Signe - Edition 10 by Signé

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EMIRATESPHERE

THE MONTH OF MARCH BRINGS AN ENERGISED ARRAY OF ACTIVITIES FOR THE LOVERS OF FINER THINGS

DUTY WITH BRAINS

A VISIONARY WHO HAS CHANGED THE WORLD OF LUXURY BUSINESS, MOHI-DIN BINHENDI TALKS ABOUT LIFE AND THE CORPORATE REALM

HEDONISM IN THE GARAGE Powerhouse Ferrari and Dubai share a bond worth noticing. With relatively modern heritages, the two are similar in more ways than those that meet the eye

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Dubaiâ&#x20AC;&#x2122;s Newest Public Art Fair Supported by:

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A CURATED INSPIRING ART FAIR FEATURING AFFORDABLE ARTWORKS FROM REGIONAL AND INTERNATIONAL GALLERIES AND ARTISTS FROM THE MIDDLE EAST AND ACROSS THE WORLD. FACILITATING ART FROM YOUNG AND EMERGING ARTISTS TO ESTABLISHED NAMES, WORLD ART DUBAI WILL HOST A DIVERSE COLLECTION OF MODERN, CONTEMPORARY AND FINE ARTWORKS.

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CONTENTS

SCHOLARS

036

032 THE TORTURED MAESTRO A feature on Dutch painter - Vincent van Gogh who impacted the world of Post-Impressionism in a major way

034 MIND OVER MATTER Tony Jashanmal narrates his very own heartwarming story - right from humble beginnings

036 PHILANTHRO-PRENEUR Signé Man, Charles Gamett, chats candidly about his individualistic style and more

040 DUTY WITH BRAINS An exclusive interview with Mohi-Din BinHendi, President, BinHendi Enterprises

SIGNÉ ◊ EDITION 10

We are celebrating F. A. Lange’s 200th birthday – by devoting every minute to our watches.

F. A. Lange devoted his entire life to perfecting the mechanical watch.

of the 1815 “200 th Anniversary F. A. Lange”. Endowed with la-

He invented pioneering designs and developed totally new precision

vishly finished traditional elements such as the three-quarter

measuring instruments. Today, we also passionately pursue the per-

plate, the timepiece is reminiscent of the accomplishments of our ac-

fection of every watch down to the smallest detail – for example

claimed role model in watchmaking. www.alange-soehne.com

You are cordially invited to discover the collection at: A. Lange & Söhne Boutique Abu Dhabi · Avenue at Etihad Towers, Tel. +971 2 665 05 88, abudhabi@lange-soehne.ae A. Lange & Söhne Boutique Dubai · Dubai Mall, Tel. +971 4 325 39 23, dubai@lange-soehne.ae

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044

044 ME, MYSELF AND I The Made To Order service by Vertu allows you to customise your very own piece of artwork

048 FROM THE DIRECTOR’S CHAIR In conversation with director and screenwriter James Gray about the latest BLEU DE CHANEL ad campaign

050 A BREATH OF FRESH AIR Globetrotter and a fashion lover, designer Hatem Alakeel’s designs reflect upon his travels and upbringing as he revolutionises the national attire

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056 SPREZZATURA Whether you’re aiming for a dapper suited look, a chic, sophisticated casual or formal getup, we’ve got the apt style guide that’s been formatted zonally for the debonair of today

066 FOR HER In this monthly section dedicated to a man’s other half, Signé is in conversation with Lubna Al Zakwani, one of the sisters of the Endemage duo

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PHIL ANTHROPY

070 BLING-ING BLISS Luxury brand Bulgari shows a benevolent side with its philanthropic cause

070

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OBSESSION

18 0 20 8

074 HEDONISM IN THE GARAGE Possessing a modern heritage, Ferrari shares a bond with the young and dynamic city of Dubai as both are crafted with care and immaculate style

080 THE BALANCING ACT Italian-Swiss lawyer and ardent art lover, Giovanni Maria Rossi explains the art law concept and the importance of it

084 FROM MOKBEL, WITH LOVE The Mokbel Art Collection, founded in 1998, is an initiative that’s devoted towards promoting Lebanese art in the Middle East

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H E R I TA G E

090

090 CHRONICLING THE CHRONOGRAPH Here’s tracing the luxury label Vacheron Constantin’s inimitable legacy and recounting the milestones

098 THE DRIVING FORCE Spawning stories of motorised development that are symbolised by valiant tales of spirit and intelligence, McLaren exists to exceed

101 CHARTING HISTORY With the Dubai International Boat Show taking place this month, Signé takes a look at the UAE’s nautical heritage

104 GOLDEN ERA Establishing itself in the arena of fine luxury for over a century, Damas is the foremost jewellery and watch empire in the Gulf and Middle Eastern regions today

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ERIC WHITACRE · GLOBAL CITIZEN + GRAMMY® AWARD-WINNING COMPOSER abu dhabi mall . +971 2 6738574 . the galleria . +971 2 4124115 the dubai mall . +971 4 3398536 . mirdif city center . +971 4 2363408 also available at galeries lafayette . tanagra mall of the emirates . +971 4 3411084 rodeo drive boutique . +971 4 3434000

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CONTENTS

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108

108 SAILING SMOOTH Nautical stripes have evolved from uniforms to chic staples; here’s discussing maritime attire

110 RECORD HEIGHTS On the eve of Burj Al Arab’s 15th anniversary, Signé takes a close look at Dubai’s greatest record-breaking architectural accomplishments

114 HAUTE SOCIÉTÉ Dine, shop and unwind at the finest in the UAE

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

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SCHOLARS IDENTITY BEHIND THE BRAND

Behind all of the best brands and companies across the globe stand men and women with pioneering personalities and unique success stories. In this section, we take an in-depth look into the lives of the bold few who have shaped the world of luxury as we know it

SCHOLARS

THE TORTURED MAESTRO

The Tortured Maestro NOTEWORTHY FOR THE RAW PULCHRITUDE AND STIRRING HONESTY BEHIND HIS WORKS, DUTCH PAINTER VINCENT VAN GOGH HAD A SIGNIFICANT INFLUENCE ON POST-IMPRESSIONISM

Towards the end of the 19th

Impressionism. Adopting brighter colours, he

altruistic support that van Gogh could buy

century, a string of intransigent artists emerged. Rejecting the boundaries of Impressionism, they embarked on a journey fulfilling their own personal styles. Their work focused on the emotive, emblematic and transcendent rudiments that they felt Impressionism was lacking. Complementing beliefs with painterly images, a term was coined for these kinds of

began experimenting with diverse techniques and spent hours on end researching styles present in Japanese art. Paris exposed him to great artists such as Paul Gauguin, Camille Pissarro, Claude Monet and Émile Henri Bernard. He befriended Gauguin, who later joined him in Paris. Van Gogh once painted sunflowers to adorn Gauguin’s

paints, canvases and food. Café Terrace at Night is the first in a trio of paintings that features twinkling skies, with the bright yellow wall and contrasting dark cityscape creating a sense of harmonious balance. Starry Night Over the Rhone was painted less than a month later, followed by Starry Night. The latter is one of van Gogh’s

artists – the Post-Impressionists. Vincent Willem van Gogh was born in 1835 in the quaint town of Zundert, Netherlands. A key figure to lay foundations in the world of art, Post-Impressionist van Gogh was one of the six children born to Anna Cornelia Carbentus and Reverend Theodorus van Gogh, a protestant minister. A reticent and solemn child, van Gogh encountered several

bedroom, having no idea that one of his most accomplished artworks, Sunflowers, would stem from this. In an argument between the two one night, van Gogh threatened Gauguin with a razor, and deeply repentant, he then cut off his own ear. This was the first grave sign of the mental problems that were to plague his life. Spending time in psychiatric wards and between periods of inertia, depression

most replicated works, and contradictory to its title, was painted sometime during in the day. The prominence of emotional life is apparent in the unruly sky. Aiming to create an equilibrium and tension amid the whirling torsion of the cypress trees and dark skies, the consequence is an image capitulated to mayhem aided by prim arrangement. The flame-like tree marries the curvy skies and tranquil village below, one

vacillations and rebuffs, especially when it came to female love interests. Religion and creed played an important role in his life, and many of his works depict religious undertones. After years of agony and recurring stints of mental illness, he died at the age of 37 from a gunshot wound. Van Gogh concluded a vague array of education at a young age, and was employed by the Hague gallery after. Run by art dealers Goupil et Cie, van Gogh was transferred to England, after which he lost all aspiration to become a professional art dealer. Through an advertisement in April 1876, he acquired a position to teach in Ramsgate in east Kent. A while later, embracing a growing interest in Christianity, he decided to follow in his father’s footsteps, and became a missionary in a mining community in southern Belgium. Here, he started sketching the local community. In 1885, he painted his first major work entitled The Potato Eaters. His palette, at that time, was dominated by muted and earthy tones, and showed no sign of the bold pigmentation that distinguished his work later on.

and concentrated artistry, his work reflected the intense colours and strong light of the countryside neighbouring him. He could only pursue his love for colours due to the small sums of money he received from his younger brother Theo. It was only because of Theo’s

that was partially imaginary, while the church steeple is reminiscent of van Gogh’s native land. The only painting van Gogh sold during his lifetime was The Red Vineyard. It shows vineyard harvesters bathed in the light of a sundown. The luminescent white in the centre of the setting sun progressively gives birth to a red in the forefront. The Van Gogh Museum in Museumplein, Amsterdam houses numerous sketches and paintings from various stages of the painter’s artistic journey. The museum also houses The Potato Eaters. Immersed in realistic convention, it is a dingy image finished with dark hues. During his short lifespan, van Gogh was able to create a treasure trove of prodigious aesthetic. A self-portrait by van Gogh will be part of the permanent collection of Louvre Abu Dhabi, which will be the first universal museum to open in the Arab world (opens in December, 2015). “This will be the first time many of these works will travel to Abu Dhabi or even the Middle East, presenting a rare opportunity to see important art from French museums,” says Sultan bin Tahnoon al-

In 1886, van Gogh relocated to Paris and submerged himself in a world of Post-

Sunflowers, one of Vincent van Gogh’s most accomplished works

Nahyan, Chairman of the Abu Dhabi Tourism & Culture Authority.

