Genta said that many of his watches represent “the rupture between a brand’s past and its future”

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MASTER OF THE HOUR

He went on to make several astounding inventions like the Polerouter Microtor, as well as the Golden and White Shadows during the 1960s. The shadow was a result of the “Quartz Crisis” – the introduction of quartz watches that largely replaced mechanical watches during that decade.

with the Confrérie Horlogère of Mathias Buttet. He designed approximately 100,000 different watches, including some of the most celebrated timepieces of history.

There is an often told legend about the creation of the Royal Oak model by Audemars Piguet. Genta drew his design idea after being inspired by a diver wearing a traditional helmet that was attached to his suit with eight screws. This was rendered into the design of the iconic watch, which features an octagonal shape with eight screws on the bezel. The notion was bold for those times – a brand house that was known for its delicate gold watches producing a steel watch that was more expensive than the gold models. “Royal Oak is not an Audemars Piguet. Today, it has become our identity,” once stated Georges Golay, Audemars Piguet’s CEO. Genta later said that the Royal Oak was the masterpiece of his career, and its arrival evidently changed the dynamics of the watch industry as seen today.

Another interesting anecdote is the inspiration behind the first BulgariBulgari model – an ancient Roman coin on which an image of the Roman emperor was engraved in a circle. Genta experimented with this design element on the watch’s bezel, which displays two “Bulgari” illustrations. During its over 36 years of existence, the design of the timepiece has only undergone minute modifications to suit contemporary aesthetics, and remains one of Bulgari’s most popular models.

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Genta also executed specially commissioned pieces for members of several royal families including Prince Rainier III of Monaco, King Fahd of Saudi Arabia and King Hassan II of Morocco. The Queen of England and King Juan Carlos of Spain were also often seen wearing his creations. Apart from royalty, the designer’s clients also included wellknown musicians, professional athletes and

Sketch of Patek Philippe - Nautilus

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movie stars. He has also designed the world’s most extensively sold watch – a Timex, which sold a record number of 30,000,000 pieces.

In the latter half of his career, Genta began focusing on timepieces that were created under his own brand name. The Quantieme Perpetual and the Jumping Hour models are classic examples of his brilliance.

Throwing light on his design philosophy, Genta said that many of his watches represent “the rupture between a brand’s past and its future”. He also distributed a capsule collection of beloved Disney character watches that were designed in Le Brassus, Switzerland. The dials consisted of images of Mickey Mouse, Minnie Mouse, Donald Duck, Scrooge and Goofy. In 1994, he designed the world’s most complicated watch – the Grande Sonnerie Retro – and priced it at approximately $2 million. Employing no external assistance, he often handdesigned the mechanics of his timepieces.

Back then, it took approximately five years to make a watch.

After his brand was bought by Bulgari in 1999, Genta created a new enterprise called Gerald Charles. As of 2010, all of his models were marketed by Bulgari, which was later acquired by French conglomerate LVMH in 2011. Gerald Genta remains an ambassador of contemporary haute horlogerie, and his legacy will undoubtedly enrich the creativity and vision of watchmakers for generations to come.

Audemars Piguet, Royal Oak original sketch 1972

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MAN OF CLASSIC ELEGANCE

MAN OF CLASSIC ELEGANCE With the world of art inspiring every step of his life, Mr. Lorenzo Sconci, unveils different shades of his personality, from being a curator of art, to managing a business and about enjoying the finer things in life

Diksha Vohra Art has, since time immemorial, been an important field of interest and inspiration for many. Mr. Lorenzo Sconci, General Manager of the Sonci Art Gallery in the Dubai Design District, is a man who celebrates art within and without.

From managing an art gallery, to his love for sailing, traveling, cooking, singing and playing the piano, his approach to life is unconventional. Translating his love for art in his profession and personality, he prefers to keep everything classic and elegant throughout.

Tell us about your childhood? What details stands out in your memory?

One of my earliest and most vivid memories is visiting the Quirinale Palace in Rome when I was seven years old to see a painting called the ‘La Dama con l’ermellino’ by Leonardo da Vinci. I remember making my mother stand in the rain for six hours only to get a glimpse of the painting. Ever since I can remember, I was extremely fond of art. I started regularly visiting my father’s art gallery from the age of fifteen, following his work with art. Even as a child wherever I would travel, I would always look out for castles, museums and other artistic monuments because it caught my attention and it interested me a lot. From an early age I had a deep interest for archeology, sculpturing and art history, and I must say these have played a very important role in my childhood and my journey.

Apparently, fireworks also make its way into the list of your childhood passions. Is this true? Yes, one of my biggest childhood fascinations definitely was fireworks. Especially fireworks synchronized with music, which is in itself like a form of art. The sky is like a canvas and we create our artwork using gunpowder, expressing different emotions through varying colors and scenarios with the change of every musical note. I had worked for a very long period of time with Pirotecnica Morsani in Italy, which is one of the most important fireworks companies in the world. Together we did shows for the general public, the government and some European royal families, which were highly appreciated. We have won many world championships for fireworks like in Montreal, Chantilly and Cannes. It would be very exciting to bring to Dubai the best of Italian Pyrotechnics.

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From working with fireworks to being the director of an art gallery, how did the transition come about? My father Dr. Stefano Sconci, founder of Sconci Art Gallery in Rome, is one of the leading patrons of art in Rome. He has been especially supportive of the work of Arab artists ever since he opened the gallery in 1977.

He has in his collection seminal works by well-known Arab artists such as Fateh Moudarres, Hussein Madi and Abdullatif Al Smoudi from the period when they were studying art in Rome.

When I was a teenager, I used to attend auctions and fairs with my father where I got to learn a lot about art. For example, finer techniques to recognize which piece of art belongs to which era is a skill you can only acquire after exploring lots of artworks. Say for instance, when artists would not sign under their paintings, only someone who has seen and read works of different artists in depth can differentiate which piece belongs to whom. Such things fascinated me and I decided to share my knowledge with the rest of the world, which I could only do through an art gallery.

“I prefer surrounding myself with less, but with very meaningful things. But primarily you notice my preferences are leaning towards classics.”

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For me, art is an emotion and it is an integral part of my life. Since childhood, I have dwelled in the world of art and now it has become even more important as it is my profession now. Fireworks were my hobby but art means a lot more to me. Art in its many forms such as painting, architecture, sculpture, music and poetry enables us to express our inner self. It captures our feelings in ways that words cannot, and helps preserve them through time and space, allowing future generations to have a deep insight about the past, and helping them to better understand the present, and plan for the future. My love and fondness for art is evident throughout, in and around me.

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Vintage or contemporary – what type of art captivates you more? When I was younger, I was always attracted to vintage art but growing up I began to develop a liking for modern and contemporary art. From a business perspective, contemporary art is trending these days so it is very important. However, since I hail from Italy, my inherent love for vintage art continues to remain within me. I used to love collecting pieces of fine art that reflect heritage. Sometimes I like to relax admiring my private collection while smoking a good cigar and drinking a glass of good brandy or some excellent Italian wine.

Vintage art is all about seeing the hand of the artist in every stroke.

Contemporary art, on the other hand, is more conceptual where the techniques and executions make a difference.

You are wearing a Baume and Mercier vintage watch on your wrist. Do you like vintage watches? Classical elegance is my key. I like wearing things that possess an artistic value. For instance, the Baume and Mercier watch that I am wearing is nearly sixty years old. This watch is one of very few pieces produced by the manufacturer in this model and it has certain uniqueness to it. There is also an emotional attachment since this watch has been worn in my family for generations. I prefer surrounding myself with less, but with very meaningful things. But primarily you notice my preferences are leaning towards classics.

I love dressing properly for every occasion. So it is not really about my mood but more about what the situation demands from me. Even when I am casually dressed, you wouldn’t find me wearing running shoes. I love keeping it simple but classic. Being an appreciator of art, I always prefer bespoke clothes. I love wearing pieces that are unique and exhibit a genuine sense of craftsmanship. With ready to wear, my concern is similarity because then everyone has what you have. The distinguishing factor dies there. Nevertheless there are few brands that I like very much because I feel they are able to represent my personal style.

What brought you to Dubai and especially the Dubai Design District? I came to Dubai for the first time on a short holiday and saw the potential for developing the arts scene here and decided to stay. It wasn’t a tough decision because Dubai is a very safe country and a good settling point. The multicultural exposure you get here is hard to find anywhere else. Everyone respects diversity and accepts it too, which is really important these days.

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“ My objective was to honor the strong cultural ties between Italy and the Arab region by showcasing works by important Arab artists from our collection, and providing a platform for local emerging artists.”

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The art scene is now developing rapidly in Dubai, but when I arrived here five years ago there weren’t too many galleries and I felt compelled to establish an art gallery here. My objective was to honor the strong cultural ties between Italy and the Arab region by showcasing works by important Arab artists from our collection, and providing a platform for local emerging artists. That’s why the title of my first exhibition was “A Charming Vision: an embrace between East and West”. This “embrace” began many centuries ago when the Arabic culture established itself in Europe, and especially in Italy influencing its style. You can see concrete examples of this influence in Italian cities like Venezia, Ravenna, Palermo and many others. I also felt that this would be the ideal place to introduce key Italian and international artworks to the exciting art market in the region. While researching the market, I realized that the people from this region already have a good appreciation of Italian food, fashion and art because they often travel to Italy, and they visit not only famous touristic cities, but also smaller, lesser-known Italian towns.

What are you up to when you are not busy curating art? I get very little time off so whenever I do get some time, I relax and enjoy my life. When I am here, I go out for dinners with friends. Since I like cooking, I do host people over for dinners occasionally. I like to explore

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the outdoors of Dubai and the Gulf area but when I am in Italy, I like to go sailing and relax on my boat. I love travelling to different islands especially Sardinia in Porto Cervo and the Archipelago of Maddalena where I love seeing the miraculous sunsets and enjoying the glamorous nightlife. The Sea is definitely my second love.

If you were given an option to change your profession today, which field would you have changed to? It is a very tough choice because art is in my blood. Following my academic background in finance, I would probably get into art investment funds. My other passion being the sea, I would likely look towards the naval industry.

In a nutshell, how would you describe yourself? Some know me as an entrepreneur and some as an artist or an art lover. I, however, identify myself with all of these. I am adventurous and I like to try different things in life, which opens me up to a lot of opportunities to develop new interests. I prefer, however, revealing only certain aspects of myself to certain people. Those who know me for ages know my tastes and likings, and those who don’t can explore them in due course.

Getting to know the whole me may take some time, but I believe this is because of the different aspects of my personality and that I like to reveal myself to people not all at once, but day by day.

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WHEN THE MOUNTAINS BECKON It all started when he first spotted Mount Everest. Sheikh Mohammed Abdulla Al Thani’s passion for the mountains has not waned since that first glimpse, and he is now a consummate mountaineer who guides others who aspire to climb like him. He is also a family man, entrepreneur and philanthropist who has many more milestones to reach

Rashi Bisaria “He who climbs upon the highest mountains laughs at all tragedies, real or imaginary,” said Friedrich Nietzsche. Sheikh Mohammed Abdulla Al Thani, fondly referred to as Moe, makes climbing mountains seem like a walk in the park and has learnt to view life from atop a mountain peak. The Sharjah-based entrepreneur, mountaineer, philanthropist and statesman conquers mountains to find his true self, and nothing in the world can match his passion for scaling summits.

Goal-setting and training to achieve those goals has become a habit for Al Thani, who belongs to the Qatar royal family and is the first Qatari to scale Mount Everest. His joy knew no bounds when he returned victorious after climbing to the highest point in the world on May 22, 2013, reaching an altitude of 8,848 metres after a gruelling climb that lasted two months. During the expedition, Al Thani was part of a fourmember group called Arabs With Altitude. Mastering the Everest climb was more of a mind game. “People find climbing mountains dangerous, but that’s where I find myself. It’s a place where I feel the safest, find tranquillity, and am at peace with my surroundings,” he says.

When asked about who he really is and the story behind going from Mohammed to Moe, he explains: “I live two lives. I have an official life in which I am a government employee and businessman, and there is the other side that enjoys outdoor adventures. Moe is this other guy.”

A thrill-seeker who delights in the great outdoors, Al Thani has always been adventurous. He also loves to travel and take on challenges.

It’s a combination of these traits that made him well suited to take on soaring altitudes. But how did it all begin? How did he develop this love for the mountains that today seems to have taken over his life? It all began on a river-rafting expedition in Nepal in 2008, during which he caught a glimpse of Everest and asked his guide about mountaineering. The journey of climbing mountains began from there, and he hasn’t looked back ever since. Tackling the summits have taught him patience and given him clarity about life. “It is a meditative experience that enables you to appreciate the little pleasures of life. It sets your priorities right. When I come back from the mountains, I’m better with my family, better at my work,” explains Al Thani. “Scaling peaks can lend the right perspective to real life,” he adds.

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“It is a meditative experience that enables you to appreciate the little pleasures of life. It sets your priorities right. When I come back from the mountains, I’m better with my family, better at my work” SHEIKH MOHAMMED ABDULLA AL THANI

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Sheikh Mohammed Abdulla Al Thani at the peak of Mt. Everest.

Next on the list of goals is the arduous Seven Summits challenge.

He has already scaled six of the peaks, and only Denali in the heart of Alaska remains to be conquered. The success rate of climbing North America’s tallest mountain is extremely low because of its high latitude and unpredictable weather conditions. This, however, does not deter Al Thani, who is all geared up for the challenge and already training hard. After scaling this seventh peak, his sights are set on achieving yet another milestone called the Grand Slam. One can accomplish this feat after having scaled both the North and South Poles. “I want to finish the Grand Slam and be among the 300 people who ever did it,” he enthuses.

Not many things in life pull the adventurer back, but as his three children are growing up and don’t like him taking risks, Al Thani plans to take it easy after accomplishing his rather lofty goals. What also appeals to him about these perilous exploits is the element of philanthropy attached to every challenge. As brand ambassador of Reach Out To Asia (ROTA), he promoted the ideology behind it through each of his expeditions, adventures and even business travels. His expedition to Mount Everest Base Camp in 2009 was to raise awareness on malaria, which remains a major cause of death for children in sub-Saharan Africa. All proceeds from Al Thani’s expedition to Mount Aconcagua in 2011 were transferred to ROTA to aid in developmental projects. Thousands of children depend on his climbs, which is why he can never think of quitting. Pushing his limits, overcoming challenges and climbing for a cause are some of the reasons that keep him going.

As an entrepreneur, Al Thani has also scaled several career peaks.

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He holds a number of senior positions in various companies and looks upon his work for the government as his foremost duty. He also co-founded musafir.com, and is the Chairman of Department of Statistics and Community Development in Sharjah. His plans for 2016 are focused on Musafir, for which he has high hopes in the coming months. The travel website has been doing rather well since its launch in India two years ago, having already been a success in the UAE. When asked about what keeps him busy when he is not climbing or setting up new ventures, he promptly replies that he is at the gym.

His relentless focus to train hard has yielded results that keep him in a physical condition capable of matching up to the mountains he sets his sights on. He trains for six days, and tries to remain active even on the seventh day. Al Thani imbibed this discipline and focus from none other than Indian cricket legend Sachin Tendulkar, who is also a partner and brand ambassador for Musafir. “Tendulkar has his priorities set. If he has to train, he does so as that is important for him. That is why he has been the best for so long. Similarly, if I have a mountain to climb, my training comes first,” he asserts.

So what does the future look like for this statesman-mountaineerphilanthropist? Everything else apart, the charismatic Arab has one clear goal – leaving a legacy behind. He wants people to remember him for his good work and the causes he associated with. He also wishes to start visiting schools to teach children about achieving their goals.

After all, it takes a lot of determination, focus and sacrifice to attain goals – and who knows that better than Al Thani himself?

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FASHION THAT REMAINS

Disapproving the contemporary culture of following trends within confined walls, in an exclusive interview with Signé, Mr. Lucas Ossendrijver explains how Lanvin takes a step forward in exploring the men’s universe which goes beyond set aesthetics

Diksha Vohra A pair of straight pants complementing a formal tucked in shirt under a blazer and the look is complete – is a myth many fall prey to. Since when has fashion restricted itself to set trends and looks?

In recent times we have witnessed more or less homogeneous trends of existing fashion with certain do’s and don’ts. Men’s universe of fashion, however, is much beyond the commonly accepted parameters of style.

Lanvin is one such brand that explores this universe, one where a man wears what he likes to express himself and his moods. He stands out from the crowd for his thinking which reflects in his attire – distinct, uncommon, comfortable yet stylish.