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A self-portrait of Vincent van Gogh

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M I N D O V E R M AT T E R

Mind Over Matter A kind soul and a true mastermind, Tony Jashanmal narrates a heart-warming story about the journey of a family enterprise evolving from humble beginnings to one of the most successful retail firms in the region today

Prior to the First World War, Iraq, Jordan, Palestine, Syria and Lebanon didn’t

Rashid, on his way from Dubai once, spotted our shop and later asked us to expand to

Up-close and personal Born in Kuwait, Jashanmal studied in India

exist. What we know as these countries today were all part of the Ottoman Empire back then. The Ottomans lost that area during the war, and these countries were formed individually – three of them (Iraq, Jordan and Palestine) came under the British administration, whereas Syria and Lebanon, under France. Interestingly, the British-

Dubai. He asked where we wanted land, and we chose Deira.” With not a single airport in Dubai in those days, the Jashanmal family landed at a small air force base in Sharjah. From there, in a fourwheel drive through the desert, they arrived in the land of Dubai. “We had a set format. In those times, there was no electricity or water

for a few years. His parents felt the need to send him to a country where he would interact with diverse cultures from the world over and hence, decided to send him to Aiglon College, Switzerland. Jashanmal is proud to state that he is now on the board of the very same institute, and since 7 February of this year has become the Chairman. Today,

administered countries weren’t run from London, but from New Delhi in India, due to the British Raj. So, for numerous people in India, it was seen as an extension of their country.

in Dubai, so we had to get our own generator. Due to this reason, we’d construct the store downstairs, the warehouse behind, and our home above.” The Abu Dhabi store built possessed the same ideology.

Basra to Kuwait “My grandfather,” explains Tony Jashanmal, “Rao Sahib Jashanmal decided to make a trip

Business management As towns grew and development happened, a lot of companies rose and were setting

there are around 54 nationalities amongst 360 students there. He went on to study in a university in Germany and completed his Masters there. “While I was doing my PHD, my father passed away so I went back home to help out with legal formalities. That took a while, and I eventually got stuck in the business, which is what I had no intention of doing. I actually wanted to join the United

to the ‘extension’ of India, only to realise that there was bound to be major development in Iraq, and lots of trading via ships coming in from India to the only port Iraq had back then – Basra.” Sahib Jashanmal made a wise decision and initiated a business there. “Grandfather had a department store built in the city of Basra and it proved to be very successful,” Jashanmal says. Before the war, only Iraq, Iran and the United States were producing oil for the entire globe. The world needed more of it. After development began post-war, oil was found a little south of Iraq, in Kuwait, so the British and Americans had to go into the desert of Kuwait to acquire oil. The British government approached Sahib Jashanmal and asked him to open shop in Kuwait in order for the families to access whatever goods they needed.

Nations back then, but things happen and situations change. I don’t regret any of it. Life has been good; it has its challenges, but pleasures as well,” says Jashanmal.

Spreading wings The motive behind setting up shop in Kuwait became a blueprint of sorts for the Jashanmals. “Wherever oil was found, we were asked to open a store either by the British

up outlets at rapid speed. But for many of the products they needed, the Jashanmals became their agent to contact. “That’s how we got into distribution. So another business of ours, even today, is distribution. We have around 160 retail stores and focus of distribution largely as well.” The Jashanmals have stores that specialise in different areas. “For example, for luggage, we’ll have a specialised luggage store that will house all kinds of luggage. We have monobrand stores, too – the Burberry, Clarks and Brooks Brothers outlets – as well as our department stores. In addition to all this, we run a distribution business alongside.” An association known as Distripress (sprouting from distribution of press) is a worldwide organisation where all the main publishers are members. Jashanmal explains, “We get together thrice a year for a big conference. This year, it was in Cannes, next year it’ll be in Brussels, and the year after, in Dubai. Until September, I was the worldwide President on their board. In many counties, I fought for free distribution of press, and

or the royal families,” explains Jashanmal. “After establishing a store in Bahrain, Sheikh

went to several meetings in Russia to ensure subscription rates were brought down.”

him, Jashanmal explains that success means having the ability to do social good.

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The gift of the present “Observing trends over the past few years, I feel that men are becoming more fashionable – their hairstyles, their dressing or even grooming. Their expenditure on fashion is constantly increasing. In previous times, menswear used to be a little more conservative and straightforward. The more constant, the less change is needed. Today, men are keeping themselves updated with the trends.” It’s fascinating to know that Jashanmal also stays on top of the art scene. “Being around in so many countries and having seen several art galleries, one gets very interested.” He tells us that, according to him, Bahrain is a budding place for art right now. “I like contemporary art, calligraphic styles, and a lot of Middle Eastern art. I enjoy art that makes me feel happy.” With a truly inspiring story narrated by

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Philanthro-preneur Brainchild of ethical apparel labels Continental, EarthPositive and Salvage, Philip Charles Gamett talks about the entrepreneurial spirit that defines him, the individualistic lifestyle that sets him apart, and how he plans to use his influence to make philanthropic gestures that may turn out to be his legacy

British entrepreneur and businessman Philip Charles Gamett is a selfmade man in every sense of the word. Founder and Owner of the UK-based ethical apparel brands Continental, EarthPositive and Salvage, he moved from north England to London to attend university at the age of 19. After dropping out of his academic course within

How do you describe your style and personality, and how has your career influenced this? “The entrepreneur in me likes to think of my personality and my style as individual and unique, and so I set myself apart from the crowd by virtue of my actions and tailored clothing.” Having an affinity towards masculine

that health and fitness go hand in hand with style, particularly when you’re hanging out at beach clubs and at yacht parties over the weekends. Wakeboarding is my water sport – I experience a feeling of freedom and exhilaration when riding across the surface of perfectly flat Arabian water on a typical sunny Dubai morning.” Philip wears a steel

a year, he started his business at the young age of 22. “My business entailed designing, manufacturing and wholesaling fitted t-shirts for women. Back in 1992, there were only unflattering unisex t-shirts available,” he says. As his business evolved over time, his ideology came to focus on ethical manufacturing. Later on, he developed organic cotton clothing to specifically counter the negative environmental impact of cotton farming and to show that quality clothing could be made without resorting to sweatshop-labour practices. Explaining his current lifestyle, he says, “I came to Dubai five years ago as a way to separate myself from the day-to-day management of my business in London. I felt that I had achieved a great deal for my apparel brands, so I stepped down as Managing Director, and now, attend two board meetings each year – meaning that I am effectively retired from business and can focus on my passions. I chose Dubai because it’s a luxury lifestyle destination and because it has ambition

and elegant styles, Philip (aka Phil) is one to shy away from typical casual wear – jeans, polo shirts, loafers and chinos – and prefers a modern interpretation of classic tailoring. He prides himself on being able to dress appropriately for any occasion or event, and explains that he lets the invitation, the season, and the hour be his style guides. “However, having spent my life in the predominantly cold British climate, I am still working on fine tuning my personal style to match my Dubai lifestyle and its often hot and humid weather. At the moment, I’m having some summer suits and jackets made to measure by Gucci.” By virtue, of its hot weather and almost 365 days of blue sky and sun, Dubai serves as the perfect playground for anybody with a love of the outdoors, the beach, the sea, and water sports in particular. “I believe

and titanium Vacheron Constantin Overseas, which complements the sporty side of his nature. He switches from a grey crocodile strap to a black rubber strap when he goes wakeboarding. What was the thought process behind designing your own penthouse? “I didn’t set out to design an apartment or home, I set out to design a lifestyle. My brief was to create the feeling of an exclusive boutique hotel in which I would accommodate and entertain my guests from around the world, where they would genuinely experience a luxury lifestyle and the glamour often imagined when thinking of the city of Dubai.” Philip purchased two adjacent penthouse apartments, which gave him a completely blank design canvas to work with. He envisaged a chic modern interior to complement the contemporary architectural design of the building. “I designed spacious kitsch-free interiors inspired by the sea, but

“My biggest indulgence has been

choosing to retire from business at the age of 39”

and attitude.”

PHILIP CHARLES GAMET T

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fastidiously avoiding common

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clichés such as starfish, anchors and driftwood, instead utilising a composition of sophisticated but environmentally sustainable

Why do you choose to regularly give up your personal space to host large gatherings of strangers in your home?

comes to me, it’s always on behalf of a worthy cause and I enjoy expanding my social circle by meeting Dubai’s elite influential high-net

materials - for example, concrete shagreen wall panels and marine grade high-gloss teak from sustainable planted forests.”

“I particularly enjoy entertaining at my home and have hosted a number of fashion, art and charity events to date. Basically the party

worth individuals, which in turn helps me to be able to use my position and influence to benefit the causes for which I feel passionate, particularly environmental damage and animal welfare,” Philip explains. How does your concern regarding environmental damage and animal welfare sit in relation to your luxury lifestyle in Dubai? “It actually sits quite comfortably, take for example fine dining. An important part of fine dining has always been to use the freshest ingredients of the highest quality, but recently I’ve come to understand that it’s extremely important to use ethically sourced ingredients as well – that the meat should be free-range and organic, that seafood is sustainably harvested (line-caught) and vegetables should be organically grown. The high price tag of a meal in a good restaurant can and should incorporate animal and environmental welfare, and I believe that this elevates the fine dining experience to an almost philanthropic gesture.” What has been your biggest indulgence since arriving in Dubai? “My biggest indulgence has been choosing to retire from business at the age of 39.” Philip made the decision to pass the control of his company to its board of directors, so that he could focus on lifestyle, health, fitness, friendships and family. “I could have continued to work to amass wealth, but it would have been at the expense of personal freedom and exploring my ultimate purpose on this planet, that is my purpose beyond looking stylish, collecting watches and attending polo matches”, he says with wry British humour. “Time is the one luxury we cannot buy more of, and so it’s the ultimate luxury lifestyle statement to choose to have seven free days a week to pursue all that one is passionate about in life.”

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SCHOLARS

DUTY WITH BRAINS

Duty with Brains Possessing the strong urge and fiery passion to enhance and amplify, Mohi-Din BinHendi, President of BinHendi Enterprises, is always one to impart a great deal of his success formula. With a line of exceptional labels, the BinHendi Group is one of the most diversified and successful establishments in the Middle East

The brainchild behind one of Dubai’s most prosperous retail corporations, Mohi-Din BinHendi didn’t acquire the level of admiration he receives today without thinking big and dreaming bigger. Appointed as Director General of the Department of Civil Aviation, and as CEO of Dubai International Airport in June 1979 – by an official order issued by the then ruler of Dubai, Sheikh Rashid bin Saeed Al Maktoum – BinHendi had previously been Director of Airport Customs. He worked with Sheikh Ahmed bin Saeed Al Maktoum, President of the Department of Civil Aviation and Chief Executive and Chairman of the Emirates Group, on transforming Dubai International into an aviation hub. BinHendi set up his company in 1973 with the Pierre Cardin label, the nation’s first exclusive fashion boutique. Positive consumer responses impelled the company to tap another niche in the Middle Eastern market with the introduction of Dubai’s first car rental agency. One of the UAE’s foremost and most esteemed commercial conglomerates, BinHendi Enterprises engages in general trading, hospitality, fashion, real estate, watches and jewellery, construction, media and advertising. Prior to the financial downturn, the BinHendi Group had between 10-15 brands of watches, before they decided to stick with Ulysse Nardin. “When you have so many brands, the problem is that five of them may do well, but the others that may not can pull you out of profit,” he says. Today, Ulysse Nardin is the bestselling watch brand in Russia. For the Group, business has been kind in Dubai; BinHendi Enterprises is the best operator through the Middle East, with the city being the best market for Porsche, Brioni and Zilli. “At one time, we were the highest selling unit for Porsche designs. This is how Dubai amazes you.” He talks of the boom years, when a lot of money was being made and circulated around the community with the buying and selling of property and land. Suddenly, when the depression hit, much hit a standstill. “I always say

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SCHOLARS

DUTY WITH BRAINS

“I always say that luck never dies, it merely falls sick, like any human being.” MOHI-DIN BINHENDI

that luck never dies, it merely falls sick, like any human being. If luck dies, we die with it,” he assures. BinHendi speaks of the tough times that entrepreneurs such as Donald Trump have been through, and how they rose again. The same way, Dubai has. Today, the world cannot do without Dubai, as it has become a haven for entrepreneurship and

was catering to merely a million passengers a year. Abruptly and unexpectedly, a lot changed. “The first change we noticed was the airport. A new airport was being built and began to function in March 1973. Within a year’s time, we had eight times more traffic, and so the airport seemed choked. There wasn’t enough

maybe a first or second homesto many. “Dubai has comfort, security, education, medicals, leisure and more – there’s an international airport that’s such a big catalyst for successful business,” he concludes. BinHendi’s chief ideology orbits around quality, equality and fairness. He believes in striving to deliver the finest in products and services to the community. Like several children who come from family businesses, Amna BinHendi spent a year after graduation working for a government company to gain experience before joining her father’s firm, and today is the CEO of the company. Aisha BinHendi is the COO of the group, and

air conditioning, food to eat, or even bathrooms. The Defense Minister, at the time, and I planned to improve the situation in various ways, one of them being constructing arrival lounges,” BinHendi explains. Besides providing ease to airport-frequenters, BinHendi also contributed heavily towards the progress of the Dubai Duty Free Complex, Aviation Club, Aviation College and more. It’s safe to his that his efforts didn’t go unnoticed. A member of the Board of Governors at Dubai Aviation College, a member of the Board of Directors at Emirates

Aziza BinHendi, the Vice President. “This is a business I’m building for my family and myself, and the legacy should be carried on with that. It gets difficult to work with your children in situations when you need to be tough or demanding, but in business, one has to turn bold.” BinHendi believes capability is important, and a business relationship shouldn’t be emotional. Raising his children has been based purely on trust, he tells us. He rendered support and a certain amount of freedom that made them feel comfortable and trusted. The BinHendi Group surely made a huge impact on today’s Dubai. Thirty years ago, the city was a relatively small one, with a much smaller airport – it was a completely different scenario

Golf Club, and Chairman of the Aviation Advisory Committee at Dubai Men’s College, BinHendi was awarded the Grand Decoration of Honour in Silver for Services to the Republic of Austria by the President of Austria in January 1995. In January 1996, he was presented the Honour of the Order of Merit of the Republic with the title ‘Cavalière’ by the President of the Republic of Italy for the promotion and bolstering of ethnic and commercial associations between Italy and the UAE. “My future plans are to take brands to the MENA region and grasp a spot amongst the top ten retailers. Also, we are opening Marimekko stores and taking the brand all over the GCC and MENA region.” Good brands are great for a company’s portfolio. The

back then. Communities were small and people knew one another. Overseas and domestic trade was flourishing, and the airport

BinHendi group has recently taken on the high-street fashion brand MSGM as well.

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SAVOIR FAIRE The finely crafted

A fine piece of artistry is made to be admired and cherished, but the hours of craftsmanship that go into making it is what makes it truly special. In this section, some of the worldâ&#x20AC;&#x2122;s greatest artisans share their secrets behind the creation of one-of-a-kind masterpieces

S AV O I R FA I R E

ME, MYSELF AND I

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ME, MYSELF AND I As customers, we love taking control. We jet off for tailor-made holidays, wear made-to-measure suits and even have fragrances blended based on our individual body chemistry. Now Vertu’s recently launched bespoke services beg to ask the question — why not enjoy the same luxury with the one gadget we can’t live without? BY SAMIA QAIYUM

We live in a time where incorporating customisation to our favourite possessions, and heaps of it, is the order of the day in the world of luxury. And examples of all scale come to mind – Stephen Brow designs 18-carat gold and platinum toothpicks that can be personalised with gemstones, a Rolls-Royce can be tailored to feature a trunkmounted champagne serving set, and Louis Vuitton’s Mon Monogram service harks back to an era of luxury rail travel when family crests distinguished pieces of luggage. But few objects can be deemed as inseparable from us as our smartphones. Think about it – your mobile is either in your hand at all times, or you find yourself reaching for it countless times throughout the day – it’s even beside you when you sleep. And one English luxury mobile phone manufacturer was taking notice of our sheer reliance on them. While companies such as Nokia, Samsung and Motorola are churning out production in the millions, Vertu decided to focus on serving a much smaller population in the market by combining expert craftsmanship and peerless materials with innovative technology and unique services. While Vertu’s dedicated concierge that offers luxury lifestyle assistance and enrichment has long been its trademark, the introduction of personalisation services across its entire range have brought the company’s artisan, client-led offering to the next level. Allowing customers to create something as individual as they are, this initiative is supported by a new global website that allows Vertu’s global customer base to design and personalise a new Vertu using an online configurator. And the good news for Vertu users in the UAE is that the personalisation services – which range from Engraving, Monogramming and Made To Order to a bespoke Atelier option – have recently launched at the brand’s two flagship boutiques in the country at The Dubai Mall and Etihad Towers - Abu Dhabi respectively. Speaking from the company’s Hampshire headquarters, Vertu’s Chief Executive Officer Massimiliano Pogliani said: “Vertu is a luxury brand

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ME, MYSELF AND I

that puts its customers at the heart of its thinking. As we have brought new and innovative products, with powerful cutting-edge technology, to market over the past 18 months, we have also sought to further elevate our customer experience along the way, introducing new and previously unheard of levels of personalisation to the mobile phone. We all seek and expect greater choice in our purchases and yet mobile phones, probably our most personal and most intensively used possession, continue to be mass produced in their millions, with little or no scope for individual input. Vertu wants to address this, allowing our customers to have their Vertu, their way – not the way of everyone else.” The Vertu range of mobile phones is made up of three distinct models – Signature, Signature Touch and Aster. Each model is handmade in England using the world’s finest materials, with each one assembled by a single craftsman. By their very nature, each Vertu is a rare object that has been designed to make a statement. Some phones are handcrafted as one-off, bespoke pieces, while whole collections are often produced only in their hundreds. Further elaborating on the process, Pogliani continued: “We have created a portfolio of personalisation options, including a choice of colours, leathers, metals and finishes so you can create a Vertu phone that is a true expression of your own personal style. It is also possible to add initials or an engraved message, which is perfect for the gifting seasons. To make the creative process as easy as possible, these selections can be made via our online configurator or in a Vertu boutique. Once you have completed your design, a single master craftsman in England will, with meticulous attention to detail, faithfully create your unique Vertu.” If opting for Engraving only, your personally chosen words – be it a name or a message – can be engraved onto any edition in Vertu’s collections, making for a truly unforgettable gift or simply making your Vertu unmistakably yours. Meanwhile, under the Monogramming offering, leather finishes are an option for both Aster and its inclusive case. There is a choice of six colours of calf leather, as well as three styles of stripe available in a palette of 20 vibrant shades. Up to three initials are possible, along with back-plate engraving. And if you wish to ensure that your Vertu is an absolute reflection of your individuality, the Made To Order option is what you’re seeking. The Signature can be personalised based on a choice from 10 different colours of luxurious alligator skin, five different types of metal, black or silver ceramic pillow and sapphire crystal face elements, polished stainless steel or silver sapphire crystal front keys, and finally a gemstone setting of either diamonds or coloured gemstones for the pillow trim as well as the select key. A monogram in the language of your choice allows up to three initials, while an engraving can be done in any of three different font sizes. Similarly, the Signature Touch customisation offers a choice from 10 different alligator skins and five types of metal, as well as an engraved message in the font size of your choice. Lastly, the Aster offers a choice of six different colours of calf leather, as well as the ability to include up to three initials and accent these with geometric stripes in a range of colours, and an engraved message. At the end of the day, logic simply cannot be applied to spending an exorbitant amount of money on a gadget that will have to be replaced in a few years. But it’s safe to say that a Vertu phone is in the same league as a vintage Ferrari.