The collection pays tribute to the Lanvin atelier, to these secret places where artisans fashion a myriad of shapes and outfits to allow men to always express themselves with style. This spring and summer, Lanvin men’s ready to wear focuses on this rebuttal against identical fashion. The collection is but a manifestation of the imagination of Mr. Lucas Ossendrijver, Director of menswear collection. A complete wardrobe with different pieces and styles in a personal dressing room, one without confinements where one would keep what’s important – was the dream that inspired the collection. The collection, however, does not relate to a specific era but jumps back and forth between periods.

Taking a closer look at the collection we come across black trousers paired comfortably with an oversized grey polo shirt, reminiscent of the pleasures in treasuring old memories attached to certain garments.

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A utilitarian parka looks as if it has lived a thousand lives: patches and pockets are arranged asymmetrically on the fabric, with a python print on the lining and hood, yet always maintaining Lanvin’s essence of luxury. On the other hand, proving Lanvin’s signature sportswear is never out of fashion, we see a black Harrington jacket displaying highly casual red sparkles.

Where finer details are concerned, the stitching leaves a distinct impact on the suit jackets. Covered in sophisticatedly embroidered arcs is the breast of the black shirt with one of the patterns visible behind the shirt as well, as if it had come to life and taken a walk.

Pushing the boundaries of its sartorial flair, Lanvin’s designs add a new feel to their classic pieces. The relaxed appeal of it isn’t only about accuracy but also boldness. Where on one hand pockets are closed with press studs on their classic jackets, the same closures cover the color of their black velvet jacket. Hinting a metallic gleam we find some buttons covered in material and some left bare. The outfits are fringed but without any added frills, which is a detail that has been very cautiously preserved throughout. Interestingly the designs are not flawlessly executed, which was the intention behind their creation. The designs reveal a human touch to them, that not of perfection but of making mistakes, being slightly awkward but natural and individual. The collection reconciles this idea of imperfection with the pure elegance of Lanvin by reaching equilibrium between the offerings of tradition and the height of modernity.

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“ Clothes to me should feel light and easy, they shouldn’t overpower the person that’s wearing them. It’s all about intimacy and whispering ” LUCAS OSSENDRIJVER

Delving further on the inspiration behind the collection and its uniqueness, Signé gets candid with Lanvin’s Director of Menswear – Mr. Lucas Ossendrijver.

needs, and more because they want certain things, more impulsive, more outspoken. You have to deal with those things. It also creates new opportunities for us. You have to adapt. That’s what I love about fashion - the constant questioning of things.

The collection is distinct in its own way. What was the inspiration behind the SS16 collection? SS16 is all about craft and ease. I like garments, which have lived. There is something very moving about clothes that tell a story. How to make things look and feel easy and light, while the way the pieces were made was often very intricate and special. A lot of work went into the construction and details but I didn’t really want it to show. Clothes to me should feel light and easy, they shouldn’t overpower the person that’s wearing them. It’s all about intimacy and whispering.

While you were creating the collection, what kind of a Lanvin man did you have in mind that would adorn these? During our shows we have one model for each outfit representing different characters in life. I do not think of any man in particular when working on a collection and also there is no specific Lanvin man. We do not dictate what people should wear. Instead we propose options for men of all body types, with which they can mix and match thus finding a way to dress that underlines their personality.

Tell us more about what does Lanvin Men’s universe mean and what does it mean to you? People don’t change; men don’t change; only our lifestyle does. What I’ve seen is that there is much more interest in fashion than there used to be. Men’s fashion has become a growing business. Men are more open to fashion. The way we live now makes all the information about fashion immediately available worldwide, no matter where you are. Fashion has become democratic and everybody has an opinion about it. It is less elitist than it used to be. The speed has changed! In men’s fashion we also started doing pre-collections so instead of two shows it is now four collections.

This constant demand for newness puts a lot more pressure on the designer. Men started to buy clothes more like women do; less about

How unique is this collection? Collections always start with an intuition, a feeling of where you want to go. It can be a very abstract idea or just a word. You want to change everything you’ve done before and explore new things. It’s this that I love most about fashion, the change every season to start over, re-invent yourself and try to do better. Especially in the beginning, when everything is open and possible, then soon after reality comes in, and you have to become more pragmatic, ideas become clothes and you have to start thinking of the customer and their needs; what works in real life so it’s not just about the catwalk. I love the process, designing is constantly making choices actually. I start thinking about the new season before the other is finished. It’s a continuous process.

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SARTORIAL RENDEZVOUS Aiming to revive the “Tailor-Made” era, Fabio Attansio is one gentleman constantly working towards transforming various aspects of the bespoke world into an online voice; the voice of the modern-day renaissance, where customization is supreme and style is king

Niyoshi Chudgar ‘The Bespoke Dudes” is an online blog detailing the journey of its founder Fabio Attansio and his interactions with the world of bespoke. It has become one of the most sought after manuals for thousands of readers from across the world, who read Fabio’s prolific articles to discover the newfound resurgence of bespoke.

Fabio speaks his mind in a very candid conversation with Signe.

Can you imagine that I almost ended up a Lawyer? I am an Italian raised in the south of Italy, Napoli. It is undoubtedly the cradle of bespoke tailoring. Ten years ago I moved to Milan to study law at Bocconi University and to imagine I would have actually ended up becoming a lawyer. I had travelled to Argentina in 2011 for my exchange year, and that was when I realized that a career in law was not for me, and that I should fight for my real passion for craftsmanship and menswear.

The story is interesting and quite funny as well. I was supposed to study environmental law along with a friend of mine, and I had the exam in a few weeks, but instead of studying, I ended up spending all my time online visiting websites and blogs to get fashion inspiration. My friend frustrated at my lack of interest in preparing for the exam actually suggested I should just focus on setting up my own blog if I wasn’t interested in studying law! It actually got me wondering what I was doing studying Law! I came back to Milan in March 2012 and started my own blog. Maybe that’s why Bespoke Dudes is such a success, because it starts from passion. It is something you cannot deny. Bespoke Dudes is not a fashion blog. I don’t speak about fashion or the catwalks. I speak about artisans and timeless elegance. My forte is how tailors in Milan make a jacket compared to tailors in Napoli or Rome. My blog has got to do with your personality, your taste and your style. In my opinion when you speak about fashion you just wear some one else’s choices. Bespoke is all about how you choose to represent yourself.

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“ I think now we are coming back to a time when people prefer bespoke despite the availability of ready to wear and there is a definite revival.”

FA B I O AT TA N S I O

No, Its not at all easy being a blogger. I got into blogging without the consideration that one day it would become my profession. For two years I did not make any money out of this venture. In the beginning, I used to approach individuals who had a passion for bespoke clothing or their tailors and ask them to tell me their story. The hardest part was explaining to them that I was neither a client nor a journalist.

It’s not easy to make people move from the classical way of thinking about brand communication. Eventually the companies started understanding the real value of collaborating with me and started gifting me their garments.

Today, majority of the brands want to do something with bloggers, but despite that they don’t really think that bloggers are worth the fee or deserve to be paid. So there was still no money involved. At a certain point I started realizing the value behind what I was doing, and started insisting that my collaboration was worth more than a suit or a free gift.

That was the turning point for me.

I am trying to shine some light into the world of bespoke globally, not just in Italy. I believe in all things Made in Italy. In a time of economic depression when more and more Italians are traveling overseas looking for jobs, I wanted to highlight the fundamental importance of craftsmanship and Italian creativity. Bringing handcrafted products from Italy to the doors of connoisseurs around the world, through the medium of the web was something I wanted to do. Indeed, I believe that the rebirth of Italy should find lifeblood in its very roots of craftsmanship, and in its own heritage of excellence.

I, however, do not restrict myself to Italian brands only. I have worked with Jaguar, Mont Blanc, and with many brands, artisans and tailors from London and New York too. I have interviewed more than 50 tailors from more than 20 cities. Globally I see resurgence in bespoke tailoring. Long back people used to have only bespoke suits, because there were no ready-to-wear options back then. I think now we are coming back to a time when people prefer bespoke despite the

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availability of ready to wear and there is a definite revival. At the same time, however, I am afraid that some tailors who are making a lot of money, thanks to this revival, have more or less started acting like ready-to-wear brands. This is dangerous for them because they might end up losing their identity.

I must admit I have dabbled in the occasional product design as well. I recently launched a line of eyewear called “The Bespoke Dudes Eyewear”. The glasses are manufactured by Mazzucchelli Varese, a historical Italian company considered a global leader in the production of acetate frames. The first two collections of these hand-made in Italy glasses are called Cran and Pleat, with names coming from the bespoke tailoring industry. They are inspired by a deep appreciation of high quality and craftsmanship, guaranteed by the expert artisans of Cadore, Italy.

I recently designed a line of shoes in conjunction with Velasca Milano. These are a very distinct line of loafers with varying design that are handcrafted by Velasca with the best calf leather from France and Italy. There is also an emphasis on some very fine shoemaking methods such as a stitching technique called the “blake rapid” invented in 1858, which sews the upper, the insole and the sole together with two separate stitching lines.

In a few months I am going to launch a capsule collection of handmade swimming trunks with a top-notch brand. I’m very excited about that! They are inspired by old world elegance, with a little bit of twist for gentlemen my age.

I have no plans of launching my own brand. At the beginning I was very unsure, but now I’m convinced that building my own brand wouldn’t be the best idea. If I ever build my own brand, I would become a competitor to my own clients. My idea is just to continue doing what I am doing - creating beautiful capsule collections and creating synergies with brands that share the same values as I do.

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CUTTING-EDGE CARPET DESIGN Jan Kath is one of the world’s most acclaimed carpet designers.

His creative process blends ancient weaving traditions and contemporary interpretations of photorealistic motifs of age-old designs to create striking pieces of floor art

Beverly Pereira Barging the conformist boundaries of interiors, Jan Kath believes in blending the old and the new to create original pieces of rug art. The Bochum-based German carpet designer is known for his bold and modern designs that present a completely new perspective on the furnishing staple.

Although many of his award-winning carpets are inspired by traditional carpet weaves from distant corners of the world, including Iran, Turkey and Nepal, his decidedly progressive designs combine the classical elements of Oriental carpets with contemporary and minimal touches. Handcrafted, one knot at a time, while striving for perfection and using the original colours, Kath’s collection of carpets includes Egyptian Mamluks, Iranian

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Bidjars and Turkish Konyas, among others.

Another theme distinct to Kath’s current work involves the interpretation of photorealistic motifs in textile art.

The trend-setting Kath’s signature style is inspired by his travels to vibrant cities, and, for the most part, by his hometown in the Ruhr region, known for its archaic industrial architecture. Having lived and worked in Nepal and Mongolia for a good number of years, Kath’s close bond with the people of these regions is understandable. Unique natural materials such as high-quality and robust wool from the Tibetan highlands and the finest Chinese silk, combined with handmade production techniques, lend each carpet a character of its own. Kath believes

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Unique natural materials such as high-quality and robust wool from the Tibetan highlands and the finest Chinese silk, combined with handmade production techniques, lend each carpet a character of its own.

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Jan Kath

in using traditional production techniques, although the design of every Jan Kath carpet is first conceived using a computer at the company’s Bochum-based creative centre before it is sent off to workshops in Nepal, Thailand, India, Morocco or Turkey.

The carpets are then knotted by hand following traditions that date back to several centuries. Kath employs weaving methods that might seem eccentric in today’s fast world of mass production, and yet they are perfectly in sync with centuries-old weaving traditions.

Take, for example, the pieces from the Erased Heritage collection. While most carpet weavers read patterns from a drawing, the pieces in this collection are sung out aloud. The head of the carpet weavers, the loom master, reads out commands, translates them into a chant of sorts, and then sings the steps to those tying the knots in a sonorous voice.

The Erased Heritage collection, which pays homage to the traditional Oriental carpet, is a gentle nod to the art of traditional weaving techniques, old patterns and

standards of quality. Every community and cultural group in the East has its own carpet style, intrinsic to the region. With the passage of time, over centuries, these different areas have developed signature styles and features.

“With the Erased Heritage collection, we are helping to make sure that these ideas survive into the modern age,” explains Kath, who turns to old master weavers to give a new lease of life to traditional designs for his collections.

Lost Weave, another one of Kath’s collections, is inspired by carpets from Morocco, where carpets are known as boucherouite (translated as a piece made from second-hand material) and are handmade by women for use at home. When the nomadic tribes of the Atlas Mountains began to settle in the ‘60s and ‘70s, the changes in lifestyle lead to a scarcity of wool. People thus began to weave carpets out of recycled clothes and cloth strips. Although each carpet from the Lost Weave collection is realised down to the last knot in the workshops of Nepal, the

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inspiration behind this collection does not step from the Himalayas but from Morocco.

These carpets are testimony to the ease at which Kath plays with the viewer’s emotions.

A few knots of white wool with a scattering of black or lemon yellow lead one to believe that the weavers of the Lost Weave collection have chosen the colours based on their mood.

“The charm of this carpet is that it seems to have been left to the chance with a thirst for anarchy,” he explains.

Kath’s work has been showcased at a host of museums including the Frankfurt Museum of Applied Art, at design fairs including the Beijing International Design Triennial and the London Design Fair, and at prestigious galleries across the world. From the Red Dot and the Carpet Design Award to the Design Prize of the Federal Republic of Germany, his style-defining carpets have also won accolades over the years. It’s no wonder then that the sought-after designer’s work continues to find a special place in the homes of celebrities and royalty, and in the most private suites of some of the world’s most luxurious hotels.

The company’s headquarters are located in his native Bochum in the creative heart of the Ruhr region, but with Jan Kath stores in New York, Miami, Cologne, Munich, Hamburg, Vancouver and Stuttgart, Kath’s designs have found favour on a global scale. Before he opened mono-brand stores in 2011, his work was, and still continues to be represented worldwide through select dealer network.

Kath, who will be exhibiting his work at this year’s Dubai Design Days, has been invited to showcase his work at the newly opened flagship store of Iwan Maktabi at the Dubai Mall. Originally from Lebanon, this rug haven is one of the most-recognised galleries that showcase the finest contemporary and designer carpet collections. At the opening event of Iwan Maktabi, Kath’s masterpieces yet again left all in attendance — industry leaders, members of the press and design enthusiasts — with an earnest longing to own one of his cutting-edge designs.

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STEERING TOMORROW The Riva 88’ Florida is a decidedly progressive yacht that seamlessly transforms from a sporty open craft to a hardtop coupé with just the touch of a button. Old hands will instantly recognise its sleek exterior and interior elements, which are traditionally associated with the classic Riva family of yachts

Beverly Pereira Riva, Italy’s most iconic luxury yacht brand, has been the leading choice for yacht owners and enthusiasts – and rightfully so.

The prestigious yacht maker, a brand of the Ferretti Group, combines the efficiency of industrial production with world-class Italian craftsmanship and the country’s longstanding yachting tradition. The 88’ Florida, Riva’s latest yacht, however, sets a new benchmark in the world of luxury yachts. The 88-footer retains the classical lines that encapsulate Riva’s timeless and sophisticated elegance, but in keeping with the times, it sports a convertible top – a feature inspired by the innovations of the automotive sector.

The passion that stems from owing a luxury yacht is as much related to the thrill of exploring the seas within luxurious confines as it is to the exterior design and technological advances of these marine marvels. With an overall length of 26.84 metres and a beam of 6.22 metres, the 88’ Florida is bathed in Moon Grey, a shade of light metallic grey that puts the yacht’s slender lines into focus and contrasts pleasantly against the Bright Black shade details. The hull profile with its continuous glazing and stainless steel plate with the unmistakable Riva logo is hard to miss.

The Convertible Top is an exclusive Ferretti Group patent that has been installed on this yacht for the very first time. This system permits the craft to shift from an open to a coupé configuration, and vice versa, with the rotation and sliding of the aerodynamic hard top that can cover the pilot station in the cockpit. Simply put, the 88’ Florida converts into a coupé model or an open yacht by seamlessly integrating with the deckhouse at the level of the dinette with the mere press of a button.

A pantograph hydraulic mechanism drives two arms connected to the hard top and is controlled by an electronic power unit to ensure the smooth movement of every moving component. Operated by a single control, this revolutionary system is monitored by sensors installed

near the individual moving parts, ensuring the safety of the guests and crew during operation. Additionally, the entire procedure is displayed on the Naviop touchscreen display in the pilot station.

The aft area on the yacht has been modified in terms of layout, as well as tender and jet ski handling systems, which has resulted in a new arrangement of engine rooms and onboard systems and appliances.

Leisure activities take on a truly simplistic form thanks to the garage at 20cm above the sea level that can store an almost four-metre tender – or a Williams 385 upon request – and a jet ski beside it. A pantograph movement allows for the central part of the transom to be lowered by up to a metre into the water and slightly moved away from the stern, while two stainless steel guides enhance the launching and haulage of the tender and jet ski.