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FROM THE DIRECTOR’S CHAIR

FROM THE DIRECTOR’S CHAIR FIVE YEARS AFTER THE FIRST BLEU DE CHANEL COMMERCIAL DIRECTED BY OSCAR-WINNING MARTIN SCORSESE, CHANEL INVITES RENOWNED AMERICAN FILM DIRECTOR AND SCREENWRITER JAMES GRAY TO SHOOT THE NEW CAMPAIGN

James Gray takes over the helm to reiterate the tale of the same hero, persistently wavering between fantasy and reality, played once again by actor Gaspard Ulliel. Filmed at night in Los Angeles, the movie star flees his obsessed fans and the pressures of fame. The perfume certainly needs no introduction. BLEU DE CHANEL stands out with its light freshness that’s derived from citrus orchards, the foliage of fragrant herbs and the fiery burst of the Vetiver root. In conversation with James Gray, he talks about the brand, the campaign and the face endorsing it.

absolute. CHANEL means elegance and style at the very top. I was honored to have been chosen to direct the new ad campaign. I was immediately interested.

ON CHANEL What did CHANEL represent for you before directing the new BLEU DE CHANEL

ON MARTIN SCORSESE You succeeded Martin Scorsese. Do you know him personally? Do you remember when you met him for the first time? JG: The first time I met Martin Scorsese was in 2006. He was producing a film and wanted to know if I was interested in directing it. In the end, this collaboration never happened, but our relationship has lasted. It’s impossible not to love Martin because he is so passionate, knowledgeable and generous. I also get along with him very

ad campaign? James Gray:

well. We are both from New York and we have a very similar background.

CHANEL

represents

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Was it stressful to succeed him? JG: I’m honored. At the same time you’re honored and you are thinking, should I do this? You know, following in the steps of the great man, it is a huge responsibility. But I accepted, because this idea was really interesting. ON THE AD CAMPAIGN What did you have in mind, what did you imagine at first for this film? JG: I wanted to raise the issue of this craziness inherent to the film world, within which we lead both a comfortable and an uncomfortable life. The Cannes Festival is particularly symbolic of those moments when you feel a little lost and far from what you really are. And, in the end, it is important to come back to who you are. This advertisement

And so for the last act, more calm. What was your inspiration? JG: I wanted a woman to be symbolically leading him to a different path. That’s why when she gets in the house, she disappears. It is not about her, it is about the fact that this corridor does not end. I wanted the columns and the hallway to go to infinity on both sides.

film is as a metaphor. This is what I wanted to tell through the character played by Gaspard Ulliel. We first see him as a rockstar, and then at home in his privacy, finding himself as he really is, in a place that is real for him.

flaring the lens, a visual equivalent to Gaspard’s state of being. Mostly, the visual strategy was to emphasize the dangerous vertigo that Gaspard finds himself in and how in the end he kind of makes his way out.

Is that a life philosophy? JG: Yes, I like the idea that life is not a closed

Second act, he is leaving. How did you work on it?

book. There is no such thing as not living up to your potential. There is no such thing as you’re too old for this or you’re finished with this. That we change much more than we think we do. We are a project that we can continue to work on until we die. That was what I was trying to express in this film and I did not want to do it literally.

JG: The second act is essentially being hounded by the fans and then goes on this kind of death drive. I had really focused on a short film by Fellini called “Toby Dammit” which is with Terence Stamp. That’s a brilliant representation of what it means to be famous. And this Terence Stamp plays a rock star in it. I had imagined that

The point was that, that’s like our lives where we don’t see the end and we don’t know the beginning. It is in this hall that Gaspard Ulliel is beginning to get centered, on the way to the ocean, which is going to lead him in a new direction and in a new place.

The film is in three acts. Let’s talk about the first one that shows Gaspard Ulliel as a movie star. JG: For this first act, I remembered a series of camera tests that Henri-Georges Clouzot shot with Romy Schneider for a movie called L’Enfer where he uses a lot of movement of light to obtain the sensation of vertigo. An

Gaspard Ulliel was almost like a rock star, that it is hard for that type of person to stay centered, so I was trying to mimic this kind of craziness. It’s my homage to Martin Scorsese. I stole the freeze frame of the women with the hands on the windshield from the film “The King of Comedy”. It has to be metaphorical: he is leaving the set because he is done; then there is this

JG: It was shot in downtown Los Angeles, and then also in Malibu and on Mahon Drive in Griffith Park. I wanted to shoot in Los Angeles because everything there is a question of appearances. So, it seemed to me the perfect place to mention the difficulty that it can generate. I wanted to depict that maybe the character’s needs were not material but that his struggle was for his state

unstable sensation, personally but as well professionally. To reproduce visually this strange sensation, I worked with a fantastic director of photography, Philippe Le Sourd. We discussed constantly moving the light,

complete drive of madness and the climax which is when the camera goes from upside down to right side up, implying visually that his life goes from crazed to a more centered place.

of mind which he wins in the end.

Gaspard Ulliel and Director James Gray at the ad campaign of BLEU DE CHANEL

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Is it shot in downtown Los Angeles?

How was it for you to work on a short movie like this? It’s different from a feature film. How did you feel when you were doing it? JG: The only problem I had was that I was sorry that it was over. The problem is you have to get in, up to speed immediately. On a short film, day one is a lot of what is going to be in the commercial, so you really need to be on your game, and focused and get everything. And then it is over before you know, it feels like it goes by too quickly. But you also realize that the demand to deliver the visual information is immediate. So in a film you take your time, in a short, you have to express it instantly. I enjoyed it very much! It was a fantastic experience to do it. ON GASPARD ULLIEL How was it to work with Gaspard Ulliel? JG: I’d never met him before the film. I thought he was extremely cooperative, very sweet, unbelievably professional and he has a great face for the camera. He is cinegenic and very magnetic. He reminds me of a young Alain Delon.

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OF FRESH AIR

A BREATH OF FRESH AIR BREAKING NORMS AND CREATING AN AMALGAM OF CULTURES THROUGH HIS DESIGNS, FASHION DESIGNER HATEM ALAKEEL’S PANACHE EXEMPLIFIES A BALANCED SYNCHRONY BETWEEN THE CONVENTIONAL AND THE CONTEMPORARY

With a passion that transformed into a dream and later moulded into a career, Hatem Alakeel wanted to step

“I began offering thobes that I designed to my friends, and later went on to realise that this could turn into a great business.”

foot in the world of fashion all through his childhood years. He was unaware of the correct “formula” as he had no educational qualification in the field (he majored in Marketing Communications). Interestingly enough, he believes he’s got the flair for it today and gives all credit to his mother, who took him shopping to Milan and Rome as a child. “I learned my fashion sense from my mom as she has always been very well informed on the fashion scene. She is extremely stylish, and is my ultimate muse,” he says. His mother would take him down the street of Via Veneto in Rome, which is known to be one of the most chic and upmarket shopping areas. “Mom would make sure we were always immaculately dressed. I got used to having the best of the best, and that’s where it all really started.” Thankful for the fact that he had a closet full of Italian attire, he’s glad to have been exposed to quality craftsmanship and design at a young age. Having worked in Banking, Marketing as well as Advertising, he had a good feel of the corporate world in

world; I couldn’t find my calling.” Alakeel says that he felt stifled looking at the same colour and pattern of his work attire (the thobe/kandura), and that’s when he started designing them for himself. With subtle detailing, he made changes to the day-to-

Alakeel found a couple of good tailors and eventually changed the conventional look of the kandura. Soon enough, this progressed into the opening of his first boutique in Saudi Arabia in 2007. Shortly after, Alakeel was invited to participate in the Dubai Fashion Week. Villa Moda, which is one of the biggest retailers to enter the UAE, bought his entire collection from the first fashion show. “Being able to do what I really enjoy doing makes me the happiest. I’ve always wanted to only create designs; not getting involved in the administration makes me really glad, but that’s not how it works,” he says with a laugh. In an ideal situation, Alakeel would like to immerse himself solely in the design process, but realises that as an entrepreneur, the work goes beyond that. Understanding the art of business is something you’re forced to learn – the art of collectivity combined with design, knowing what works design-wise as well as sales-wise, and what doesn’t. Over the years, he has pretty much understood

all its different aspects, yet tells us, “I could never really find my way in the corporate

day thobe. His personal need to spruce things up caught the attention of others.

the dynamics of sales: “You have to know what the sellers are, and which the star

Fashion designer Hatem Alakeel

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The classic thobe with Aliel cufflinks

piece is. Usually, there should be around 80 per cent commercial and 20 per cent creative that needs to be incorporated in a design.”

the average Saudi in terms of exposure to cultures. Combining his travel experiences with design sensibility, he carefully crafts each collection. “I do west-meets-east

When it comes to inspiration, Alakeel has an affinity for old movies. He’s inspired by the 1930s and ‘40s, Hollywood stars, and polished, classic looks. Bringing back vintage with a touch of futuristic, and giving it a current-day feel, is what he strives to do. “Any kind of art inspires my work – be it a painting or even architecture. I’m in love with everything Zaha Hadid does; a

mergers, I even blend Kuwait with Saudi, or Dubai with Qatar in aspects of design.” For him, it’s all about embracing cultures. “I don’t just focus on a particular region, I give a lot of importance to the global feel as well. I’ve had the pleasure to dress celebrities such as Snoop Dogg, and today, I receive orders from the world over – be it Michigan, Paris, South Africa, you name it.”

lot of her work has inspired me in many ways.” So what’s the inspiration behind his brand name Toby, you may ask? Toby is derived from the word ‘thobe’, which is what kanduras are called in Saudi Arabia – and dishdasha is what they are called in Kuwait. “It’s all about expression. We have a very conformist society, and I want to encourage people to be more expressive in the way they dress – it could be in the smallest detailing. I don’t expect them to wear a kandura with a tie and go all out, although that’s what cemented me as a designer.” Alakeel’s fashion show collections are completely different from what he has in store at his boutiques. His boutique houses simpler traditional attire, whereas the shows exhibit avant-garde garments made for the runway or the bold. The message he’s trying to put across through his work is simple – variety is the spice of life. His collections are a way of telling different stories from parts of his life. Having lived in the States as well as in Europe (being

On asking what the maestro’s favourite fabric is, he tells us he loves 100 per cent cotton. It’s interesting to learn that every region has its own preferences. In Jeddah, the people love cotton, whereas people in Riyadh don’t. Locals of Riyadh, like the Emiratis, prefer fabrics that are creaseless and crisp. Identifying and establishing one’s sense of style is of utmost importance. In Saudi, the locals favour the Mandarin collar that looks like the Chinese collar, or the western or regular one. The thobes are fitted like shirts, and now with designers such as Alakeel, the market is revolutionising. In the Emirates, they don’t play with the cuts, and the kanduras have no collars. They’re slightly ‘boxy’ and wider. If at all they want to spruce it up, they’d play with the colour – yellow, orange, blue and so on. As for the Saudis, they never play with colour. “Riyadh is the more conservative place and Jeddah is more open to change,” he explains. Alakeel also tells us that he’d love to dress George Clooney and Justin Timberlake someday. So where does Alakeel

French-educated in Switzerland), Alakeel believes his mentality is very different from

see himself in the next ten years? “Hopefully, in everybody’s closet!”

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SIGNé SELECTION MATERIALISTIC JOYS Owning a luxury object is one of life’s great pleasures. Signé Selection features products that define the lifestyle of those to whom quality is more important than price, while a sub-section, titled For Her, is devoted to a man’s significant other

S PR E Z ZAT UR A WORD: SPREZ·ZA·TU·RA PRONUNCIATION: /ˌsprɛtsəˈt(j)ʊərə / sprāt-tsä-ˈtü-rä DEFINITION: rehearsed spontaneity, studied nonchalance and well-practised naturalness

Zilli SS15

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DIFC - SUIT UP 1. Tie : Hermès 2. Watch : ZENITH Academy: Georges Favre-Jacot 3. Cufflinks : Hackett London 4. Shoes : Berluti

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Polo Ralph Lauren SS15

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AL QOUZ RADICAL CHIC 1. Zipped card holder wallet : Christian Dior 2. Belt : Tod’s 3. Bracelet : Tod’s 4. Single-gusset briefcase : Ralph Lauren

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Zilli SS15

JBR ULTRA CASUAL 3

1. Vanity : Hackett London 2. Beach towel : Hackett London 3. Backpack : Paul Smith 4. Sandals : Ralph Lauren

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Alfred Dunhill SS15

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MEDIACITY FORMAL CHIC 1. Watch : Eberhard & Co - Extra-Fort 2. Document bag : Berluti 3. Agenda : Hermès 4. Navy linen slippers : Ralph Lauren

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Alfred Dunhill SS15

DOWNTOWN PARTY TIME 1. Watch : L.U.C Chopard 2. Cufflinks : Salvatore Ferragamo 3. Shoes : Dolce & Gabbana 4. Shoes : Dolce & Gabbana

4 4

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FOR HER

Refreshingly

Revamped IN CONVERSATION WITH LUBNA AL ZAKWANI, ONE OF THE SISTERS FROM THE DYNAMIC DUO OF FASHION BRAND ENDEMAGE

Evidently, it’s fruitful to begin at a young age. Lubna and Nadia Al Zakwani are determined to amp up the world of contemporary attire for the women of the Middle East. Personifying traditional grace, the sisters’ label Endemage is edgy and takes a modern approach while plugging in heritage, too. And of course, the siblings complement each other. Lubna has studied design and PR, and older sister Nadia has an extensive background in business and strategy development.

Why ‘Endemage’ and how would you define the identity of the brand? Endemage is derived from an Arabic word that means ‘the merging of two’, which perfectly describes the concept of blending our Omani culture with western trends.

What prompted you to become a fashion designer, and who is your ultimate inspiration? I have always had an interest in fashion. As a young girl, I remember browsing through my mum’s closet and trying on her dresses. The interest grew even further when mum and my aunt started a small boutique in Muscat. I’d spend most of my free time there, designing outfits for myself and watching our embroiderers at work. My eagerness to learn was noticed by my family, who then encouraged me to deepen my knowledge by joining a fashion school. After graduating from high school, I got my bachelor’s degree from École Supérieure des Arts et techniques de la Mode (ESMOD) in Paris. My ultimate inspiration would definitely be my mum and aunt.

Our main source of inspiration is Oman; it has such a rich culture and heritage. Nevertheless, it is always finding a different treasure that inspires each collection.

What do you think women entrepreneurship in the Middle East is, and what were some of the challenges you faced when you began? Like any business, entrepreneurship requires a lot of time and hard work, in addition to a good source of finance. Starting a fashion line, back then, in a market when fashion recognition was just recent was one of the biggest challenges for me as it was a novel experience for the market. How much do you think you have influenced the women in the region? Well, I would say Endemage empowers the young Arab woman. We tailor chic outfits, while still keeping it elegant and modest for women in the region.

Middle East is a region with many stories, inspirations and subjects. How do you pick yours?

Despite the limitations of the abaya’s characteristics, you have managed to bring a lot of creativity to it. Tell us about the thought process there. Endemage offers women trendy silhouettes with subtle touches of Omani heritage. We always try to complement a woman’s figure through different cuts and drapes, and that’s something we have sustained through all our collections. What is it like working with your sister? How much do you both influence each other? It is great having two minds instead of one. Although completely different personalities with opposite tastes, we manage to merge our ideas while still keeping it simple. What’s your favourite city in the Middle East and why? Dubai. Starting my business here has brought us to where we are today. The city has not only provided us with amazing support, but also given us the opportunity to be part of the growing platform of regional designers. Let’s not forget about all the lovely places to see here! What’s next for Endemage? We are aiming to be part of a more international market and representing Oman as local designers.

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Lubna and Nadia Zakwani of Endemage

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SPRING/SUMMER 2015 BY E N D E MAG E

Endemage draws inspiration from Zanzibar, famous for it’s beautiful beaches and tropical scenery, which was the main brilliance for this collection. Zanzibar was part of the Sultanate of Oman and has strongly influenced the Omani culture through the beautiful vibrant colours, prints, and fabrics, which the Zakwani sisters have elegantly incorporated into their SS15 collection. The collection features a range of off-shoulder garments, ruffles and flowy hemlines composed of white, lilac and teal colour palette.

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PHILANTHROPY SOCI A L CONSCIENCE

Generosity is a barometer by which greatness can be measured. This section introduces the charitable and environmental efforts of brands and companies that choose to be considerate towards the world we all live in today

PHILANTHROPY

BLING-ING BLISS

Bling-ing Bliss Luxury brand Bulgari is not merely about opulence and glamour, but also shows a benevolent side with its compelling cause

Due to the vicious cycle of poverty, numerous children across the world are uneducated. This acts as a huge hindrance for them to fulfil goals or attain their aspirations. In 2009, Bulgari decided to raise money in order to help disadvantaged children by collaborating with Save the Children. Almost five years later, the collaboration has developed into a strong and long-term partnership. In April 2014, in celebration of its 130th anniversary, the brand launched a jewellery collection comprising a ring and a pendant inspired by the iconic B.zero jewellery line. The two pieces from this collection are available in Bulgari stores the world over, at select department stores and on Bulgari’s website (in the USA and Japan). This campaign is of unprecedented ambition and scope, with part of the proceeds being donated to the charity. Bulgari supports some of Save the Children’s key strategic areas of intervention including emergency relief, with a targeted focus on education, as it’s the company’s bold belief that no lasting development is made without education and learning. Interventions target the children that are most difficult to reach, while tackling the growing problem of urban poverty. With additional proceeds from the sale of the new pendant, Bulgari expands the scope of its activities and focus on health by supporting Save the Children’s life-saving interventions for the most vulnerable children: newborns. The partnership’s vision for education is that ‘every child receives a good quality education and learns the skills and knowledge they

And fortunately, Hollywood has been very forthright about rendering support for this compassionate partnership. Over 170 celebrities including Naomi Watts, Meg Ryan, Camilla Belle, Jeremy Piven, Ben Stiller and Olivia Munn have posed for renowned photographer Fabrizio Ferri while wearing the ring, and more recently, the pendant. Ferri has actively supported this initiative with his time and talent. Over the years, he has captured nearly 200 celebrities endorsing the cause through the collection. Several celebrities have also been involved in field visits to Save the Children programmes by Bulgari to observe the impact of this wonderful cause. To date, Save the Children’s initiatives have reached over 600,000 children and trained over 20,000 teachers through the means of educational activities in more than 1,200 schools – many of which are situated in areas marred by conflict, poverty and emergencies. Bulgari’s donations benefit underprivileged children in 23 countries including Albania, Afghanistan, Australia, Bosnia–Herzegovina, Bolivia, Brazil, China, Colombia, Democratic Republic of Congo, Haiti, Indonesia, India, Italy, Mexico, Montenegro, Japan, Jordan, Kenya, Ivory Coast, South Sudan, Uganda, UK and the USA. A select number of employees from the Bulgari sales force have been given opportunities to firsthand experience how tough life can be and how much of a difference this campaign can make to the children. Since 2011, several field trips have been conducted to Albania, China, India, Indonesia, Japan and Uganda, in addition

need to thrive in the 21st century’. The focus is on access and quality, both being equally important.

to domestic programmes organised in Italy and the USA. The lifealtering impressions of the Bulgari staff subsequent to these trips

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PHILANTHROPY

BLING-ING BLISS

confirm the significance of this initiative, both in nurturing a sense of belonging and in instilling the fundraising efforts for Save the Children with greater fervour. “Moving forward, I would like to see the time, commitment and resources that we have devoted to this unique partnership with Save the Children become more strategic and integrated. In 2014, the new

Save the Children pendant intensifies our contribution and funding. It is my heartfelt belief that aligning common interests across our two worlds and cultures will not only enhance Bulgari’s corporate reputation and Save the Children’s philanthropic reach, it will also make all of us even more passionate and committed about what we do,” says Bulgari CEO Jean-Christophe Babin.