Furnishings and amenities are not only tasteful, but also convenient additions to the 88’ Florida. A central area, equipped with both a linear sofa and L-shaped sofa, serves as a large dining and living room, perfect for an al fresco lunch and dinner or a leisurely breakfast sheltered by the hard top. A few freestanding seats allow for eight guests to be seated, while a chaise lounge faces the stern as the ideal extension of the sofa to enjoy the thrill of cruising. Nearby, an area conducive to relaxation is equipped with two sun pads.

The cockpit can be accessed by steps integrated in the hull on the sides of the garage door, or when stepping onboard from the quay via a concealed gangway. A large layered glass windshield with a glazed surface that is framed by a polished stainless steel structure protects the pilot station and outdoor lounge. The steel roll bar above the central station of the cockpit, above which all navigation equipment antennas are fitted, also dominates the area. A large aft sun pad and forward-facing sofa are placed in the cockpit, while two large storage cabinets along the bulwark enclose a spacious area nearby. The left one

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opens up towards the crew quarters equipped with a dinette, separate head, cabin with double-bunk berths, fold-away berth, and second utility cabin, which can be fitted with a washing machine and tumble drier upon request.

Below deck, the 88’ Florida houses four cabin and dedicated heads beyond a living room. Its design and décor, rich in a warm Mediterranean style with contemporary touches, borrow elements from the late ‘80s and early ‘90s, as well as the iconic Riva yachts of those eras including the Bahamas – the first yacht to be conceptualised

by Mauro Micheli, head designer at Officina Italiana Design. Wood, steel, lacquered material and leather seamlessly fit into the interiors of the 88’ Florida. Warm elm wood in the new, sophisticated Manopesca finish is soft and smooth to touch with a fabric-like feel. Smooth and striped leather inserts sit comfortably amid the elm wood for a tangibly vintage feel in warm tones reminiscent of honey and ripe wheat.

Further, stainless steel details and white and dark blue lacquered surfaces add to the contemporary yet classical style of the yacht.

The master stateroom – a bright, sound-insulated cabin – ensures utmost privacy and is accessed by three steps that lead one’s focus to an open view of the suite’s bed and large windows. Plush Loro Piana fabrics like linens, cottons, and cashmere (upon request) adorn the leather-framed bed that is furnished with a bedspread and striped cushions. Two wardrobes with striped-pattern leather doors, a desk area and vanity set complete with a pouf are placed in front of the bed. The TV screen, which is concealed within the desk and can be mechanically lifted and lowered, and the leather-lined reading lights add that much more of a luxurious feel, while a custom-made chair by

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Officina Italiana Design can be pre-ordered for an exclusive touch. The leather straps and buckles in the bed headboards in all cabins bring in a familiar trademark design element for Riva loyalists, who might have spotted them on the iconic 27-footer Riva Iseo yacht. The head runs along the suite’s length with a central area that houses a washbasin, shower and sanitary fittings.

Following a sleek stainless steel handrail, one approaches the dinette as the eye meets the open space below. Here, an L-shaped sofa to starboard stacked with white and aquamarine striped cushions, coffee table, breakfast counter with two leather stools, mirrored surfaces, and the totem cabinet with a TV screen beckon. Beyond the living room, a central lobby leads to a night area for guests. Besides a sunlit double cabin fitted with all the amenities of a high-end cabin, and a private head and separate shower, a second guest cabin with single beds, dedicated head and round shower also lies nearby. Given that this bathroom is accessible through a second door in the central lobby, it can also serve as the day head.

The Riva 88’ Florida yacht is the result of an immensely creative team comprised of the Ferretti Group’s Product Strategy Committee, its Engineering Department, Chief Executive of Officina Italiana Design Sergio Beretta, and the aforementioned Mauro Micheli. The making of the 88’ Florida was no easy feat. Deliberates Mr. Alberto Galassi, CEO of Ferretti Group: “We took up and won a tough challenge from an engineering, design, and production viewpoint, and today we can introduce the world to an unprecedented craft, that turns into reality a new way of enjoying life at sea. The 88’ Florida writes a new chapter in Riva’s story – an Italian story that the world will fall in love with”.

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Art marine is Riva exclusive dealer in the UAE www.artmarine.ae

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SKY’S THE LIMIT

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SKY’S THE LIMIT In an exclusive interview, Director of Product Development, Anthony de Haas talks about the philosophy that drives A. Lange & Söhne to up the ante in its horological masterpieces and why the Richard Lange Perpetual Calendar Terraluna remains his favourite to date

Beverly Pereira Timepieces that trace the movements of celestial bodies like the moon, stars and planets have for long intrigued both watch enthusiasts and watchmakers alike. First introduced in 2006, the Richard Lange family of watches by A. Lange & Söhne continues to be recognised as scientifically precise observation timepieces to aid in expeditions and navigation. The most complicated watch in this range is, inarguably, the Richard Lange Perpetual Calendar Terraluna. At first glance, this fascinating timepiece appears to work on a simple mechanism, but a closer look helps one understand the mechanical intricacy with which it functions. Featuring a perpetual calendar with a signature outsize date, a constant-force escapement, a power reserve of 14 days, and a larger-than-life orbital moonphase indicator on the plate of the movement that depicts the location of the moon in relation to the Earth and sun, this timepiece proved to be particularly challenging for the German watchmaker.

How and where would you place the astronomical watches within the A. Lange & Söhne identity? Is this something to link back to the watchmaker’s heritage in Saxony or is it to signify the mechanical prowess that the brand stands for? Timepieces with astronomical mechanisms have always been firmly established in the repertoire of A. Lange & Söhne, simply because horology is historically so closely linked with astronomy.

The recent rediscovery of astronomical complications should be seen in the light of a search for new challenges. For example, the orbital moon-phase indication of the Richard Lange Perpetual Calendar Terraluna is a perfect expression of our performance and innovation-driven product philosophy.

What role do watches with astronomical features play in the modern era for the modern customer? Timepieces of this sort still fascinate us today because they make us feel connected with the universe.

On the celestial disc, interference effects absorb all of the non-blue colour spectra of the incident light. The result is a deep blue surface studded with 2,116 sharply contoured, laser-cut stars that seem to shine brighter.

When you approach the implementation of a moon-phase in your watches, do you look at it as an effort to implement a classical feature into a modern watch?

Or do you approach it as a challenge to take a feature that has been around for centuries and improve on it, giving it the A. Lange & Söhne touch? In timepieces with astronomical complications, watchmakers have always attempted to emulate the progression of celestial bodies as accurately as possible. By following this classical approach, we often find innovative solutions that bear the A. Lange & Söhne signature, not in the sense of l’art pour l’art, but of pioneering designs that challenge traditional concepts.

How do you put into perspective such an amazing feature hidden away at the back of the watch? By placing the orbital moon-phase on the movement side, we simply did not have to make trade-offs in the design. Protected from the eyes of others, it has a stage of its own where it presents itself to the owner in all its beauty. On the dial side, however, we achieved an elegant and clearly arranged layout.

What was the biggest challenge faced in the development of the Richard Lange Perpetual Calendar Terraluna?

The challenge – and incentive – in this case was that with every step we took, we entered uncharted territory. There were no comparable constructions to serve as a guideline.

A disc with 2,116 twinkling stars – what are the steps involved in the manufacture of such an astronomically precise, yet highly visual element of the watch? In order to achieve a vivid image of the orbiting moon-phase display, we chose a special coating process. It involves the application of extremely hard carbon films on the solid gold lunar discs by way of physical vapour deposition, also known as PVD.

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What would you say is a bigger challenge – the knowledge of astronomy or actually converting that into a mechanical representation? The orbits of the moon and planets have been calculated to the last decimal point for a long time. The challenge really is to convert this knowledge into a mechanical programme that remains accurate over several centuries.

What are some of your favourite astronomical features? One of my favourite astronomical complications is on display at the Royal Cabinet of Mathematical and Physical Instruments in Dresden, a planetary clock from the 16th century that shows the orbits of five planets, the sun and the moon.

Which is your favourite A. Lange & Söhne watch that includes the moonphase, and why? I’m afraid I have to mention two – from a technical point of view, the Richard Lange Perpetual Calendar Terraluna, and in terms of design, the new Grand Lange 1 Moon Phase Lumen.

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AN ERA OF EASE

AN ERA OF EASE Imbued with a sense of tranquil, Giorgio Armani’s SS2016 collection is all about self-sufficient styles that sophisticatedly remain independent of current fashion trends. With soft and fluid silhouettes reflecting an understated elegance, the fashion house explores a delicacy that goes against the usual ostentatious style witnessed today. Coming to life with new color tones and palettes are an array of garments tailored finely to exhibit a cosmopolitan and confident spirit

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A B A L A N C E D TA K E

A BALANCED TAKE There is something very minimalistic about this season’s footwear collection by Santoni. Combining traditional designs with innovative skills, these handmade pieces exhibit a sense of balance from every angle. The shoes outline an image of a man that is extraordinary and travels with a similar ease and nonchalance through different worlds and styles. With shortened, thinned down shapes in different colors, these shoes nod to a modernized yesteryear’s elegance

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ESSENTIALS

THE DEEP CLEANSE AESOP’S PARSLEY SEED RANGE Regular cleansing is vital to maintain healthy skin that looks great. No matter what your skin type, facial cleansing removes dirt, impurities and oil build-up that cause follicle blockages and, eventually, break outs. The Aesop Skin Parsley Seed Facial Cleanser, formulated with natural ingredients like jojoba oil, not only offers a scrupulous cleanse and mild exfoliation, but also removes trace impurities for skin that looks clear and rejuvenated at all times. A daily cleanse at night works best if you have dry skin, while oily skin types would do good with a cleanse in the morning and at night. As basic as it might sound, cleansing goes far beyond the common face cleanser. Cleansing oils, gentler water-soluble cleansers that are suitable for all skin types, use the good oils in your skin to remove the bad oils. The Aesop Skin Parsley Cleansing Oil formulated with a generous dose of emollients, anti-oxidants and vitamins, including macadamia seed oil and ingredients rich in Vitamin E and Vitamin A, not only cleanses and gently extract impurities without clogging your pores, but also calms and replenishes the skin. Finally, the Aesop Skin Parsley Cleansing Masque made from refreshing non-drying clays is perfect to remove impurities that clog pores, and to nourish your skin while protecting it from the effects of environmental stressors.

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A SKIN SAVER SHISEIDO HYDRO MASTER GEL FOR MEN Shaving can be arduous, especially if you have dry skin. That’s not to say that men with an oily skin type have it easy. After all, men who work up a regular sweat or travel incessantly find it difficult to keep their skin healthy. Most often, one imagines that skincare involves several rounds of tedious steps. Shiseido Hydro Master Gel, however, offers an all-round solution for common skin issues. This lightweight gel-type moisturizer simultaneously resolves a host of skin concerns including dryness, excess oil and conspicuous pores. Formulated with the Japanese skincare brand’s Hydro Master Technology that promotes the production of natural moisture and normalizes skin turnover, this miracle product promises to bring your skin back to normal. Besides, peony root extract helps to keep excess oil in check, which in turn eliminates blemishes and prevents shine and stickiness. Regular usage of Shiseido Hydro Master Gel also brings about a visible change in skin appearance and texture.

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THE SPIRIT OF POLO

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THE SPIRIT OF POLO Celebrating the essence of Polo, the renowned fashion house Ralph Lauren introduces iconic pieces echoing the wearer’s impeccable taste and his luxurious lifestyle. Unveiling a grounded appeal through tonal shades of navy, olive and grey, the offerings exhibit a depth of modernity, modest ease, rugged mixed with refined, and a signature sense of cool

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S P R E Z Z AT U R A

THE SPIRIT OF POLO

Total Look-Ralph Lauren SS16

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FA S H I O N A B L E A RT

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FASHIONABLE ART May Barber, co-founder and managing partner of the cARTel Wearable Art Gallery in Al Serkal Avenue Dubai sits down for an interview to talk about about the challenges and opportunities of being in a retail environment that’s anything but typical, the response from the market, and balancing business with creativity

Beverly Pereira May Barber wears multiple hats with aplomb. When Barber, an award-winning architect and patron of arts who grew up in the UAE, founded the cARTel Wearable Art Gallery in 2012, she added another feather to her proverbial hat with a role that involved uncovering hidden gems in the field of artistic and edgy fashion.

Tell us more about your background. I studied architecture and literature because I was interested in both the visual and the verbal. It’s interesting how one influences the other. When I was young, I wrote for magazines. Using creative writing as a platform was always a part of who I am. I also love interiors, architecture and three-dimensional geometry. I received the Cityscape International Young Architect of the year Award in 2008. I chose the category of social architecture, and my winning project was a contemporary prototype for the design of labour housing that would solve the problem of living conditions but at the same time would introduce an aesthetic element that was beautiful enough to be integrated in the city. I later ventured into art, and my newest thing is fashion.

You started off as an architect. What prompted this shift?

I never pursued architecture as a full-time job; I always worked on proposals and competitions. My last commission was in 2012-2013 and it was for a private client in Abu Dhabi. I like to describe my work as a triangle of art, architecture and fashion. At its heart is design as a language that unites them all. For instance, in the realm of fashion, you will see the architectural approach; in art, you might see the fashion connection as well. All of them overlap to create the language that I employ. To me, creative processes are all the same. They require the same energy and a particular way of thinking and logic. It requires a certain discipline that’s not exactly linear; it’s a fluid process. In fashion, besides movement, we work with the same challenges as architecture.

You describe yourself as a very reserved person. How do you relate that self-image to the very edgy people and environment that your business exists within? Being in the business of the arts and fashion has introduced me to quality people, which, to me, is an asset. The people I know, these creative minds — whether locally or internationally — who are so dedicated to what they do and who are very well read and well travelled adds a lot to my life. Creative and edgy as they may be, many of them don’t even realise how great they are because when you work with art, somehow art overpowers you and you become so humble. I love this about them.

I love to have that kind of energy around me. I don’t like to be surrounded by a lot of people, I like to be quiet and focussed. I can’t function in such environments. To me, it’s just a few close friends who I can interact with and get along with intellectually.

Do you see yourself as a businessperson or as someone in the creative field? I like to refer to it as the business of the arts. It’s not an easy business to manage because art is quite niche. When you put the two together in the same sentence, you almost get a challenging connotation. That said I’ve grown to love the business. When we first started, we had very few resources, but I’m fortunate to have had a good team that grew with me. At the time, we would all sit behind our laptops emailing designers from Japan, Korea and Italy, asking them to take part in a project that was not yet born. When I look at it now it was a bit naïve, but it actually worked with some of those designers. Now, I get invitations to see collections like Alexander Wang, among others.

It’s been quite a journey.

When you started cARTel, it was something very new for the market. Was establishing that understanding one of the challenges? I always say that we started ahead of the movement;

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“ I like to describe my work as a triangle of art, architecture and fashion. At its heart is design as a language that unites them all.”

M AY B A R B E R

we anticipated change. There was a phase in this market, where it was completely absorbed by either luxury brands or typical loud monograms, or the alternative of high street brands. There was nothing in between.

I identified that missing link in the market and addressed it. That’s why our designers fit within that range. You’re still able to get beautiful, exciting things that are limited edition and not mass-produced or overly expensive. In the beginning, people didn’t get it because we were contextualised within Al Serkal Avenue, which is not a typical mall environment.

We had to do events and be aggressive in our communication. At first, it was a bit challenging, but we anticipated that the market was ready for it. On the institutional level, you have these endeavours like Fashion Forward and the formation of the Dubai Design and Fashion Council to establish a strong fashion scene and a fashion presence that’s like an eco-system. On the other hand, with the thriving world of social media, communication wasn’t just about window displays. People were looking at what bloggers were wearing in Tokyo, Italy, Germany and Beirut. The accessibility of information helped us to really bridge that communication gap.

What’s the challenge of being in a retail environment? It’s like I operate with two minds. There is the creative curator side when I have to discover designers. Then there’s the buyer side, where we have to make strategic buying decisions based on who the customer is. At the end of the day, it’s a business and we have to make it work. We might invest in pieces that won’t sell but are aesthetically pleasing, but we balance it out with retail pieces that sell easier. We wouldn’t go so far as to buy very commercial pieces because the designers who we work with don’t do overly commercial pieces.

How would you describe your client base? Do you have a lot of first-timers? We have witnessed people who were initially confused but who are now confident to walk across the studio space and pick up what they want. We’ve also seen people coming in confidently to just explore because they might have heard about us. A lot of people

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take screenshots of our Instagram images to inquire about prices or availability over Whatsapp. We didn’t plan for this, but it’s interesting how social media brought us a different kind of customer. The presentation is very convincing because we don’t just post a product shot; we create a story and an environment with characters and colour schemes. People are becoming savvier with the Internet and online shopping now. At the same time we have also seen the evolution of our existing customers becoming more loyal.