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OBSESSION In a quintessential world The world of luxury favours those who know the true worth of exquisite possessions and will never settle for less than perfection. Obsession introduces precious bespoke items and collectibles that are designed for the most discerning and sophisticated luxury aficionados

COVER STORY

HED ONISM IN THE GARAGE

HEDONISM IN THE

GARAGE THE CITY

Soundly situated on the southeast coastline of the Persian Gulf, Dubai has carved a niche for itself, and made its mark as one of the swiftest developing cities on the globe today. It’s difficult to not appreciate the city for its unflagging and unwavering vim, intrepid aspiration and aptitude to dream up and realise projects that would probably take much longer to materialise elsewhere. This is a paramount-hungry society that has given birth to the world’s tallest building, an island that is shaped like a palm tree, an enormous indoor ski haven and more. The growth of Dubai into a superlative city, over a short period of time, evidences that miracles do happen in the world. Building its development on trade and tourism, Dubai has several exalted structures, a strong trade, aviation tourism and services sectors.

THE POWERHOUSE

Gearing up and unravelling a luxurious paradise, Ferrari’s legendary tale officially commenced in 1947 when the first ride materialised from the momentous workshop entrance on Via Abetone Inferiore in Maranello. The 125 S, as it was known, exemplified the desire, passion and determination of the company’s Founder. Ferrari’s exuberant drives never fail to flabbergast with their various features. It’s always a new love at first sight – the raffish, dapper bodies depict sporty silhouettes – different every time – and enthrall even the ‘non-auto’ lovers. Head-turners on the road, and devils in the garage, these mesmerising beasts spell magic. With a passion to pamper immeasurably, and expose an inner style, the crème de la crème of automotive houses has always made a statement of superiority, and is an extension of individualistic personality, speed and drive.

A MARRIAGE BETWEEN LEAGUES

Possessing a relatively modern heritage, Ferrari shares a peaceful bond with the young and dynamic city of Dubai as both refuse to recede when it comes to living in the moment and zooming towards a better future. Matchless engineering achievement and perfected to the core, the ferocious cars from this powerhouse are beautifully compatible with the likings of the UAE as they’re crafted with utmost care and style – just like the cities of the region.

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OPERA HOUSE

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COVER STORY

HED ONISM IN THE GARAGE

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OBSESSION

THE BAL ANCING ACT

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The Balancing Act Art law is an amalgam of legal hypotheses geared towards arts and cultural affairs – people creating, purchasing, selling, stealing or destroying art and cultural property. Italian-Swiss lawyer and ardent art lover Giovanni Maria Rossi enlightens us on the concept of art law and explains the weightage it holds

Give us a brief history on your background. My heart is Italian, but my brain is Swiss. In short, I am a lawyer qualified in Switzerland, but born and raised in Italy until I was 12 years old. I spent the first section of my younger years in Milan, then Geneva, and then in New York. I graduated in Law in 1991, was admitted to the Bar in 1993, and subsequently obtained an MBA at Columbia University in New York. I specialise in the corporate and banking field, but art has always been one of my passions, which I have inherited from my family. I do hope to pass this onto my children as well. Tell us about your current role in Bonnard Lawson International Law Firm. I have been a partner at the firm since 1999. Initially based in Geneva, from where I led both, the corporate and banking as well as the finance practices of Bonnard Lawson, I moved to the UAE a few years ago. I now am now the Founder and Managing Partner of the firm’s Dubai branch. I shuttle between Geneva and Dubai regularly as my professional activity focuses mainly on advising corporations, private investors, banks and financial institutions in a variety of cross-border corporate M&A and international financial transactions. What prompted you to come to Dubai? It has been a mix of professional and personal reasons. My professional activities gradually expanded in this region, following my clients’ interests due to the economic development of the Gulf, Middle East and Africa. I soon realised that Dubai was a perfect hub for Bonnard Lawson too and, together with my partners, we decided to strategically position our firm here. This was to seize a first-mover advantage over our competitors as we are the only branch of a Swiss firm present in the region. On the personal side, both my wife and I wanted to give our children the opportunity to experience life in a multicultural and vibrant city projected into the future, and

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OBSESSION

THE BAL ANCING ACT

we really enjoy the family-oriented lifestyle combined with safety and nice sunny weather here in Dubai. How do you see the art market in the region, with regard to both collectors as well as artists? The tremendous economic growth of this region is also well reflected in the art market, at all levels. We are witnessing a new role of arts and culture at a state level with the opening of great museums, such as the Louvre and the Guggenheim in Abu Dhabi or the Mathaf: Arab Museum of Modern Art to name a few. Artists, especially from the Middle East and Iran but also from elsewhere in the world, are attracted to this region thanks to the flourishing activities of private galleries that can offer them the right platform to showcase their talents. Collectors from all over the world, including Africa, come to Dubai to attend auctions at Christie’s and Bonhams, whose revenues increase every year. It a very exciting time for an art lover like myself, and it gives me a chance to engage professionally with my firm in a variety of art law issues. Share with us the concept behind art law and its importance. The concept of art law can be broadly defined so as to include a variety of diversified legal issues pertaining to the world of art and art objects. While ordinary rules of law do apply to art law in general, one should also consider the implementation of specific legal rules related to the peculiarity of art and of the art market. On an international level, I would

Conference Principles on Nazi-Confiscated Art dated 1998, which has been recognised by 44 states including Switzerland, and also the International Convention of UNESCO dated 1970, on the means of prohibiting and preventing the illicit import, export and transfer of ownership of cultural property. It is up to each state to ratify such international treaties and conventions, and eventually to

Under the broad definition of art law, we can also include all the issues related to intellectual property rights, which are relevant also for the most contemporary art.

like to mention in particular the Washington

integrate them within its own legal system.

international art market arena is quickly

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How much awareness does the UAE have when it comes to art law, and how is Bonnard Lawson helping it to grow? The role of the UAE as leader in the

“To constitute a real collection, artworks need to possess an internal logical coherence” G I O VA N N I M A R I A R O S S I

growing, and so the awareness of art law here is also becoming stronger. This is also true for other upcoming art markets such as South Korea. Big collections are now being

an asset class in itself. And as you know, when artworks do form a collection and are well organised, their market value increases exponentially. We also act for intermediary

polished and coloured stones juxtaposed with a technique similar to the marquetry. This technique dates back to the Renaissance and flourished in Florence, therefore is also

created in this part of the world, triggering the relevance of many issues related to art law such as transfer of ownership titles, protection of the rights of the purchaser acting in good faith, compliance with professional standards and obligations for those active in the art market, and warranties as well as liabilities in case of default. It should be noticed that the parties

entities, such as brokers or auctioneers, and assist banks regularly. Besides these, among institutional clients, we also advise museums and art schools. We are well known and highly appreciated for our network, technical knowledge and expertise combined with a deep sensitivity for the art world.

known as mosaico fiorentino. The result is extraordinary as the images composed in such a way are both beautiful and exquisitely refined to the extent that each and every shade and detail looks as if it were painted in colours. Although my personal preference goes to Italian renaissance artists, I do also enjoy modern and contemporary art, and since we have moved to Dubai, my wife

(involved in art-related transactions) are free to choose the applicable law to their contractual agreements. Hence, they may opt for a legal system that provides a wellestablished case law and jurisprudence offering them more legal certainty. Bonnard Lawson is versatile and expert in both civil and common law, and assists its private or institutional clients in any artrelated legal matter, not only in relation to sale and purchase of artworks, but also in the organisation of the ownership of an art collection as well as art-related dispute resolutions.

What, according to you, are problems artists facing when it comes to intellectual property rights? Intellectual property right issues are very complex and this is a legal field where problems and their solutions greatly depend on the applicable law and the implementations of international treaties in each state. Besides, such problems can be even more complex if there is a foreign component in it. Protecting the rights globally can be more challenging than protecting other legal rights. This is often the case for trademarks and design rights, but also for copyrights due to the use of Internet. Mostly, the easy access to reproduction of images on the web creates confusion as per what is of public domain and what is protected by copyright.

and I have been buying artworks of several contemporary Middle Eastern artists… but I cannot consider them a “collection” as yet. To constitute a real collection, artworks need to possess an internal logical coherence; they should, for example, share the same geographical origin or belong to the same historical time period, embody a similar philosophy, or be part of the same artistic trend etc.

Who are your principal clients, and why do you think they approach you? Our clients come from many different countries. We often act for private collectors who ask our advice on the purchase or sale of artworks, or who are seeking our help with a variety of legal issues related to succession and inheritance planning. On this last aspect, we advise our clients in the organisation, from a legal perspective, of the ownership of the art collection as

Are you an art collector? If so, do you collect art from the Middle East? My family members and I have been art collectors for generations. I truly cherish our unique collection of what in Italy is called the arte musiva or pietra dura technique – an artwork created using cut and fitted, highly

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Name some of your favourite artists. This is indeed a difficult question. My family being from Florence, I have always been attracted to Michelangelo, Giotto, Leonardo da Vinci and Sandro Botticelli, but in recent years, I have been interested in more contemporary artists such as Banksy, Keith Haring and Jean-Michel Basquiat, as well as so-called “street art”. What is art according to you? In my opinion, art is the expression of an emotion. I could not envisage life without art, be it a painting, sculpture, photography or music.

OBSESSION

FROM MOKBEL, WITH LOVE

From Mokbel, with Love AN INITIATIVE THAT’S DEVOTED TOWARDS THE ENDORSEMENT OF LEBANESE ART THROUGHOUT THE MIDDLE EAST – THE MOKBEL ART COLLECTION

Founded by Johnny and Nadine Mokbel in 1998, The Mokbel Art Collection has grown to embody a great deal of renowned contemporary and modern Lebanese artworks. This initiative views its commitment to the art as a social responsibility, and is at present working on encouraging young Lebanese talent by boosting their

Paul Guiragossian Summer Day I and Summer Day II, both completed in 1992, were the first two works that Mokbel bought in 1998 directly from the Guiragossian family. The paint in Summer Day I holds intense clusters of flowers that are grasped by a zephyr on a mighty hot summer’s

exposure to the art scene and introducing their works to the public. To continue their efforts towards promoting Lebanese art globally, Johnny and Nadine have decided to part with 14 of the Lebanese artworks of their collection of nearly 100, and have entrusted Christie’s Dubai with this sale. Over half of the 14 works of art are by Paul Guiragossian (1926-

day. The illumination and brightness as well as the bold, almost psychedelic transferrals in scale, hue and tonality boost the energy of Summer Day I (estimate: $40,000-60,000). The techniques used in Summer Day I and Summer Day II are similar, although the latter portrays flat, conflicting areas of vibrant pigment that are amplified by little dark accents and linear arabesques

1993), Lebanon’s most celebrated contemporary master. His works can be found in many private collections as well as the Vatican Museum in Rome. Other artists include Farid Aouad, Aref El Rayess and Ayman Baalbaki.

(estimate: $40,000-60,000). People in Yellow was painted in the mid-1980s and was also acquired directly from the artist’s family. Although Guiragossian is mostly described as an abstract painter, his work has never been ‘non-figurative’. People Christie’s: a brief history in Yellow has figurative Christie’s is the world’s leading indications all over, even in art business, and is a name the title, and is possibly best that speaks of extraordinary read as a haze of crowding art, incomparable service body parts (estimate: and proficiency, as well $150,000-250,000). as worldwide glamour. Guiragossian’s extreme Established in 1766 by James belief in family forms is one People in Yellow by Paul Guiragossian Christie, the auction house of the essential rudiments has since conducted the of his work, and Mother and ultimate and most illustrious auctions through the centuries, providing Child in Mandorla from 1983-84 features the icon of the mother a platform for the exclusive and the beautiful. Christie’s offers nearly and child. The passion of the image is confined within the curves 450 auctions annually in over 80 categories, including all areas of flowing through the marvellously patterned blue headscarf of the fine and decorative arts, jewellery, photographs, collectibles, wine, first woman’s head, down to the left across the slit of her dress and more. Christie’s has also had a prosperous record conducting and up across the hem of the second woman’s robe, continuing private sales for its clients in all categories, with emphasis on up to the waist and back of the third woman, designedly forming a Post-War & Contemporary, Impressionist & Modern, Old Masters and Jewellery.

protective mandorla – another signature of Guiragossian’s distinct style (estimate: $80,000-120,000).

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Mother and Child in Mandorla by Paul Guiragossian

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OBSESSION

FROM MOKBEL, WITH LOVE

Summer Day I and Summer Day II by Paul Guiragossian

Ayman Baalbaki

20,000). Homo Flux (estimate: $50,000-70,000), also completed in the

Ayman Baalbaki was born in 1975 in Odeisse, Southern Lebanon. Growing up during the Lebanese civil war and Israeli occupation, Baalbaki had to leave his village involuntarily and move to Beirut. His upbringing and childhood has significantly impacted his work over the past 10 years. As a result, many of his artworks depict the phases of his life as an immigrant in Beirut or restoration struggles in the city in the post-war era. Baalbaki painted Babel in 2005, and unlike the customary interpretation of the Tower of Babel in paintings by other artists – which show accurate, traditional architecture and an energetic scenery – Baalbaki renders the tower in a rather ethereal panorama without any human movement. As a result, one is left with the furious repercussion of God’s whammy. The onlooker becomes part of the moment when God discharges His wrath on the people of Babel as penalty for their efforts to construct a tower “whose top may reach unto heaven” (estimate: $150,000-200,000).

early 1970s, is an archetype of Aouad’s expressionism, where mulling over the ‘self’ leads to being unable to gather thoughts. The artist does not paint portraits, but perceptions. He painted the course of rumination, movement and transformation, not substances.

Faris Aouad Born in South Lebanon in 1924, Faris Aouad lived in Paris for most of his life. His work is recognised for languages of loneliness, with the artist making use of sights of solitary strangers in bars and cafes, individuals ambling down the pathway, travellers boarding on trains, and fishermen at work to deliver his personal moods of seclusion. Furthermore, his attachment to the acquaintance between the streets of old Beirut and Paris are habitual expressive fixtures in his work, as in Sortie de Métro dating from the early 1970s (estimate: $15,000-

Tagreed Darghouth Born in Saida, Lebanon in 1979, Tagreed Darghouth acquired a Diploma in Painting and Sculpting from the Lebanese Institute of Fine Arts in Beirut in 2000. She later studied Space Art at the Ecole Nationale Supérieure des Arts Décoratifs, Paris, graduating in 2003. In Green Grass, executed in 2010, numerous crania arise against the setting of an impasto space. We encounter one subject matter – the demise of the inevitable destiny to which we all must capitulate. It elevates the persistent hypothesis of the impermanence of human life. Profoundly evocative of vanitas, artworks archetypal of the Dutch School in the 16th and 17th century, Darghouth’s theme braces the impulse of memento mori – “remember you will die”. Her intricate brushstrokes of gold, red and amber hues denote gradual degeneration, an allegory for the transitory feature of life. Despite this conviction of death, Darghouth insinuates that ‘Yellow Sun’ is a paradigm of one of the numerous aliases given by the British Military to their atomic arsenal around the Second World War as part of what was bizarrely called the ‘Rainbow Programme’. Preview: 15 March (from 2pm onwards) until 18 March (until midday), Jumeirah Emirates Towers Hotel. Sale date: 18 March at 7pm.

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Suleiman Mansour Born in 1947 in Birzeit, Suleiman Mansour studied at the exalted Bazalel Academy of Art and Design from 1967 to 1970. On the 18th of March, Christie’s Dubai will offer one of the most iconic Middle Eastern images ever produced – Jamal Al Mahamel II or Camel of Burdens II (estimate: $200,000 and 300,000) – by the Palestinian artist. This work is a second version, painted in 2005, of the original work, which has been painted by Mansour over 40 years ago in 1973 as a humble manifestation of his relationship to his homeland. Portraying an aged Palestinian man carrying a bulky sack in the shape of an eye, painted with a sight of Jerusalem around the Dome of the Rock, Islam’s third divinest site, this image reproduced Palestinian households. Jamal Al Mahamel II or Camel of Burdens II by Suleiman Mansour It communicates and is closely connected with the concepts of Palestinian character and Jerusalem. On a more a burden. The porter’s presence in the middle of nowhere can still esoteric level Mansour wanted to incorporate more of the city’s Christian be understood as an echo of Palestinian life in refuge. The city on motifs, such as the Church of the Holy Sepulchre, which he had left out his back exemplifies the idea of the lost birthplace that Palestinians of the original because his apprehensions in the 1973 painting were “carry” with them. The larger and more colourful Jamal Al Mahamel II predominantly political. Much of the imagery stayed the same and the will be on public display as of 15th of March until at the Jumeirah sack’s optical contour still hints at anArab idiom that describes a loved Emirates Towers Hotel in Dubai, prior to its sale on the night of the one as the “pupil of one’s eye” but its weightiness also exposes it as

18th of March.

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OBSESSION

FROM MOKBEL, WITH LOVE

In celebration of a legacy

Taking pride in 55 years of celebrated heritage, Christie’s presents the largest offering of any watch sale (185 watches) in the Middle East that will take place on the 19th of March at the Jumeirah Emirates Towers Hotel. Amongst the chosen lots features a Patek Philippe, with an estimate of $450,000650,000, which is the most valuable estimation ever put against a watch offered in Dubai. The sale will include watches from all major labels such as Audemars Piguet and Zodiac – a total of 48 watchmakers from around the world will be represented. The top lot of the sale is a Patek Philippe made in 2009, and sold from a private collection. The luxury watch brand has crafted a prestigious chronometer that, perhaps more than any other, mirrors the primary values of the last familyowned watchmaking company in Geneva. For the first time, a Grande Complication wristwatch crafted by Patek Philippe

movement and adjust its rate to excellence, meaning that the Geneva based workshop can only produce 8-10 of these rare watches a year (estimate: $450,000-650,000). The Breguet is another “classic complications model” made in 2002 with a fine and rare 18-carat gold perpetual calendar tourbillon movement. It will be offered with an estimate of $60,000-80,000. Breguet was founded in Paris in 1775 by Abraham Louis Breguet. The majority of the pieces in the sale represent the modern masters – the vintage trophies of the future. You will find the Lange 1 Model by A. Lange & Söhne, made in 2008 (estimate: $25,000-35,000) and the Audemars Piguet Royal Oak Offshore Grand Prix limited edition model, an oversized platinum and ceramic chronograph timepiece. Made in 2010, it is one of only 75 ever made (estimate: $50,000-80,000). From another limited

affords more than a caseback view of the mechanical marvels within. It takes two years just to craft the parts, assemble the

edition is C1 Tourbillon Gravity Model made by Concord circa 2008 and number 1 out of 10 (estimate: $35,000-55,000).

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T I A R G E E H ANECDOTES OF A BEQUEST

Behind every brand of note there are stories of success and failure, trial and tribulation. However, it is these tales that define a brandâ&#x20AC;&#x2122;s identity. Here, the narrative of a brandâ&#x20AC;&#x2122;s history is shared, from humble beginnings to present-day triumphs and every story on the way

THROUGH THE AGES

Chronicling the Chronograph BASKING IN ITS SUCCESS THROUGH THE YEARS, VACHERON CONSTANTIN IS BESTOWED WITH AN INCOMPARABLE HOROLOGICAL BIRTHRIGHT. HERE’S TRACING THE RITZY SWISS LABEL’S INIMITABLE LEGACY AND RECOUNTING ITS MILESTONES

One of the world’s oldest and most prestigious timepiece manufacturers, Vacheron Constantin was established in 1755 by Jean-Marc Vacheron, a 24-year-old residing in Geneva, Switzerland. Besides being a young businessman, Vacheron was also a talented craftsman; he crafted pocket watches for the likes of the kings of Naples and Rome. In 1816, Vacheron’s grandson, 29-year-old Jacques Barthélémy Vacheron, journeyed to Italy with merchandise. The Genevese watchmaker arrived at the Italian king’s court in Turin in hope to make a sale. The king’s watchmaker was so spellbound with the young Vacheron’s best piece, a Marie-Louise clock watch, that he was inquisitive to see what made it tick – he dismantled it. Exalted label Vacheron Constantin offers timepieces revealing numerous graduation systems, helping to execute coalesced measurements and thus, meet the expectations of certain industrialists, engineers, doctors and even horse breeders. Frequently equipped with a tachometric scale to measure the speed of a mobile component,

crucial to artillerymen – or a sphygmomanometer (an instrument used to measure blood pressure), which is beneficial for medical diagnoses. Other models supplement the chronograph purpose with a split-seconds method assisting to measure occurrences commencing at the same time, but of wavering duration by delivering transitional or split times. Vacheron Constantin used to be a consistent chief supplier in the field of sports timekeeping, and made a name for itself in the certified measurement of diverse masteries including motor racing, ski competitions and horse races. This beguiling expedition affirms an irrefutable horological mastery, as well as sagacious artistic selections. In addition to being extremely chic, the productions are devoted to legibility and utmost comfort for the wearer. Featuring stunning and but straightforward exteriors, along with marvellous motorised accomplishments that feature meticulous and refined finishes, the brand has had a legacy of tried-and-trusted accuracy. With an unceasing history of fruitful efforts, it vouches for an

the watches sometimes comprise a telemetric scale – an instrument

unrivalled horological experience.