How do you see cARTel evolving? This year is key for us because not only are we doing active pop-ups, but are also collaborating with Harvey Nichols in Kuwait, along with regional collaborations that might turn into long-term opportunities. We are exhibiting through the year in Asia, Kuwait and Saudi Arabia with a rotational agenda.

For instance, in March, cARTel is doing an exhibition opening, which is part of the active calendar of Art Dubai and has been picked up by the New York Streaming Museum. At the same time, we’re part of the Abu Dhabi Cultural Festival, and on March 24 we will begin our popup in Harvey Nichols in Kuwait, not only on the women’s floor but also on the men’s floor. It’s exciting to have dual channels. If I had to give this year a title, it would be around business development. We are also working closely with product development as we’ve started to work on our own products in house. Last year, we launched our cARTel bags that are being sold on Farfetch, which means that they are doing well in the global market. We’ve established the language and now we plan to offer more in-house designs beyond bags.

Tell us about the upcoming show curated by the cARTel. Apart from the retail activity of the store, we have a studio space, which is like a gallery space. The opening for the dual show that I’m curating is titled Fashion: A Second Skin is on March 14. I’m working with two artists — Patricia Millns and the other is the London-based Una Burke.

Both artists employ their own techniques in defining fashion as an independent second skin with its own qualities and challenges in two different ways that are yet similar.

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FAIRY TALES BY HAMDA

Fashion is storytelling on a very personal level, and illustrious designer Hamda Al Fahim brings a touch of classic romance to couture style. Having just launched her first collection for Bloomingdale’s, she admits to indulging in her childhood fairy tale fantasies and taking inspiration from Disney princesses for her latest line

Niyoshi Chudgar Like so many prodigious talents of our times, Hamda Al Fahim began very young and was set on a path for a fashion career from her early years. It’s only befitting that ‘Hamda’, in Arabic, means praiseworthy – the designer has successfully created a niche for herself within a short span of five years in a convoluted industry. The Abu Dhabi-based designer has constantly been exposed to the rich art and culture of the Middle East, an environment that has fuelled the inspiration behind her celebrated designs. A stargazer since she was a child, she sketched her earliest designs at the tender age of 12.

What started as a hobby was soon to become a successful career.

An artistic personality with a strong business acumen, Al Fahim consciously seeks the shelter of obscurity and shies away from the media limelight.

She vehemently protects her personal space and values privacy, somewhat of a rarity in this day and age. It was a conscious decision on her part to differentiate the brand from herself, and build a distinctive image for the label on its own merit.

Crafted from soft organza, brocade and lace, her timeless designs feature luxurious silhouettes – every collection emulates an amalgamation of eastern and western influences with a keen attention to detail. Being a woman in a male-dominated industry has been an arduous journey for her. Having studied interior design, she was always interested in all elements of art and design. Al Fahim enjoyed designing her own handbags and jewellery, and even undertook a landscape designing job. Through all of this, fashion design remained a much loved hobby. “When you love something, you teach yourself to do it,” she confesses. Her passion and exhilaration is infectious.

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“I want to keep the intrigue and element of suspense alive for as long as I can... There are so many brand figures out there… there is a lack of mystery. This isn’t harmful, but the suspense is much more interesting in itself.”

H A M D A A L FA H I M

THE HAMDA AL FAHIM COLLECTION is available in the Eveningwear Department located on the second floor in Bloomingdale’s – Dubai, The Dubai Mall.

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“My dresses will be able to sell themselves on their own merit. I don’t want to try to convince people to buy them.”

H A M D A A L FA H I M

Her first foray into the world of fashion was four years ago when she quit a government job in interior design and started working as a fashion designer full time. Within a year’s time, she was able to open her first atelier in Abu Dhabi. Known for blurring the lines between art and fashion, the Emirati designer highlighted her understanding of delicate fabrics by blending them to create breathtaking shapes and innovative forms. Initially designing custom-made gowns for local social elites, the label now retails in the world famous Bloomingdale’s store in Dubai.

The risks and challenges of changing careers are always great, and Al Fahim recalls that the responsibility was overwhelming. Despite the challenge of employing a whole team of craftsmen and lack of job security, she asserts: “I always knew I was a responsible person and had the capacity to overcome the obstacles.” Speaking about her flawlessly elegant designs, she reaffirms her confidence in her creations and admits that the brand’s image is slowly building itself.

Her creations have a distinct aesthetic that is easily recognisable as the brand’s signature.

When prodded about self-promotion, she reinstates that she is not looking to attach her face to the brand anytime soon. “I want to keep the intrigue and element of suspense alive for as long as I can,” she says. The designer is determined to postpone the inevitable tabloid fusion for as long as possible. “There are so many brand figures out there… there is a lack of mystery. This isn’t harmful, but the suspense is much more interesting in itself.”

Al Fahim’s latest collection offers classic eveningwear styles with an updated edge, evolving the traditional vision of elegance. Her choice of diaphanous fabrics, delicate embroidery and handcrafted sequin embellishment bears the mark of a true couture connoisseur, and she cites the Disney animated movies as her inspiration. While growing up, Disney princesses left a lasting impression on the designer. “I would dream about these princesses, and think that every dress should be like the one Cinderella wore. It’s a magical feeling, and subconsciously, I wanted to emulate that kind of enchantment into my creations,” she explains. Her fascination is reflected in the icy blue ball gowns that exude both femininity and sophistication.

Describing the collection, she says: “A lot of the pieces have been inspired by the ice queen in the Disney movie - Frozen. She wears

beautiful dresses in pale blue, and I wanted to create my own take on the dresses and bring them to life. I always love to add some form of beautiful creature inspiration to any collection, and I incorporated peacocks into the handwork.” True to couture tradition, there are avantgarde ball gowns, strapless silhouettes, ethereal dresses scattered with asymmetrical appliqués made from acres of tulle and embroidery, wrap-around gowns with gauzy chiffon trains, and more. Al Fahim has also experimented with fabrics like white knit that, according to her, conform to and complement the female body. The pièce de résistance is the strapless pistachio taffeta dress with hand-draped bodice and asymmetrical full skirt panel with a tapered skirt underneath.

Organically finding inspiration in diminutive details, a picture or movie, her surroundings or while browsing Pinterest, the designer methodically transforms singular ideas into couture masterpieces.

Al Fahim’s biggest evening statement is brocade, which comes graduated and rippling or set into plissé pleats. With the unembellished creations, the drama comes from relaxed and floaty silhouettes with symmetrical bare back detailing, circa 1970s. Her sleek and minimalist approach to couture gives embellishment and tulle a breath of fresh air.

It is a collection designed under the influence of luxury and femininity from the “Disney era” that is repurposed for today and tomorrow.

While they make for sublime eye candy, these couture creations lend themselves effortlessly to wedding dress inspiration on a worldwide scale. Predominantly known for her ball gowns, Al Fahim deliberately did not position her brand around eveningwear. “My taste is naturally very international. It is not moulded for a specific culture, and I design for everyone.” Drawing light to the challenges of retailing at a global store like Bloomingdale’s, she explains that modifications are made as per the department store’s requirements. Keeping in mind several salesrelated factors, volume is decreased or embroidery is reduced.

She concedes that Bloomingdale’s is just a stepping stone to a larger story, and she plans to expand significantly in the coming years by going overseas with her creations. A star of the UAE’s contemporary fashion era, Al Fahim has no intention of seeking out publicity in the process. “My dresses will be able to sell themselves on their own merit.

I don’t want to try to convince people to buy them.” For those women who want to take their look to an haute couture level, Hamda Al Fahim fits the bill perfectly.

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BID FOR STYLE

Michael Jeha, Christie’s Managing Director in the Middle East, talks about the newly added Element of Style luxury items auction, the philosophy behind its curation, and the important pieces to be auctioned on 17th March 2016

Beverly Pereira Come March 2016, Christie’s Dubai will celebrate its 10th anniversary and its 20th sale season in the Middle East. To coincide with the celebratory mood, the auction house has announced a new sale category, Element of Style, to be held on 17th March 2016, where 60 handbags from Chanel to Hermès, as well as a number of luxury items like fine timepieces for ladies and men, will go under the hammer. Exquisite pieces like vintage trunks and luggage from Louis Vuitton, a rare 18 k gold and diamond-set automatic watch with a carved leaf sapphire surround by Cartier, and an aquamarine, sapphire and diamond cuff by David Webb, are also part of this new sale category.

Tell us about your role at Christie’s Dubai. I’ve been with Christie’s Dubai for ten years and I was with Christie’s in London for around seven years. My specialty is sort of a hybrid. I head the region from the strategic commercial perspective, but also specialise in modern and contemporary strategic art. My specialty is modern and contemporary Middle Eastern art. Having spent 17 years at Christie’s, I have a broad view and knowledge across quite a number of categories and areas.

The Element of Style is a very different auction. What’s it all about?

We’ve had the Element of Style auctions in Hong Kong and Beijing in Asia, and in Paris.

It’s a fairly recent concept, and we’re very excited to be doing it for the first time in

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Dubai. I feel it is a category that will generate a very strong interest in and around the region. Every Element of Style auction is about strong traditional collectors’ watches, handbags and jewellery. We are very confident that it will generate a lot of interest and that people will relate to this category.

There’s a growing trend of people getting into art, not only for the fact that it’s a collectible but also because it’s an alternative investment. Is the Element of Style auction more about the personal aspect? As a category, Element of Style will probably offer more things that people can use. I can see a lot of women interested in the bags, ladies watches and jewellery. It’s great value because the pricing is extremely attractive. I see that generating interest. In general, people will not be buying in terms of an investment at the Element of Style auction. A lot of these things do appreciate in time. We know that these bags like the Birkin bags, for example, have gone up a lot and they are extremely rare. So they can be an investment, but it’s more of a collectible.

People will be buying in this category more to use them. It’s a bit of a retail category.

Michael Jeha, Managing Director - Christie’s

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There are a good number of Birkin bags that are a part of the Element of Style auction. There’s the supply and demand aspect, where the supply is very limited which adds to its charm.

The sale will be offering different bags by Hermès with the star lot being a bougainvillier niloticus Birkin 30 with gold hardware, made in 2012 with an estimate of $30,000-40,000.

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LOUIS VUITTON A very fine dressing table, Customized by bernardini luxury vintage Signed louis vuitton, bernardini luxury vintage, Circa 2014 Estimate of 8,000-12,000 U.S. dollar. Lot 122

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You probably have the largest collection now. That said, do you work with brands and do they have an input on such things? These pieces were sourced from private collectors and not from a retail outlet. We have worked with all these big brands before, especially when it comes to a charitable initiative for which they give us a piece, the proceeds of which go to charity. For this particular auction, these pieces have been sourced from private collectors. Across the whole auction, almost all the pieces haven’t been used, but there are some that have been used. Overall, a large percentage of these pieces haven’t been touched, they are brand new and still in their wrapping.

We understand that there are some people who do not like to buy something unless it’s brand new, and there are others who couldn’t care less. They look at the price, which is a key point. The estimates are extremely attractive, which is why we think that it will generate a lot of competitive bidding.

When one curates a collection of watches they try not to repeat pieces and the same style. When it comes to the Element of Style auction, what is the philosophy behind curating lots? The overriding philosophy is two-fold. One, we want to gather a new offering that we feel has a strong demand in the region. The second philosophy is that we see it as an important channel to engage with our audience. It’s about reaching out to new audiences who are, perhaps, not used to buying art and who are still learning about art. It’s a first step towards collecting if they are not yet comfortable with art. We nurture those relationships, and over time they might start to buy art.

I feel that it’s an important platform to engage with our audience and new clients. Beyond this, it’s about the selection process and giving our clients the best offering we can while keeping the quality very high. We all agree that 2016 is looking like a challenging environment globally. At the same time, even in these challenging times, there are always people who support good quality pieces. We want to put together a high calibre selection of pieces in the Element of Style auctions in Dubai that focus more on quality and not necessarily quantity.

The Element of Style auction is less intimidating in a way.

Is the format of an auction something that people are less familiar with? Auctions are a process that takes time. Over the last ten years, we’ve achieved a lot in that there are many more people who now understand the auction process and who are getting more accustomed and comfortable with it. It’s still fair to say that many people are not familiar with the auction process. So a lot of what we do involves educating people about the auction process. It is far more accessible, both in terms of the process and the offering. We often hear things like the art auction could be less intimidating. Actually, that’s a bit of a myth because when you open up the catalogue, you’ll find things that are four or five thousand dollars. What happens is

that the media always picks up and writes about the big pieces like a $150 million Picasso that we might be selling, which is important, of course because they are outstanding objects. But they don’t often write about the fact that there’s something for everyone, which there are plenty of at Christie’s Dubai. We sell under different categories, and even across the art category we sell things that cost thousands of dollars and not necessarily millions. There’s something for everyone and that’s the important message we want to communicate. Buying at auction is relatively easy. Once you register, it’s a very straightforward process. We also have a two-day programme here in Dubai during the auction week that will present ten different lectures that’s open to the general public to subscribe to the course.

You have a lot leading up to the auction and that plays a big part in the final auction. Do you re-invite old customers and do they get a preview? Do you view them as repeat customers? A big part of the selection process involves looking for pieces that we know our clients are looking for. We don’t like to leave things to chance. We have formed a strong relationships with our clients over the last ten years. We know what they are looking out for. So a lot of what we put together is based on this. We reach out to our existing base of clients who are kept well informed about the offering. We send them the catalogue and they are invited to viewings and the event. There’s a strong element of repeat buying and engaging with our existing clients.

Beyond that Christie’s Dubai does want to reach out to new clients, which goes back to the Element of Style auction. Social media plays a key role in helping to engage the audience these days. The Element of Style auction is particularly well suited to reach out to people through social media.

How do you view the region in comparison to global markets like Geneva, Hong Kong and New York? As the public has become more interested in art, what role does Christie’s Dubai play in engaging its audience throughout the year?

We’ve always had a very long-term vision at Christie’s Dubai. We’ve been in the Middle East for ten years and never once has this vision wavered.

We’ve had more challenging times but never once did we change track.

We want to raise awareness, increase appreciation and the appetite for art and other categories from the Middle East. For this, educational seminars throughout the year. We have exhibitions throughout the region. We’ve already sold over $300 million worth of art, jewellery and watches since we began. It’s particularly pleasing that Middle Eastern clients are playing an increasingly important role globally. Dubai is very important for engaging an audience for the first time who will go on to participate in Christie’s auctions globally. The Middle Eastern client is becoming more interested in jewellery and watches around the world.

We expect this trend to continue and we want to help increase the appetite for these.

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THREADS OF HOPE Luxury house Taunina blends exquisite artistry with women’s empowerment to create unique handcrafted teddy bears. Celebrated as a covetable collector’s item, these heirloom soft toys represent the intersection of art, commerce and social conscience

Beverly Pereira At a sunlit atelier in the design district of Woodstock in Cape Town, South Africa, intricately hand-embroidered teddy bears are brought to life. Dreamy motifs that range from singing birds and fluttering butterflies to drifting kites and balloons adorn the belly of each bear, making each piece unique – a prized work of art celebrated not only for its precious beauty, but also for the fact that a single artist created it by hand. Taunina, the design house behind the creation of these oneof-a-kind soft toys, has been revolutionising the luxury collectible industry since 2011. Every Taunina bear changes the lives of the creators as much as the recipients.

The studio employs women from disadvantaged communities in Africa, and as the company continues to be associated with timeless artistry, it simultaneously places immense focus on the social uplifting of the artists that belong to the Taunina family.

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It takes as long as a week to conceptualise, craft and embellish each Taunina bear using appliqué and embroidery techniques based on complex imagery cut from rich and vibrant fabrics. Every colourway is thoughtfully considered and each teddy bear comprises many layers. Luxurious fabrics from iconic houses such as Liberty of London and Sanderson go into the creation of each piece, while fabrics and threads are all made from 100 percent natural fibres and safe dyes.

Finally, each piece is hand-finished by a skilled seamstress belonging to the company’s family of artists.

Taunina, formed by London School of Economics alumni Tracey Chiappini-Young and Karen Jansen, was born of the shared vision and passion to help empower women from developing countries. Both entrepreneurs came from the belief that craftsmanship is an art form that is in dire need of being preserved, revitalised and passed on to future generations.

They felt that while the creation of employment opportunities was essential, nothing develops selfesteem quite like being recognised

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as creators of treasured objects. “We were disenchanted with a marketplace flush with sterile, mass-produced, low-quality goods,” explains Chiappini-Young. “We were also dismayed by the seemingly limited appreciation of unique artistry in many emerging markets. We could not understand why these art forms were being relegated to compete with low-cost items from China.”

Chiappini-Young and Jensen studied numerous artisan-aid initiatives, but soon came to the conclusion that while they improved lives, they often failed to make an enduring impact. “They were pricing art to compete with mass-produced goods. They were trying to scale production of something that was not scaleable, they were trying to sell craft rather than art and design. They weren’t reaching the right markets, and they were devaluing their products as pity purchases… as charity,” explains Jensen. Further market research brought to light a new consumer, a socially-conscious shopper who was looking to use his or her purchasing power to make a difference.

Taunina takes its name from the African word ‘tau’, meaning lion, and ‘NINA’, the acronym for No Income, No Assets. It was born as a business that upholds sustainable luxury as its fundamental belief.

The company affords the gifted female artists the opportunity to use their cultural heritage and

Artist - Rudo Zenda

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Tracey Chiappini-Young and Karen Jansen

artistic skills to earn a living, which in turn gives them the power to become masters of their own destinies. Each Taunina item features the initials of its creator. Symbolic for both the creator and the customer, these unique marks are a testimony to the financial support received by the artist, and the pride from creating such a treasured piece of art.

Once each collectible bear has taken shape at the Taunina atelier, it travels across the world packaged in a handcrafted hatbox. As a mark of originality, each comes with his or her own bespoke passport that includes its name, date of birth and details of the artist who crafted it by hand. A trademark label is also stitched onto each bear’s left ear, while an ID stamp that reflects the artist’s initials and the bear’s

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unique identification number turns it into an exclusive possession. Furthermore, each soft toy bears a woven label with its creator’s wish for the world.

As Taunina rides the new wave of luxury, the company places focus not only on craftsmanship, heritage and exclusivity, but also on being socially conscious and ethically responsible while remaining committed to traditional values and transparency. It is a business that cares, a sustainable model that works towards preserving and respecting natural resources. For instance, the hatboxes used to package each bear are beautiful enough to be re-used.

Taunina nurtures the talents of its gifted employees while providing them with a steady income, 30 percent of Taunina’s before-tax

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profits – 20 percent is received through the company’s Bear Essentials Fund that contributes towards the housing, healthcare and education of the artists’ families and 10 percent in the form of cash bonuses based on productivity.

The warm work environment in the Taunina atelier is certainly conducive in encouraging the creative process. From a beautifully carved chair from Egypt to an antique studio table that once belonged to the Chiappini family, each piece of furniture has its own narrative of a time gone by – not unlike every Taunina bear that comes with a story to tell. Each of the plush toys is an heirloom in its own right, designed to be passed from one generation to the next. As the last stitch is in place and a teddy bear is packaged in a hatbox ready to be shipped out, one senses a manifold reaction pervading the atelier. Here, the gratification of creating an object that will soon be treasured and loved is palpable. The rich lesson of hope, passion and fulfilment attached to each Taunina bear is, in more ways than one, exactly what the world needs today.

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CALIFORNIA CALLING

The Ferrari California 365 with the backdrop of Villa Caratti on the beautiful Lake Garda, Italy

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CALIFORNIA CALLING The Ferrari California series has for long amazed sports car enthusiasts, thanks to the unprecedented engineering and design of its Grand Tourers. The present-day variant that bears the legendary California badge, the California T, expresses the Italian car manufacturer’s sportiness, versatility, exclusivity with a good deal of practicality

Beverly Pereira Ferrari is synonymous with luxurious Grand Tourers, supercars and motor sport. The Italian luxury sports car manufacturer has, after all, been at the forefront of automotive design and engineering — a classic recipe for success in the world of fast cars — since 1939. Its extensive catalogue of sports cars marked by the iconic Prancing Horse motif are instantly recognisable across the world, not only for their unmatchable performance-based technologies but also for the fact that they are exquisite pieces of art. One of Ferrari’s most famous series that bears a rich heritage is, inarguably, the California series of grand touring sports cars. It was a journey that began with the launch of the Ferrari 250 California in 1957. The well-received California series has since continually undergone both technological and aesthetic advancements over the years, culminating in the unveiling of the presentday variant of the California — the California T — in 2014.

The California T, is a sublime expression of Ferrari’s sporty DNA, and is a joy to drive long distances in a luxurious and comfortable Grand Tourer at the very same time.

To own a Ferrari California Grand Tourer is to experience the storied history of the Maranello-based luxury car manufacturer and its remarkably innovative offerings. The California family of Ferraris is the most sought-after for all good reason. From curve to vent, the Ferrari California model name itself is an embodiment of such qualities as versatility, innovation, luxury, comfort and sporty design. Softer curves significantly contribute to additional room for luggage, while the easy-going nature of the chassis goes a long way in making long-distance journeys a true pleasure.

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Ferrari has made a significant number of changes to its new California T model, while referencing a good number of styling cues from the legendary Ferrari 250 California and the 365 California of the 50s and the 60s respectively.

The California T of today is underscored by excellence, heritage, prestige and track DNA. In true Ferrari style, it pushes the limits of technological innovation in every area — from superior engineering to classic design. It also brings in Ferrari’s unique heritage and the qualities of the Prancing Horse, both of which stand for Italian joie de vivre in its purest form.

The groundbreaking and sportingly superior California T presents sublime elegance, sportiness, exclusivity and versatility in a single package — the distinguishing traits of every California model that Ferrari has launched since the 1950s. Among its innovative features is the use of turbo technology, which has always found a place of honour in Ferrari’s engineering tradition. Ferrari’s engineers have managed to design a remarkable power unit that combines classic Ferrari engine qualities such as razor-sharp responsiveness, unparalleled performance, superbly powerful acceleration at all speeds and an exhilarating soundtrack to match, with the advantages that turbo technology offers — drastically reduced emissions and fuel consumption, a high specific power output and compact dimensions. The high demand for Ferrari’s California series of cars has also much to do with its exclusive nature. From the 250 California and 365 California, right up to the California T of today, these limited production run of these cars ensure that the California series remains as hallowed a name as it originally was meant to be.

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Ferrari

250 California The first Ferrari to bear the powerful California badge was the original V12-engined 250 California. The exquisitely designed two-seater spider was first produced in 1957, but continues to be recognised for its progressive automotive design even today. Only 100 Ferrari California 250 Grand Tourers have ever been built, some of which came with aluminium bodies. However, long-wheelbase versions were built between 1958 and 1960 before they were replaced by the short-wheelbase version.

Today, this legendary car continues to fetch millions at auctions.

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CALIFORNIA CALLING

Ferrari

365 California The Ferrari 365 California, which made its debut at the Geneva Motor Show in 1966, built on its predecessor, the 250 California. The model was Ferrari’s large front-engine, rear-wheel drive 2- and 2+2-seater Grand Tourer line. The most popular model was the 1968 365 GT 2+2 that had independent rear suspension. Luxuriously designed, the 365 GT 2+2 featured leather seats, power steering and brakes, electric windows and optional air conditioning. However, it was the original 365 California — with a production run of less than 20 between 1966 and 1967 — that really retained the exclusivity associated with the California badge.

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Ferrari

California T The present-day model based on Ferrari’s historic California models, the California T is a 2+2 Grand Tourer hard-top convertible powered by a new turbocharged V8 engine. Ferrari unveiled a modern-day variant of the California at the 2008 Paris Motor Show, which evolved into the present-day California T that was launched in 2014. Its new, modern design brings in a powerful personality that blends sportiness and elegance in a seamless manner, a signature trait of the Maranello-based car manufacturer known for its fine craftsmanship. The ergonomic design is a balanced interplay of soft convex and concave curves, which contribute to the sophisticated allure of an authentic Ferrari Grand Tourer. Inside, its cabin features a luxurious semi-aniline leather trim.

Brimming with innovation, the California T boasts cuttingedge technological solutions that really work together to make the model unique. Besides a turbocharged V8 engine that produces a powerful sound accentuated impressively with the increase in revs, the car is more fuel efficient to the tune of approximately 15% than its predecessor. The California T represents the height of sports car dynamics, in part due to lower steering wheel activity, and also because of quicker steering courtesy of a new steering box and new suspension set-up. New springs and the latest-generation Magnaride dampers, which are now more than 50% faster, are paired with body motion accelerometers to reduce roll and pitch for more precise handling while promising a comfortable drive.

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CALIFORNIA CALLING

The Ferrari California T’s modern design gives it a powerful personality in which sportiness and elegance meld in the classically seamless way of every Prancing Horse ever built

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THE OMEGA LEGACY

will not be able to do that. At the same time she has an amazing character. That’s what makes a difference and you can see that come across in the people who are associated with the brand. That’s why she remains with us; she is a part of the evolution of the brand.

From 1996 to today, have the challenges of the watch industry evolved? When you look at your role 20 years ago did you forecast the type of challenges that you’re looking at today? The challenges we face today as opposed to 20 years back are definitely different. We could have never planned for the challenges we are facing currently, but that is the amazing part about it. Let’s consider Dubai from when I had come here in 1999. I remember that we had only three points of sales in Dubai back then, but then again the market was different and the challenges were different.

Communication with customers was also restrictive because unlike today there was no internet or social media back then. But we always had the ambition to make Omega the market leader. So we worked on the product, and even while the market changed we were always focusing on the product. Today our presence in the market is different. Today we have built the ease of accessibility – not only are there billboards and advertisements everywhere, there is not one shopping mall in Dubai that doesn’t have an Omega boutique.

But regardless of the changing environment, our product has been consistent with its character. Today’s Omegas- they have evolved to be better, but yet remain real Omegas.

We are living in an era that is experiencing over-connectivity. If you look at the next generation of Omega customers do you think at some point in time Omega will step into the “connectivity” aspect? When we are talking about connected watches, connection makes a world surrounded by electricity, a

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world surrounded by magnetism, which is not good for health. For me connectivity has to be a bit different from the watch itself. Hence from a practical perspective, I don’t think the two worlds will combine for Omega. It is not like we don’t have the correct opportunities or the engineers to create it. For most people there is an emphasis on the emotion and the relationship you have with your watch, maybe embracing it with connectivity would be good, but in our pricing I don’t see a big connected market for it. I cannot talk about the future, but for the moment I don’t see that as being part of our plan.

There have been rumors about an anticipated crisis ahead. Despite it all, Omega had a strong first month performance in this region. What do you attribute that to? There is of course the hard work we have put into the marketing and distribution of our great products. But also you need to understand a lot has to do with our products. Whether there is a crisis or not, we survive because we create products with emotions. Emotions are essentially what define us as being human. And when you are able to create products with emotions, the true value of a product always remains. In my opinion we gained market share primarily because of this.

Having said that, I am also concerned about the possibilities of our market share decreasing. There are factors like the stock exchange and oil prices, which do play an important role, but for me, it’s the whole issue about volatility that makes people travel less, which is not good. That’s my biggest fear.

We are not made to stay at home. We have to connect with people.

You are wearing the new Globemaster on your wrist because that is the highlight Omega watch at the moment.

On a personal level though, which watch do you usually wear? I love my Omega

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Planet Ocean Chronograph, gold watch with black dial. I have been wearing it since a very long time. I believe that this watch brings me good luck and I have a personal relationship with it. An individual can have 20 watches to select from, but they will always pick the one that they have a relationship with, the one that they see value in.

In the last 20 years, which have been the brand’s major accomplishments?

As a historic brand we have a glorious heritage; we are celebrating 60 years of a single product line which is the Seamaster.

There are very few brands that can claim something like that. I think that the energy that we have put into the brand, along with the support of a visionary like Mr.Nicolas Hayek has made Omega what it is today.

We have evolved a lot in terms of our in-house movements. We have had breakthroughs such as the master chronometer, the certification of the Swiss Confederation, and also the improvements in the water proof technology and increased precision with regards to magnetism and dealing with its effects. It has cost us a lot to integrate all these improvements into our products, however we did not increase the price of our watches by a single penny. We do this because our customers deserve the best.

You don’t buy a watch only to check time. It represents you.

What can the hardcore watch enthusiasts expect from Omega in 2016? It’s going to be a year where we invest a lot in technology for chronometers and improvements in technology for chronographs which are our real assets.

There is a lot of focus on creating newer technology around athletes. We are looking at getting newer technologies let’s say into the Olympics so that the athletes who have been training for so many years for the games can have the time of their life.

“ ...when you are able to create products with emotions, the true value of the product always remains.”

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ART AND DESIGN

A DESIGN JOURNEY

Camp Design Gallery - Analogia Project, Pantheon/Pantheoff, chandelier, White and gold glazed ceramic, metal structure.

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“ The more people that understand and accept the message that Design is not just about the functionality, but that Design is something transformational, the more successful we are in reaching our objective.”

CYRIL ZAMMIT

is from this collection. The entire collection is made of laser cut metal combined with the weave of golden grass from Brazil known as Capim Dourado. These pieces are a mix between new technology and a very secular way of weaving this golden grass practiced by Afro-aboriginal ladies from a very remote province in Brazil. They’ve been doing this for many generations in a very traditional fashion. You have a designer like Guto who comes along and teaches them something new and suddenly their work is transformed into something more competitive and they find themselves integrated into today’s marketplace. In a way everybody is learning; Guto he is learning from them how to work with this golden grass and they are learning from him how to adapt their technique to a brand new marketplace. This is Design with an impact.

High end design is usually something with a purpose and something that addresses the problems we have and brings about the solution.

Regular design could be solving a purpose that is making a chair that you are sitting in more comfortable, or making it more ergonomic but on top of that we are bringing in pieces that address not just the aesthetics but go beyond the aesthetics to addressing something greater within an artistic way of interpretation. Regardless of the material when you look at a piece at our fair, there is always a back story, a design approach, and a transformation. There is definitely a functional aspect but there is always a backstory and a thought to everything. And if you don’t know these details then you are missing out on the overall picture.

This is the 5th edition of Design Days Dubai. When you look back in time, what do you think, were your major milestones?

During the initial stages when we were deciding on the show’s concept, we were looking at a format that would mirror the existing formats globally, fusing both contemporary and modern designs similar to cities such as Basel, Paris, and London. Majority of the audience we went on to realize, preferred contemporary designs to vintage ones. They were not necessarily interested in classics or pieces from the 50s or the 60s and so we addressed that, and since the second edition, the majority of our line-ups were focused on unique, one-of-a-kind contemporary designs. So today if you look at our exhibitors, you will realize that we don’t necessarily have the same lineup as other fairs around the world.

We have a very unique representation which is highly contemporary,

and the global media and collectors come to Dubai because they see something different in us. So for us getting around to having our own unique voice and positioning was a first milestone.

Secondly, we have been playing the role of a fair meant for discovery since we started. We have been giving a lot of national, regional and international designers an opportunity to be discovered for the first time through Design Days Dubai.

Would you say that Design Days is today being seen as a regional voice and that being a regional representative for design is also a milestone? This is absolutely another milestone for us, because a lot of the regional designers who are using us as their first platform to build visibility. That’s important for us because it is recognition from the market that we’re a part of the family. A lot of the designers that we worked with actually had their first ever exhibit at Design Days Dubai. It makes us proud because we see them growing at the same time we are growing and they all feel like we’re part of the same family. They are also helping us because their freshness is helping us to be different and it’s been a win-win situation.

When we started the show we had 22 exhibitors and 4 of them were from the Middle East. Now we have 19 exhibitors that are from the Middle East out of a total of 40 overall exhibitors. So there is an increased representation from the region.

The first year there were a lot of spontaneous requests from the region which I had to turn down. I had a lot of people hating me the first year because I told them don’t come this year because you are not ready yet. All of them visited the show and realized what they were up against.

Majority of them came back and said thank you – I would not have been comfortable to exhibit next to the others present at the fair. Now I see that these designers have come back more prepared and now I can say I stand by every single one of these exhibitor from the region and I am proud of what they have accomplished and what they are showcasing because I know what they are bringing can absolutely be compared to worldwide designers and galleries. It’s definitely a great feeling to see that we have helped to get the regional designers to become more confident, more assertive and to get on top of their production game as well.

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AT T H E A U C T I O N

AT THE AUCTION This season, Christie’s auction house brings some of its most discerning timepieces to town for the ‘Important Watches’ auction. Remy Julia, Regional Watch Specialist at Christie’s provides a deeper insight into the process and myths of auctioning

Diksha Vohra The Christie’s Important Watches auction to be held in Dubai on March 15th 2016 is the first stop on their circuit of annual watch auctions worldwide. Unveiling a large collection of revered timepieces under one roof, the event promises to be a visual treat for watch enthusiasts. Watch auctioning however, is not as easy as it sounds. To get an expert’s insight before the watches go under the hammer, we sit with Christie’s Regional Watch Specialist Remy Julia to understand the intricacies.

At its 10-year anniversary, Christie’s is bringing three auctions to Dubai in March – Watches, Art and Elements of Style.

How different are these two? Important Watches showcases only timepieces, a mix of both vintage and contemporary ones. There is a common misconception of auctions that you enter one only when you have millions to spend. The Important Watches auction is to bring the crowd closer to building a collection by lowering the barrier to participation. On the other hand, Elements of Style is more lifestyle oriented where the articles for auction go beyond watches and tap into precious lifestyle products like handbags and jewelry. This is the first time that we are auctioning handbags in the region, which is quite exciting.

The watch auction season worldwide starts in Dubai. Why is that? Dubai is certainly first in the line for yearly watch auctions worldwide followed by Geneva, Hong Kong and then New York. There was no particular reason behind it. Coincidently it has been the first for the past three years so we chose to stick to it. In soccer, for example, how people wait for the next season to start after the first gets over, we witness a similar scenario of interest for our watch auctions. People wait for it because auctioning is not just about buying watches, it is about interacting with like-minded people, gaining knowledge, understanding the market and exposing yourself to different options.

It’s a place that attracts experienced watch collectors, young collectors, traders, dealers and watch-appreciators. So there is a lot going on in the background and behind the scenes.

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The general perception is that an auction is a very private affair. How is yours different? Our auctions start with a public preview of the collection. You cannot spend on an item without seeing it in person. Some people do thorough independent research by comparing and contrasting the items on auction, looking up the specifications and evaluating the significance of items in each category.

Some, however, need assistance, in which case our expert advisors are most happy to assist. It is only on the day of the actual auction that everything shifts into being a very private affair.

What factors are considered before setting the estimated price range for items before an auction? We carry out the estimation in-house but the decision is influenced by the market trends across the globe. The prices are quite different from retail prices as they majorly depend on the rarity of the model and the existing appetite amongst general masses for it. Additionally, our prices have to follow those of Hong Kong, Geneva and New York evaluations. Our price estimates heavily depend on changing market demands globally.

Would you attribute the growing interest in auctions to the ever-increasing consumer appetite or to the smart investors who are looking at long-term value? To an extent, both these factors play an important role during auctions. But we cannot definitely say its one or the other. Pure play watch investors are very few in numbers globally. Probably in a collection, some pieces might prove to be a good investment but pure investment purchases aren’t that popular. A watch is meant to be fixed on your wrist and should be something that not only makes you look good and feel good but be something personal to fit individual tastes, interests and lifestyles.

Trends reveal that a growing number of people are investing in classic cars and watches as a way of alternative investment.

What’s your take on this? The investments appreciate only when you are well advised and when you follow the market very closely. If you

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leave a gap, even of six months to a year, you lose track of the market and your investment decisions would no longer be relevant. For this, you need to always be on your toes in researching and learning about the market as a lot depends upon retail markets. When the retail sector isn’t doing well, you will find a lot of pieces floating in the market, which in-turn reduces the auction prices. The vintage watch market, however, follows other parameters and mechanics but their prices always affect the market.

You had mentioned earlier that it is a myth that one needs millions to enter an auction or to start a watch collection. Can

you elaborate? Quite often people are under the misunderstanding that they cannot put together a fine collection of watches unless they have a lot of money. However, there are people who have 5 million dollars to their disposal and don’t quite know what to buy next. At the same time, there are people who start with 3,000 dollars in hand and work towards a very thought out collection of four pieces. For instance, someone who is restricted on finances can plan to sell an existing watch from the collection and purchase a better option. The difference is in the research, the thinking and economic planning. You can very easily put together a collection with a very reasonable budget supported by research and planning.

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AT T H E A U C T I O N

HONORING TIME From vintage to contemporary, timepieces have forever been endured and preserved as symbols of art and prestige.

Presenting an array of such much-appreciated and revered timepieces, Christie’s Dubai gears up for its most awaited Important Watches auction to be held on the 15th of March 2016. Here’s a selection of watches carefully short-listed

by Signé from the upcoming auction for our discerning watch aficionados

LOUIS AUDEMARS, MADE FOR BREGUET An extremely fine and rare 18k pink gold hunter case minute repeating perpetual calendar keyless lever watch with moon phases, made for the Turkish market.

Estimate 25,000 - 35,000 U.S. dollars. Lot60

IWC A fine platinum limited edition wristwatch, made to commemorate florentine ariosto jones, the founder of IWC. Estimate 9,500 - 13,000 U.S. dollars. Lot48

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IWC A unique and fine platinum automatic wristwatch with sweep centre seconds, date and power reserve.

Estimate 13,000 - 20,000 U.S. dollars. Lot50

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IWC A fine platinum limited edition wristwatch Estimate 9,500 - 13,000 U.S. dollars. Lot49

ROGER DUBUIS An extremly fine and very rare 18k white gold and diamond-set limited edition skeletonized double tourbillon wristwatch with official certificate and box.

Estimate 120,000-150,000 U.S. dollars - AC319

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ROLEX A fine 18k white gold and diamond-set automatic chronograph wristwatch.

Estimate 10,000 - 15,000 U.S. dollars. Lot117

ROLEX A fine 18k gold automatic wristwatch with sweep centre seconds, day, date and bracelet, made for the United Arab Emirates.

Estimate 10,000 - 15,000 U.S. dollars. AC274L5

BREGUET A fine platinum automatic chronograph wristwatch with date and blue dial.

Estimate 10,000 - 15,000 U.S. dollars. Lot45

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ROLEX A fine 14k gold automatic wristwatch, sweep centre seconds and box.

Estimate 3,000 - 5,000 U.S. dollars. Lot86

ROLEX An 18k white gold automatic chronograph wristwatch with bracelet.

Estimate 12,000 - 18,000 U.S. dollars. AC329

ROLEX A fine 18k gold automatic wristwatch with sweep centre seconds and date, made for the Kuwaiti airforce.

Estimate 5,000 - 8,000 U.S. dollars. AC274L3

ROLEX A fine 18k gold automatic wristwatch with sweep centre seconds, date and bracelet, made for the United Arab Emirates.

Estimate 10,000 - 15,000 U.S. dollars. AC274L6

VACHERON CONSTANTIN A fine silver openface single button chonograph keyless lever watch.

Estimate 1,500 - 2,500 U.S. dollars. Lot56

VACHERON CONSTANTIN A fine 18k gold open face keyless lever watch.

Estimate 3,000 - 5,000 U.S. dollars. Lot57

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JAEGER-LECOULTRE A very fine 18k pink gold limited edition semiskeletonized automatic chronograph wristwatch with date, vertical trigger mechanism, aston martin edition.

Estimate 12,000 - 22,000 U.S. dollars. Lot51

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PATEK PHILIPPE A very fine platinum automatic annual calendar flyback chronograph wristwatch with day & night indication, power reserve, certificate and box.

Estimate 40,000 - 60,000 U.S. dollars. Lot43

PATEK PHILIPPE A fine, rare and attractive 18k gold wristwatch with two-tone dial and fancy lugs and certificate.

Estimate 12,000 - 18,000 U.S. dollars. AC332L8

PATEK PHILIPPE A fine 18k pink gold wristwatch with hobnail bezel and certificate.

Estimate 5,000 - 7,000 U.S. dollars. Lot84

AUDEMARS PIGUET A fine 18k gold automatic wristwatch with sweep centre seconds and date.

Estimate 4,000 - 6,000 U.S. dollars. Lot34

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PATEK PHILIPPE 18K gold wristwatch with certificate.

Estimate 4,000 - 6,000 U.S. dollars. Lot87

AUDEMARS PIGUET A very rare platinums skeletonized wristwatch with bracelet.

Estimate: 18,000 - 30,000 U.S.dollars. Lot21

PATEK PHILIPPE A very fine and rare stainless steel automatic chronograph wristwatch with date, bracelet and certificate.

Estimate 45,000 - 75,000 U.S. dollars. Lot44

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FACETS OF ART The BMW Group expands its support of contemporary art and culture with the launch of BMW Contemporary, an initiative to unite and showcase Middle Eastern artists and collectors

Rashi Bisaria For more than 40 years, the BMW Group has promoted a culture of art and aesthetics through a variety of platforms around the world. It has endorsed unfettered creativity while nurturing regional talent.

With its all new and exclusive documentary initiative BMW Contemporary, the group aims to unite artists and collectors from across the Middle East to meet, discuss and share their bespoke collections with the public. The platform will bring to life their unique stories in a series of online episodes that will be featured across BMW Group Middle East’s social media channels throughout the year.

The episodes, a guaranteed treat for art enthusiasts, will explore different facets of creativity and perfection.

The first episode, entitled The Art of 7, sees art patron Ali Khadra introduce Youssef Nabil, an internationally acclaimed Egyptian artist, and Sheikha Paula Mubarak Al Sabah, a high-profile art aficionado and collector residing in Kuwait. As the first host of the series, Sheikha Paula has allowed exclusive access to her stunning Kuwait estate in which audiences will not only learn about her extensive collection, but can immerse themselves in Nabil’s world of Egyptian glamour, departure and loss.

Commenting on the initiative, Christina Heidlberger, BMW Brand Management, Marketing Services and Event Manager for BMW Group Middle East, said: “The BMW Group has been involved in supporting various arts and cultural platforms for more the 40 years, with hundreds of initiatives taking place worldwide. Here in the Middle East, we are committed to fostering this association and actively seek opportunities to nurture and support regional talent. We believe that BMW Contemporary does just that. It is a great showcase of how creativity knows no boundaries, and we hope that each of the episodes’ artists spark interest and inspire people across the region.”

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Cultural engagement has always been a priority for the brand, which launched the Art Car initiative in 1975.

Alexander Calder was the first artist to transform the car into a work of art. From there on, the Art Car Project unfolded and became highly sought-after by artists. It is not positioned as an annual event in order to maintain its exclusivity. Many such initiatives have emerged from BMW, a brand that prides itself on treating art as a part of its corporate culture. Another such effort is the Art Journey, which BMW sponsors in collaboration with Art Basel. It entails artists setting off on their own on trips that help fuel their creative process.

By launching BMW Contemporary online, the group is keeping in sync with changing times. The initiative hopes to ignite a buzz about art and culture on social media, while also showcasing the all-new BMW 7 series.

The documentary series aims to serve as a platform for established and upcoming contemporary artists in the region. It will explore the diverse styles adopted by each, the motivation behind their passion thus throwing light on the contemporary art scene in the Middle East.

BMW believes that unrestricted freedom is of utmost importance – as much for the art world as for groundbreaking innovations within business. “As a car company, we see many synergies with the art and culture world. We both strive for innovation and creativity in many respects, be it design or how we engage with our audiences,” continued Heidlberger. The elegance and sophistication of the car company finds resonance in the world of art and culture. BMW’s commitment towards artistic aspirations stems from the group’s own approach towards creativity, perfection, innovation and excellence. The BMW Group focuses its cultural cooperation on jazz and classical music, modern and contemporary art, architecture and design.

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ART AND DESIGN

FOR ART’S SAKE

FOR ART’S SAKE Swiss fine watchmaker Audemars Piguet continues to lend its support to the arts with its annual artist-driven initiative that supports and promotes a young, talented artist. This year, the commissioned works of Chinese artist Sun Xun will be displayed at Art Basel Miami Beach

Beverly Pereira Audemars Piguet holds artistry at the heart of its fine timepieces. The Swiss watchmaker, the oldest manufacture to remain in the hands of its founding families since 1875, also remains reputed for giving the world of Haute Horlogerie a good number of innovations. One can draw many parallels between the philosophy of Audemars Piguet and its arts-driven initiative, the Audemars Piguet Art Commission. The Audemars Piguet Art Commission is a natural extension for the maker of some of the world’s finest masterpiece watches. Now in its second year, the commission continues to works with an artist on the production of a new, unparalleled artwork. This year, the artist Sun Xun will be the second artist to present the Audemars Piguet Art Commision. The Beijing-based artist will collaborate with the commission’s guest curator Ruijun Shen and Audemars Piguet to create a piece of art that will be displayed at Art Basel in Miami Beach in December 2016.

Sun Xun, who was born in an industrial mining town in northeast China, possesses a deft mastery for interdisciplinary fields.

The artist, who studied printmaking at the China Academy of Fine Arts and is the founder of Pi animation studio, uses experimental methods of working that are no different from Audemars Piguet’s inherent values of forward-thinking and technical excellence. Sun Xun, who is well known as one of China’s most talented young artists, combines traditional craftsmanship across a host of media with stylistic experimentation.

Utilising a range of materials, his artistic practice blurs the lines between painting,

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drawing, animation and installation through the seamless use of woodcuts, traditional Chinese ink and charcoal drawings to create stop-motion animated films.

His work brims with both realistic and mythical iconography and also incorporates themes that have impacted the young artist during his formative years. Sun Xun, who grew up in the period of time that followed the Chinese Cultural Revolution, finds the themes of global history, culture, memory and politics to be a huge influence on his work. He also has a keen interest in the way historical events are perceived and remembered over the passage of time. Using symbolic elements in a surreal manner, his work explores concepts of the past versus the present, and personal versus political.

Audemars Piguet unveiled the first work for the inaugural commission to coincide with Art Basel in 2015. The commission had selected Swiss artist and composer Robin Meier as the first artist for its artsdriven initiative. Working alongside the commission’s guest curator for 2015, the renowned Marc-Olivier Wahler, Meier conceptualised and realised a large-scale installation that focused on the principles of order in nature. Titled “Synchronicity”, the work explored the natural phenomena of how fireflies found in remote parts of the world flash bioluminescent light in unison.

The artist’s work went on to be shortlisted for the 17th Fondation d’entreprise Ricard Prize, Paris, following the Audemars Piguet Art Commission.

As part of the Audemars Piguet Art Commision, the chosen artist is provided

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with necessary resources and a secure access to advanced tools, craft expertise or sophisticated technology to realise new works. Besides, the artist works in tandem with a reputed annual guest curator. Yet another defining aspect of the commission is that it creates links to special expertise required to bring the concerned works of art to life. In this respect, Audemars Piguet is working closely with Sun Xun to secure the highest quality optical and projection devices that form an integral part of the young artist’s work for 2016.

It is in ways such as this that Audemars Piguet, an important supporter of the arts, lends its support to artists in the creation of works of exceptional complexity, precision and experiential impact on an ongoing, annual basis. Besides presenting the chosen artist’s work to the public to coincide with Art Basel’s well-attended edition in Miami Beach, the Audemars Piguet Art Commission also plays a big role in its presentation at a public art institution.

As the commission’s guest curator, Ruijun Shen will work alongside Audemars Piguet on the production and contextualisation of the Swiss watchmaker’s second Art Commission project. It was Shen, the commission’s curator for 2016 and a curator at the Guangdong Times Museum, Guangzhou, China, who proposed Sun Xun for the commission. An influential artist in the Asian art scene for a good number of years, she initiated important projects like the Open Studio art residency in 2012 and is also an active contributor to a host of art journals including Art Asia Pacific, LEAP, and GALLERY, besides being

a member of various art-related committees.

She has exhibited in, as well as curated for, a range of reputed galleries and museums including The Shanghai 21st Century Minsheng Art Museum, China; Guangdong Times Museum, China; Queens Museum, New York; and Yerba Buena Center for the Arts, San Francisco.

Sun Xun, himself, has held multiple solo exhibitions across the world including shows at the Los Angeles-based Hammer Museum; the Kunsthaus Baselland in Basel; the Hayward Gallery, London; The Drawing Center, New York; the Minsheng Art Museum, Shanghai; the Louis Vuitton Taipei

Maison, Taipei; and the A4 Contemporary Arts Centre, Chengdu. Last year, upon the invitation of Audemars Piguet, Sun Xun visited the fine watchmaker’s home in Le Brassus, Switzerland, to learn more about the watch house’s 140-year tradition of precision and craftsmanship.

Sun Xun’s art for the Audemars Piguet Art Commission 2016 will be presented in the context of the Beijing-based artist’s wider body of work. In Miami, the Swiss fine watchmaker — in collaboration with Art Basel and Sun Xun’s affiliated galleries like Shangart Gallery (China and Singapore), Sean Kelly Gallery (New York) and Edouard

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Malingue Gallery (Hong Kong) — will also host a series of special programmes and events that are relevant to the Art Commission. Besides, the Sean Kelly Gallery will feature Sun Xun’s works in their booth during the Art Basel Hong Kong Fair. “The Audemars Piguet commission seeks to explore topics of complexity and precision in projects that demand the highest level of execution and skill”, says Olivier Audemars, Vice Chairman of the Board Audemars Piguet. Sun Xun’s meticulous craftsmanship and experimental methods already prove that the Beijing-based artist is a perfect fit for the commission.

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REACHING FOR THE MOON Whether it is the moon looming large and bright, or the billions of twinkling stars, the nocturnal sky as we see it has fascinated humanity for aeons. The desire to explore the universe began as observations with the naked eye, and over the years, has continued to encompass the use of scientific instruments. Astronomical watches like the moon-phase timepieces by A. Lange & Söhne are witness to this undying curiosity

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It is believed that primitive structures like the Stonehenge, built by ancient civilisations to make sense of celestial bodies and their alignment in relation to the earth, were some of the early methods to better understand the universe.

The study of celestial objects did not have its roots in scientific inventions, but in the human trait of curiosity. In The Dawn of Astronomy, British astronomer Sir Norman Lockyer, who lived from 1836-1920, breaks down ancient astronomy into three distinct phases and presented an observation prevalent across most ancient civilisations like Egypt, India and South America. First, a civilisation goes through the worship stage, where astronomical phenomena are viewed as the actions and warnings of gods; next, it progresses to using astronomy for terrestrial purposes like agriculture or navigation. The final step, he says, is to study astronomy solely for the sake of gaining knowledge.

Observations and predictions of the motion of objects visible to the naked eye preceded the assembly of astronomical observatories in ancient Mesopotamia, Greece, India and Egypt. Early ideas about the universe came into being, thanks to Ptolemy whose comprehensive treatise on astronomy, The Almagest, the only surviving treatise of its kind, estimated that the earth was the centre of the universe. The Babylonians later laid the foundation for the study of the universe with the discovery of the repetitive, cyclical nature of lunar eclipses. Even as astronomy went through a period of stagnancy in medieval Europe until the 13th century, it flourished in the Islamic world with the discovery of the Andromeda Galaxy by Persian astronomer Azophi.

In the early stages of lunar observation, people were interested in the progression of the moon across the nocturnal skies and its changing faces. It was only until the telescope was invented in the 17th century that the focus shifted to the moon’s surface.

In Saxony, too, the earth’s satellite, its orbital progression, and its influence on various spheres of life intrigued laymen and scholars alike.

The Nebra sky disc, a bronze disc dating back to 2000 BC unearthed in Saxony-Anhalt is testament to the celestial achievements by those native to Saxony. The disc was marked by a blue-green patina inlaid with gold symbols of the Pleiades star cluster, and featured the full moon and crescent moon.

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Many millennia later, Augustus, the elector of Saxony, laid the cornerstone for the discipline of astronomy and lunar research. He commissioned Europe’s first large scientific apparatus and instrument collection that formed the art chamber in Dresden. Over 10,000 objects including astrological and astronomical instruments occupied the Dresden art chamber, which was the precursor of the present-day Mathematics and Physics Salon.

“ The watchmakers at A. Lange & Söhne leverage all the potentials of science and technology to emulate its orbit with extreme precision and to reproduce its radiance as brilliantly as possible ” The famous lunar map by the Dresden astronomer Wilhelm Gotthelf Lohrmann is an example of Saxony’s fascination with lunar observation during the 19th century. A century later, in the 1960s, Dresden native Ursula Seliger created an extensive series of detailrich pencil drawings compiled in three volumes. These drawings are currently stored at the Palitzsch Museum in Dresden. The museum was named after Johann George Palitzsch, the so-called “peasantastronomer” from Dresden, who went on to become famous for discovering Halley’s Comet. Such was the extent to which Saxony contributed to the study of celestial phenomena.

A young watchmaker by the name of Ferninand Adolph Lange was enrolled in Dresden’s technical University, where he acquired an education that set into motion an apprenticeship with the renowned master clockmaker Johann Christian Friedrich Gutkaes, who recognised the young Lange’s unusual watchmaking skills. After years of journeying across Europe, Lange returned in 1841 with the hope of establishing a manufactory in the Ore Mountains. He eventually built a

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watch manufactory and pioneered a number of innovations that would forever revolutionize watchmaking. The company he founded in 1845, which is today known as A. Lange & Söhne, was headquartered in Glashütte, not far from Dresden, in the state of Saxony.

The German watchmaker has since remained fascinated by the moon. Even today, the watchmakers at A. Lange & Söhne leverage all the potentials of science and technology to emulate its orbit with extreme precision and to reproduce its radiance as brilliantly as possible. Ever since the first collection was presented almost two decades ago, the Glashütte-based manufacture has developed no less than 15 calibres with moon-phase displays. A specialty in A. Lange & Söhne’s repertoire of timepieces, the moon-phase watch requires a correction by one day, once every 122.6 years, which is about 50 times more accurate than conventional displays. In fact, so accurate is its current mechanism that the new Richard Lange Perpetual Calendar “Terraluna” timepiece can run for over 1000 years before it deviates from the actual lunar cycle by one day.

A. Lange & Söhne’s revolutionary lunar discs have signature elements, such as its rich blue hue with a unique chromatic effect achieved by superimposing light waves. To produce this so-called interference phenomenon, the watchmaker partnered with scientists to develop a patent coating process for the solid-gold discs. Then, there’s the distinct presence of laser-cut stars that stand out against the vibrant blue tint. The term blue moon refers to the rare phenomenon of the second full moon within a given calendar month, Most mechanical moon-phase indications must be corrected by one day every “once in a blue moon”. The reason behind this is that the period of time between two new moons is rounded down to 29.5 days even though it is actually 44 minutes and three seconds longer. The A. Lange & Söhne moon-phase watches, however, are much more precise with most of them reproducing the lunar month with an accuracy of 99.998 %. A good example is the Richard Lange Perpetual Calendar “Terraluna” that is adorned with over 2000 stars in five different sizes and which emphasise the lure of the night sky. The orbital moon-phase display of this timepiece is one of the greatest innovations in precision watchmaking. The timepiece depicts the changing orbital position of the moon in relation to the earth and sun with unmatchable accuracy.

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2007 LANGEMATIK PERPETUAL PINK GOLD The pink gold version of the sensational Langematic Perpetual that was presented in 2001 continues to set benchmarks. It was the first self-winding wristwatch to feature a perpetual calendar and an outsize date. The timepiece’s calendar displays can be advanced both individually and collectively. The perpetual calendar automatically displays the correct date, day of the week and month, and takes into consideration the different durations of the months, including leap-year deviations.

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2010 SAXONIA ANNUAL CALENDAR Rich in classical elegance, this timepiece pays homage to Saxony’s impressive research and contribution to the field of astronomy. The annual calendar of the A. Lange & Söhne Saxonia Annual Calendar Platinum displays the correct number of days in each month for an entire year.

The date requires to be adjusted only once a year, at the transition from the last day of February to the first day of March.

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2012 LANGE 1 TOURBILLON PERPETUAL CALENDAR Due to the moon’s synchronous rotations, the hemisphere visible from the earth is always the same. It was only in 1959 after the Soviet Union’s Lunik 3 space probe that the first pictures of the dark side of the moon emerged. This A. Lange & Söhne timepiece, with a total of 624 parts, presents a wealth of clearly legible information. The Lange 1 Tourbillon Perpetual Calendar, available in a pink gold as well as a platinum case, combines two classic complications with the subtle placement of its tourbillon, the thoughtful layout of the perpetual calendar, and the Lange calibre L082.1 automatic movement housed inside the watch.

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2013 GRAND COMPLICATION The Grand Complication is A. Lange & Söhne’s most complicated timepiece, in which the moonphase display is one of its many technical subtleties. The watch incorporates a chiming mechanism with a grand and small strike, a minute repeater, a split-seconds chronograph with a minute counter and flying seconds along with a perpetual calendar.

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2013 1815 RATTRAPANTE PERPETUAL CALENDAR Astronomer and surveyor Wilhelm Gotthelf Lohrmann, who was one of Ferdinand A. Lange’s teachers, was known to systematically observe the surface of the moon. In 1824, he published his findings under the title Topography of the visible surface of the moon. The 1815 Rattrapante Perpetual Calendar features a clearly configured dial. This timepiece combines the technical fascination behind a split-seconds chronograph with the lasting precision of a perpetual calendar that requires no correction until the year 2100.

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2013 SAXONIA ANNUAL CALENDAR PLATINUM Presented at the SIHH 2013, the Saxonia Annual Calendar ref. 330.025 in platinum is witness to the watchmaking expertise and precision traditionally associated with A. Lange & Söhne. Featuring a classic platinum case measuring 38.5mm in diameter and 9.8mm in thickness, this timepiece works on a calendar mechanism that automatically recognizes which months have 30 or 31 days.

It is adorned with a silver rhodium dial with hours, minutes, an oversized double disc date aperture at 12 o’clock, the day of the week at 9, the month at 3, and subsidiary seconds and moon phase at 6.

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2014 RICHARD LANGE PERPETUAL CALENDAR “TERRALUNA” The Richard Lange Perpetual Calendar “Terraluna” is inspired by a slice of the lunar meteorite DAG 400 that was added to the Mineralogy Collection of the Technical University of Freiberg in 2007. The orbital moon-phase display of this timepiece establishes a new benchmark: this mechanism is so accurate that it can run for over one thousand years before it deviates from the actual lunar cycle by one day.The patented orbital moon-phase display in the timepiece is located on the movement side of the model. The moon, visible through a round aperture in the celestial disc that’s studded with 2116 stars, orbits around the earth in an anti-clockwise motion.

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2014 GRAND LANGE 1 MOON PHASE In this elegant timepiece, the waxing and waning moon can be observed with great accuracy in the centre of the hour and the minute circle. The moonphase complication takes center-stage, thanks to the prominent positioning of the lunar disc. The display reproduces the so-called synodic month of 29.531 days, equivalent to 29 days, 12 hours, 44 minutes and 3 seconds, with the accuracy of 99.998%.

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2014 LANGE 1 TOURBILLON PERPETUAL CALENDAR PINK GOLD The prominent dial of the Lange 1 inspired the Lange 1 Tourbillon Perpetual Calendar. The pink gold version is an elegant take on this timepiece that was launched in platinum in 2013. Again, the classic perpetual calendar has been reconfigured in a new way with the display of months on a periphery ring instead of displaying the months on a subsidiary dial. This revolutionary design eliminates display overlaps. The unwavering work of the tourbillon can be observed through the sapphire-crystal caseback.

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2014 LANGEMATIK PERPETUAL WHITE GOLD The white gold version of the sensational Langematic Perpetual that was presented in 2001 is yet another timepiece that is sought-after, not only for its elegance but also for its precision. It is the first self-winding wristwatch that features a perpetual calendar and an outsize date. The timepiece’s calendar displays can be advanced both individually and collectively. The perpetual calendar automatically displays the correct date, day of the week and month, and takes into consideration the different durations of the months, including leap-year deviations.

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2016 GRAND LANGE 1 MOON PHASE “LUMEN” This timepiece is special for a good number of reasons. It represents the third time that A. Lange & Söhne has presented an open-dial watch in its storied history. This timepiece features a disc made of glass, unlike that of its predecessors that featured solid-gold lunar discs. It is also the first Lange timepiece with a luminous moon-phase display and outsize date.

To assure that the display surface of the tens cross already glows when the date switches, a part of the dial is made of semi-transparent sapphire-crystal glass. This limited-edition watch of just 200 pieces also features luminous hands and markers for the time and power-reserve indication.

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2016 DATOGRAPH PERPETUAL TOURBILLON Yet another novelty for 2016, this timepiece pairs three complications with five supplementary functions. With its ingenious combination of a flyback chronograph with a perpetual calendar, this multi-complication timepiece blends impressive technology with a superbly organized face without compromising on the density of information it displays. Its manufacture caliber L952.1 is one among A. Lange & Söhne’s most technically advanced developments yet. Limited to a production of just 100 watches, the Datograph Perpetual Tourbillon’s black solid-silver dial stands in beautiful contrast against its 41.5mm platinum case, and its hands and hour markers in rhodiumed gold.

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2016 LANGE 1 TOURBILLON PERPETUAL CALENDAR Now available in a discreet white-gold case with a grey dial, the Lange 1 Tourbillon Perpetual Calendar effortlessly presents an abundance of information at a single glance. A subtle inscription beneath the 12 is a gentle reference to the unwavering existence of the tourbillon, which can be observed through the sapphire-crystal caseback.

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2016 SAXONIA MOON PHASE The latest addition to A. Lange & Söhne’s prestigious and classic Saxonia line, the Saxonia Moon Phase timepiece combines two complications with the presence of the Lange outsize date and a highly precise moon-phase display. The symmetric arrangement of the date display at 12 o’clock and the moon-phase display at 6 renders this piece into an elegant classic. Available in 18-carat pink or white gold, the Saxonia Moon Phase has a case diameter of 40mm.

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A MATTER OF TIME

Swiss watchmaker F.P. Journe has acquired an extensive library once owned by Jean-Claude Sabrier, one of the world’s leading authorities in watchmaking. On display in F.P. Journe’s Geneva atelier, the horological repository is a testament to Sabrier’s thirst for knowledge at a time when watchmaking fundamentals were not established

Beverly Pereira A towering astronomical clock made by Constantin-Louis Detouche greets you as you step foot into the sunlit exhibition space of F.P. Journe in Geneva, Switzerland. It is said that it took over 10 years for FrancoisPaul Journe, founder of the Swiss watch manufacturer F.P. Journe, to obtain this piece of monumental proportion. Aside from other equally historic acquisitions and exquisite pieces produced in-house, the clock is a fitting welcome to this three storied atelier that produces less than 1,000 watches per year, each of which is a collector’s watch in itself.

It is also incredibly apt that F.P. Journe recently acquired the library of horological expert and distinguished historian Jean-Claude Sabrier. An exhibition featuring this prized library comprising books and manuscripts by prominent masters of watchmaking such as Ferdinand Berthoud, Antide Janvier and Pierre Le Roy is on display in a custom-made cabinet at the exhibition room of the Manufacture. Sabrier, who lived until the age of 76, was a recognised international horological expert during his lifetime. Born in Normandy in 1938, Sabrier was born into a family of jewellers but soon exited the field to become an antique dealer with a specialisation in collectible horology. It was at this time that he also started to acquaint himself with knowledge that would cement his reputation as one of the foremost experts in watchmaking. Between 1960 and 1980, he was a consultant for the Musée des Arts et Techniques at the Conservatoire National des Arts et Métiers in Paris, as well as museums in Evreux, Rouen, Toulouse, Tours and Blois. This role also carried onto the nowdefunct Time Museum in Rockford, Illinois in the USA. Journe and Sabrier first met 40 years ago in Paris at the age of 17 and 35 respectively. It was a meeting of like-minded people that was destined to happen, for each of these men almost instantly recognised in each other the passion and desire to immerse oneself in the mysteries and great achievements that mark the history of watchmaking. A deep friendship based on mutual respect naturally

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ensued. Last year, when Sabrier’s library of horological books and manuscripts was offered at auction in Paris, F.P. Journe attained all 273 lots amounting to almost 1,000 books for the sum of 760,000 Swiss francs. For the Swiss brand, the idea that Sabrier’s library – spanning the depth, extent and pertinence of the watch expert’s research – might be scattered or misplaced was unthinkable. Needless to say, it was a move driven by the need to honour Sabrier and celebrate the profound friendship between the two men.

Sabrier was known to collect rare books by some of the greatest names in horology throughout his lifetime. His own body of work continues to inspire and educate even after his death in 2014. The studies of the lives and achievements of master watchmakers by the horology expert constitute a body of work that is a treasure trove of crucial and relevant technical and historical insights. Besides serving as a corresponding member of the Scientific Council of the Institut l’homme et le temps, Sabrier worked with auctioneer Hervé Chayette to organise the very first specialised sales of collectible horology in the early part of the 1980s.

Awarded the Gaia Award for his entire body of work in 1977, Sabrier authored several articles that appeared in specialised journals.

He also wrote the watch catalogue for the Evreux Museum along with Bernard Seneca, and co-authored the book published for the exhibition on Ferdinand Berthoud at the Musée international d’horlogerie and the Tours Museum’s La Dynastie des Le Roy, Horlogers du Roi. Along with

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Anthony Randall, he wrote the Catalogue of Chronometers for the Time Museum, and has also been listed as one of the catalogue authors of the 1997 exhibition ‘Abraham Louis Breguet 1743 -1823, L’Art de Mesurer le Temps’ that took place at the Musée international d’horlogerie.

With the turn of the millennium, Sabrier left Antiquorum in Geneva, where he had served as a director and principal expert who wrote auction catalogues of collectible watches, clocks and regulators since 1988. He became a consultant to the Swatch Group, in charge of historic and cultural heritage, and advised its founder Nicolas Hayek on the purchase of collectible watches for the group’s museums. Six years later, Sabrier – along with Georges Rigot – wrote Steel Time, a book about gunmetal watches produced between 1850 and 1910. In 2012, he wrote The Self-Winding Watch: 18th-21st Century, a book that offers a detailed account of the research done on mechanisms, production techniques and materials in the quest to achieve perfection in mechanical watches.

Sabrier’s own books as well as his collection of horological tomes, reference works and manuscripts certainly remain relevant today.

His quest for knowledge pertaining to the world of timepieces is very much reflected in the library that he once maintained. Now that F.P. Journe has acquired this extensive collection, future generations are sure to benefit through a better understanding of watches and their mechanisms. The exhibition also highlights the respect and friendship that Journe and the departed horological expert once shared.

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ON A BED OF ROSES

ON A BED OF ROSES

Look at life through rose-tinted glasses at Alila Jabal Akhdar in Oman, where mesmerising mountain views and the height of luxury are yours to explore. Indulge in the Rose Package during the months of April and May, when the rose season is in full bloom

Beverly Pereira A stay at an Alila hotel or resort anywhere in the world comes with the promise of utmost luxury, an unprecedented level of privacy, unparalleled hospitality and a fabulous destination experience. Alila, which translates to ‘surprise’ in Sanskrit, is an apt name for the luxury brand that has been catering to discerning travellers who associate its offerings with a learning experience. From sampling new flavours of local cuisines and enhancing one’s wellbeing through ancient healing arts, to partaking in eco-tourism and volun-tourism, guests arrive with the guarantee of leaving on a completely rejuvenated note. Like every Alila property, the Alila Jabal Akhdar resort in Oman offers this manifold experience to its guests.

Alila Jabal Akhdar derives its name from Jabal Akhdar, which means ‘The Green Mountain’ in Arabic, part of the majestic Al Hajar mountain range. Perched 2,000 metres above sea level, the Oman resort commands a spectacular view of the surrounding Al Hajar range. It also overlooks a dramatic gorge, making your stay at this resort unlike any other.

It’s no wonder then that the awardwinning Alila Jabal Akhdar has fast become the go-to destination among luxury travel

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enthusiasts. It is the ideal base to explore the region’s beautiful landscape that brims with rugged, untouched beauty, while indulging in the resort’s unmatchable comfort and luxury. It is also a favourite with adventure travellers, nature lovers and those who are simply looking for a getaway from fast city life or desert heat.

The month of April is the perfect time to unwind at the Alila Jabal Akhdar as the arrival of spring brings with it sights and experiences like no other. It is during this time of the year that the Jabal Akhdar mountain gets wrapped in a blanket of green and pink as thousands of Damask rose shrubs flourish and bloom, while the sweet fragrance of these beautiful roses pervades the region. Naturally, the Alila Jabal Akhdar resort, nestled high in the scenic Hajar range, becomes the best place to seek refuge in the lap of nature at this time.

Fresh air, sublime views of blooming roses and the height of luxury all work together to give guests an experience of a lifetime.

Alila Jabar Akhdar is offering the Rose Package, a special offer to coincide with this mesmerising season. In keeping with the theme of the season, guests will be indulged in sensory experiences that relate to the beautiful rose. On arrival, they will be welcomed with a

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ON A BED OF ROSES

drink of rosewater and elderflower spritzer.

They will also be given a guided tour of the Jabal Akhdar Rose Terraces, where the vibrant pink of the Damask rose stands out against a multi-hued landscape.

From the pool and restaurants to the spacious suites, the resort’s relaxing ambience is inspired by the seamless blend of ancient forts, traditional Omani construction techniques that use local stones, and a contemporary architectural language. The rooms and suites at Alila Jabar Akhdar carry touches of Oman’s rich cultural heritage

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within a current design context. Earthy tones of wood and stone are accented with rugs and furnishings in bold yet warm tones. Nature finds a way into each suite at the resort through a juniper tree that’s hand-painted on suite walls by a local artist. Signature features at the hotel can also be spotted in its fort-like doors crafted from solid wood, the iconic rose pattern that adorns the lobby, and the lobby’s large fireplace that warms the cockles of the soul during chilly months.

With staggeringly spectacular views of the surroundings, each suite immerses guests in

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this beautiful destination. The Rose Package offers guests a two-night stay at the incredibly beautiful Mountain View Suite. The suite is housed on the upper level of the main hotel, offering dramatic views over the pool and down into the gorge. Even the Horizon View suites, located at ground level, are havens of rest and rejuvenation. But it is, inarguably, the Jabal Terrace, 104-square metre suites that sit on the first floor, which truly allows guests to connect with nature as they revel in glorious sunsets and incredible views of the starry night sky.

It is at these well-appointed suites that guests can enjoy a good deal of pampering.

As part of the seasonal Rose Package at Alila Jabal Akhdar, one can indulge in a rose petal bath in suite with a glass of sparkling rose wine in hand. A special turndown setting comes with this indulgent package to make one’s stay that much more comfortable and luxurious. One could also book themselves for a relaxing Balinese massage with scented rose oils, perfect to awaken the senses. At Spa Alila, well-trained local therapists provide unique therapies and treatments that employ the

curative benefits of fresh, natural ingredients.

Meals at the Alila Jabal Akhdar are a lavish affair. At the Juniper Restaurant, named for the juniper trees that grown in the highlands of Oman, guests can enjoy culinary treats for breakfast through dinner. As they savour the rich flavours of an international menu inspired by the golden age of Arabic cuisine, influenced by trade routes that stretched from the Middle East to the Mediterranean region, they can also feast their eyes on the surrounding mountainous landscape in all its glory. The Rose Package entitles guests to

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partake of the daily à la carte breakfast, and a daily dinner for two comprised of a threecourse set menu. Elements associated with the region’s famous rose are also brought in here, as one can enjoy sparkling rose wine with dinner. At the Rose Lounge, one can enjoy light appetisers with drinks in a soft-lit space that offers excellent views of the setting sun behind the mountains.

The seasonal Rose Package at the Alila Jabal Akhdar is being offered for stays between April 5 and May 2, 2016, when the rose season is in full swing.

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A DRIVE TOWARDS INFINITY

A DRIVE TOWARDS INFINITY The Infiniti Q70 with its refreshed design, comfort and technology enters the Middle East, all set to take the emotion-packed character of the performance sedan up another level. With greater customisation for optimising performance, the Q70 redefines luxurious driving

Rashi Bisaria The 2016 Q70 is more refined than its previous versions and is being compared to the likes of the BMW 5-series, Mercedes- Benz E-Class and the Audi-6.

What sets the 2016 version apart from the previous versions is its combination of luxury and sportiness, a certain individuality that makes for a unique driving experience. The new 2016 Infiniti Q70 delivers evocative design, invigorating performance, innovative technology and superior craftsmanship.

The Japanese luxury automaker has had a dream run in the Middle East with sales having increased 18 per cent in 2015. The Q70 has been a key driver of growth for the brand and the latest version with improved specifications seems to keep the brand on the right track.

So just what is it that the Q70 has to offer that makes it so attractive and unique?

For starters, the engineering and design technology satisfies through the senses. The redesigned version has a different type of flagship luxury that elevates the tactile and celebrates power and dynamic movement.

On the outside, the graceful curves make it attractive. The front and rear bumpers come with Sport design. It boasts of body colour exterior mirrors with LED turning signal. But some of the best breath taking features can be experienced when you are behind the wheel. The advanced technology used simplifies tasks elevating the driving experience. The Around View Monitor gives exceptional awareness as you park, intuitively putting you in touch with your surroundings.

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ensures that the cabin provides solace from the outside world. The Predictive Forward Collision warning can warn you of a possible collision even when the cause is obstructed from the driver’s view. The vehicle also prides itself on more responsive braking. The Q70 is also light on its feet with 20 inch alloy wheels which heighten the looks as well as the performance of the car.

“We pride ourselves in being able to offer our discerning customers premium vehicles that feature the best in design, performance, safety and technology. The new Infiniti Q70 is a sedan that delivers just that,” said Juergen Schmitz, Managing Director, Infiniti Middle East. “The new Q70 further raises the bar in the segment with a host of new improvements that is sure to offer a drive that is both exhilarating and rewarding every time. We are confident that the Q70 will offer a powerful alternative to our customers in the region.”

The refined elegance of the Q70 takes on a new dramatic design which gives the premium sedan an even more upscale image.

Its flowing, emotional lines evoke premium sleekness. Infiniti’s signature LED headlights imply inner intelligence and human insight, leaving an unforgettable impression. The distinctive design accentuates the new double arch grille, which now takes on a more threedimensional look due to the elaborate detail of the high-quality waved mesh finish and chrome surround.

Reflecting the sensuous lines of the exterior, the new Infiniti Q70 continues to serve up a well-appointed and inviting interior with high-quality materials such as

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handcrafted wood accents and custom leather appointments, meticulous craftsmanship and attention to detail, as well as usercentered technologies. Important controls and switches are so intuitively located that the driver does not have to change driving posture to access them.

Promising performance, the new Q70 is equipped with the 3.7-liter V6 engine, rated at 329 hp at 7,000 rpm and 363 Nm of torque.

The refined aluminum-alloy DOHC 24-valve engine is equipped with Variable Valve Event & Lift (VVEL) that combines hydrauliccontrolled variable valve timing and electronically controlled variable valve lift on the intake side to help improve performance and response. Also available is the 5.6-litre V8 engine that delivers 402 hp at 6,000 rpm and 550 Nm of torque.

All the engines are matched to an advanced 7-speed automatic transmission, which allows for sportier shifts during spirited driving. Further customization is obtained from the unique Infiniti Drive Mode Selector that allows drivers to select from varied driving modes – Standard, Eco or Sport – and the integrated control system will adjust throttle sensitivity and transmission mapping to help optimize performance.

The latest safety advancements provide unmatched confidence to the occupants as the car takes them on a spirited journey. 2015 was a successful year for the brand as it saw an enhancement in its product portfolio on a global as well as a regional level with all its models having performed well. Infiniti is prepared to take this success a notch higher.

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A DRIVE TOWARDS INFINITY

“We pride ourselves in being able to offer our discerning customers premium vehicles that feature the best in design, performance, safety and technology. The new Infiniti Q70 is a sedan that delivers just that.”

J UE RG E N S CH M I T Z , MANAG I NG DI R EC TOR , I N F I N I T I M I DDL E E AS T

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HAUTE SOCIÉTÉ

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FROM THE LANDS OF PERU

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FROM THE LANDS OF PERU Evoking the tastes of freshly ground pepper pastes complimented by bespoke Peruvian ingredients, Totora Cebicheria Peruana brings the finest of Peruvian delicacies to the Arabian land

Diksha Vohra A few years ago Rania Al Khalifa, co-founder of the restaurant Totora Cebicheria Peruana, decided to visit Peru to explore the country and its rich heritage. Impressed and amused by their ingredients, style of cooking and delicacies, the entrepreneur in her took birth and that was when she decided to take the authentic cuisine beyond the lands of Peru. Based in the apparent food capital of Europe – London – Rania recalls to have not witnessed any authentic Peruvian restaurants, which further motivated her to walk the undiscovered path. “Many restaurants have come up now but they are missing the authenticity” says Rania. Just as the universe would have it, Rania met her future business partner Ali Sidani whom she refers to as the brand ambassador for all things Peruvian, sharing the same culinary passion towards the cuisine as her. His mother-in-law had introduced him to the Peruvian cuisine and launching a restaurant to him was like a dream come true.

Joining hands with Roya International, Rania and Ali are all set to launch their first authentic Peruvian concept – Totora Cebicheria Peruana – in the DIFC towards the end of this month. The multistory venue will be featuring a fine dining area, a lounge and a bar. Meant for those who wish to celebrate the passion of authentic dining, the restaurant would be introducing various delicacies, ceviche stations and bespoke ingredients through their offerings. Ali elaborates, “…Our ingredients are truly authentic and our recipes are developed by a special team of chefs in Peru…” To this, Rania adds that not only is their head Chef in Dubai from Peru but he is assisted by 10 other native Peruvian chefs so that at no point are guests served anything non-traditional.

Coming to the interiors of the restaurant, the bar is laden with wall designs that closely follow the shape and flow of the Caballitos de Totora (sailboats made from the Totora reed), lending its name to the restaurant. Inspired by the Incan Rope Bridge, the entrance of the venue features a rope bridge that would serve as an interesting focal point, bringing the cultural aesthetics of Peru to Dubai.

Delving into its culinary aspect, renowned Chef Alex Barrera heads the kitchen, creating a masterful and authentic Peruvian experience that is high on flavor and originality, and low on pretense. On being asked for a take on their signature dishes, Rania affirms that there are too many to count. “Each dish has been carefully selected and worked upon. So they are all signatures.” she adds.

Set up in Gate Village, DIFC, Mr. Ramadan, Chairman of Roya International, affirms that the location of the restaurant is ideal for their offerings. Since they aren’t afraid of competition, being situated amongst some of the best restaurants in the region would position their brand in a distinct limelight. In addition, DIFC attracts crowds for lunches and dinners, and both casual and business diners that suit the concept very well. Claims Mr. Ramadan, “…Totora is not only about elaborate dinners and lunches but is also meant for those who would just like to step in for a drink or for snacks. “ Amidst absolute fine dining restaurants surrounding DIFC, Totora Cebicheria Peruana brings a breath of fresh air through its flexible dining options and cozy ambiance. Ideal for all crowds, the restaurant is sure to evoke all your senses, visually and tastefully taking you through the landscapes of Peru.

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NEW IN TOWN

HIS AND HERS BOUTIQUE Shoe and accessory collections for both men and women now come together at the newly renovated Jimmy Choo outpost at Mall of the Emirates in Dubai. Spread across 183 square metres, the store is part of the global unveiling of the new Jimmy Choo store concept designed in partnership with David Collins Studio. The creative interiors carry touches of modern glamour achieved through the use of elegant materials, soft hues, subtle textures and sophisticated design. The dramatic store façade in brass draws inspiration from the Art Deco movement, leading the customer into the shoe designer’s opulent world. Elements like satin gold, Rosa Egeo pink marble, mink velvet, oyster stone and mother of pearl are reminiscent of the signature Jimmy Choo palette, while woven mesh in metallic finishes and spherical chandelier pendants lend a dynamic touch to the space.

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Contact: 800-TheLoft www.theloft5thavenue.com

A NEW YOU S PA The ambiance inspired by the Lofts in NYC, the Loft Fifth Avenue at once transports one into a realm of relaxation and rejuvenation.

Situated in the Dubai Mall and six other locations, the hair and beauty salon offers a variety of services, provided by a team of experts hailing from different parts of the world. Amongst those, we recommend the Loft Urban experience especially for skin revitalization. The treatment starts off with a crash fluid therapy wherein their signature Babor scrub is applied, removing dead skin and excess oils from the skin. An enriching facial mask then follows providing the much-needed nutrients to the skin, thereby reviving its original glow and appeal. The session concludes with a facial and upper body massage, strengthening core muscles and body tissues, leaving you relaxed and refreshed for the season.

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ALL IN THE DETAILS BOUTIQUE At the newly opened Alexander McQueen store at Mall of the Emirates in Dubai, luxurious details mesh well with its decidedly minimal aesthetic. Featuring the new retail concept the space spans over 200 square metres and was launched in partnership with the Al Tayer Group. Inside, a cornucopia of wings, shells, cactus flowers, mushroom gills, seahorse tails and tangled leaves with tiny skulls and grimacing gargoyles nestle within the folds of bespoke feature walls. Nero Marquina marble runs across the sprawling store while carpets, soft lighting and plush leather furnishing add to the store’s muted palette – as do the gilded black and aged brass mirrors and display cabinets. Divided into three areas – handbags and shoes, men’s ready-to-wear and accessories, and women’s ready-to-wear and accessories – the new Alexander McQueen store not only showcases seasonal collections but also eternal classics like its iconic skull scarves and knuckle box clutches.

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TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

THE VALLÉE DE JOUX. FOR MILLENNIA A HARSH, UNYIELDING ENVIRONMENT; AND SINCE 1875 THE HOME OF AUDEMARS PIGUET, IN THE VILLAGE OF LE BRASSUS. THE EARLY WATCHMAKERS WERE SHAPED HERE, IN AWE OF THE FORCE OF NATURE YET DRIVEN TO MASTER ITS MYSTERIES THROUGH THE COMPLEX MECHANICS OF THEIR CRAFT. STILL TODAY THIS PIONEERING SPIRIT INSPIRES US TO CONSTANTLY CHALLENGE THE CONVENTIONS OF FINE WATCHMAKING.

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