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THE 19TH CENTURY When the centre seconds hand was initiated during the concluding half of the 18th century, watch craftsmen swiftly obtained a way of holding it still and making it autonomous from the machinery driving the hours and minutes hands. This cemented the path for novelties in this territory – simple pocket watches, wristwatches, timepieces featuring several scales, splitseconds chronographs, and of course, watches with stylish complexities. The sleek polished cases in 18-carat gold, the pristine white enamel dials, and the slim hands, all support the impeccable legibility of the chapter ring and the counters.

1873 This classic timepiece has an independent centre-seconds and a quarter repeater. It has been crafted in 18-carat yellow gold and niello, with a white enamel dial complementing it, and Roman numerals adding to its traditional look. The chronograph also has an external minute circle. Caliber RA19”

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THROUGH THE AGES

1877 Made in 18-carat red gold, this timepiece has enamelcoated arms, an enamel dial, Roman numerals, a mini seconds dial at 6 o’clock, and external minute circle. The chronograph functions by the crown. Caliber RA19”

1889 A split-seconds chronograph in silver and red gold, the piece has an enamelled coat of arms on the case back. The enamel dial features Roman numerals, a mini seconds dial at 6 o’clock, and external minute track. The crown of this chronograph has the push-piece. Caliber RA 20”

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1900 Comprising a 30-minute counter at 12 o’clock, a small seconds dial at 6 o’clock and an external minute track, this edition is in 18-carat yellow gold, and has an enamel dial with Roman numerals. The push-piece is on the case band. This timepiece was once owned by Prince Louis Napoleon. Caliber RA 18’’/19”

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THROUGH THE AGES

THE 20TH CENTURY Post the 1910s, the timepiece voyaged its way to the wrist. While it still possessed the trademarks of previous pocket-watch varieties, its own personality soon arose. They clearly speak of the substantial proficiency nurtured by Vacheron Constantin in the art of watch exteriors: silver-toned, black, champagne-toned or pink dials, two-toned cases, gold hour markers, Arabic numerals, cow-horn lugs, and dagger or baton-type hands. The exhibit of indications progresses and pictorial sensitivities are frequently transformed in an arresting aesthetic exercise.

1905 Finished in yellow gold, this classic-looking watch has a minute-counter and an enamel dial with Arabic numbers, a 30-minute counter at 12 o’clock, a small seconds dial at 6 o’clock, an external minute track and tachymeter on five rings. The push-piece here is in the crown. Caliber RA 19”

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1916 The mono-pusher minute-counter in 18-carat yellow gold is a black-strapped piece with an enamel dial featuring Arabic numbers, a 30-minute counter at 3 o’clock, a small seconds dial at 9 o’clock, and an external minute track. Caliber RA 15”

1928 A square-shaped chronograph that has a mono-pusher minute-counter and is crafted in 18-carat yellow gold, this model has a silver dial with Arabic numbers, a 30-minute counter at 3 o’clock, small seconds at 9 o’clock, and an external minute track and pulsimeter. Caliber RA 13”

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THROUGH THE AGES

1931 Crafted in 18-carat yellow gold with an enamel dial displaying Arabic numbers, this chronograph has a 30-minute counter, a power reserve indication and year at 12 o’clock, date at 3 o’clock along with the small second, month, phases and age of the moon at 6 o’clock. The day of the week is displayed at 9 o’clock. The push-piece is in the crown, while the split push-piece is on the case band. Caliber RA 22/23”

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1954 Water resistant in nature, this minute-counter chronograph has been crafted in 18-carat yellow gold and features interesting cow-horn lugs. The silvered dial, with Roman numerals and baton indexes, has a 30-minute counter at 3 o’clock, a small seconds dial at 9 o’clock, and an external minute track and tachymeter. Caliber 13”

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H E R I TA G E

THE DRIVING FORCE

THE DRIVING FORCE SPAWNING TALES OF AUTOMOTIVE DEVELOPMENT THAT ARE CHARACTERISED BY VALIANT STORIES OF SPIRIT AND INTELLIGENCE, MCLAREN EXISTS TO EXCEED

A British Formula One team based in Woking, Surrey, McLaren Racing (McLaren Honda) was founded by New Zealander Bruce McLaren in 1963. The team won its first Grand Prix at the 1968 Belgian Grand Prix. McLaren began his racing career as a teenager in a modified Austin Ulster that was given to him by his father. An extremely talented engineer and racer, he developed his own F1 car in 1966 that was debuted at Monaco, and won 10th place with McLaren himself at the wheel. A couple of months later, McLaren Racing

earned its first point with McLaren finishing sixth. During a test run at Goodwood on June 2, 1970, the tail section on his M8D elevated at 170mph. Spiralling off the track, the car hit a protective ridge and McLaren was thrown from the wreckage and tragically lost his life; he was 32 years old. His death was a shattering misfortune, and in memory of him, racing legend Denny Hulme won nine out of 10 Can-Am races in the M8D in the same year. In 1981, McLaren merged with Ron Dennis’

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Project Four Racing. When Group Chairman Ron Dennis took over, the team was set on its current path, one that is determined, methodical and inspirational. McLaren’s dream extended far beyond the driver’s seat – engineer, designer, creator, tester, he was an automotive genius. The triumph of McLaren’s racecars went beyond Formula 1™. There were conquests in the Indianapolis 500 in 1972, ‘74 and ‘76. They also excelled in the Can-Am series, winning five consecutive

Joy to the world Each one of the 106 models built by McLaren F1 narrates a unique story, with those wearing a GTR badge boasting a descent back to one of the most famed consequences in the history of the 24 Hours of Le Mans. In celebration of the five McLaren F1 GTRs finishing at Le Mans in 1995 at 1st, 3rd, 4th, 5th and 13th, Special Operations announces details of another limited edition McLaren 650S Le Mans in celebration of the 20th anniversary.

Constructors’ Championships during the years 1967-71. From the unrivalled 650S to the iconic McLaren P1™, every McLaren car built integrates race-bred technology, revolutionary innovation and a passion for detail. Pulling in 50 years of racing accomplishments, McLaren has shaped some of the most iconic and thrilling road cars people have ever seen. In 1995, the F1 GTR conquered the dais at Le Mans, turning the ultimate supercar of its generation into the most successful British

Feature-istic appeal Designed in collaboration with Peter Stevens, the designer of the iconic McLaren F1, the McLaren 650S Le Mans will be available only as a coupé, and will posses several styling boosts from the iconic race-winner, most outstandingly the roof-mounted ‘snorkel’ air intake. This entirely cohesive ‘snorkel’ channels airflow to the acquainted 3.8-litre twin turbo V8 engine, while also delivering improved auditory

racecar of contemporary times.

drama within the cabin. The front wings feature dainty louvers to

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H E R I TA G E

THE DRIVING FORCE

diminish pressure over the front wheels, increasing downforce. The exclusive ‘Le Mans Edition’ lightweight wheels (19-inch in front, 20-inch at the rear) are fashioned around the design of the motorsport rims fitted to the 1995 racers. The rims wear the McLarendeveloped Pirelli P Zero™ Corsa tyres, and are attached in front of carbon ceramic brakes with McLaren Orange callipers. In Sport and Track modes, the Airbrake will robotically amend to generate more downforce at speed, and offers supplementary solidity when you lift the throttle. In Aero mode, you can feel the same thrill as the racing drivers when DRS (Drag Reduction System) activates, lowering the Airbrake to provide those last few mph as you race towards the finish line. Stevens explains: “The design of the McLaren F1 rewrote the rulebook. It was intended to offer the ultimate, no compromise road driving experience. The fact that it was transformed into a racer, and a race winner, was true testament to the strength and integrity of the original design, which is something I am very proud of.” Additional oomph

feature permits stacked shifts when the driver pulls the rocker shift several times, providing the change straight to the preferred gear – or selecting Auto will let the car do the work for you. Buttons that shape the driving experience are assembled rationally in the centre console; those for the climate-control zones are in the door panels to produce a stylish symmetry. The dashboard is laid out straightforward and logically, the steering wheel orderly. Also, if you want to infuse your character into your car, you can with a certain colour, specific fabric or trim. Interiors cloaked in black leather and Alcantara®, a pair of sports seats in black with juxtaposing McLaren Orange Alcantara® in the centre, a Le Mans logo imprinted on the headrests of the seats and on the unique floor mats – what more can one ask for?

Not only does the McLaren 650S’s styling overwhelm, its exterior and interior have also been designed to keep your eyes on the road. A new

Priced at £244,500, the McLaren 650S Le Mans is available globally, with deliveries beginning in mid-2015.

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Charting history With the Dubai International Boat Show taking place this month, Signé takes a look at the UAE’s seafaring heritage and the ways in which the Indian Ocean developed the emirate of Dubai into the modern-day city that it is today

Dubai found its roots as a fishing village. Far from the luxury that it is synonymous with today, life in the early 18th century was humble. Its earliest settlers, the Baniyas tribe, lived a simple life earning a living by catching fish and diving for pearls on the ocean bed. Pearls proved to be

From their new home, they traded produce and materials around the Gulf using wooden boats called dhows, some of which can still be seen at Dubai Creek today. By the beginning of the 20th century, Dubai had become an important trading hub and its ports provided companies around the

was found in territorial waters off the coast. This brought great wealth and thus investment in construction projects continued. Nowadays, Dubai is one of the great architecture hubs of the world and boasts a high-rise skyline that’s instantly recognisable across the globe. Looking back

particularly prosperous exports and brought in a lot of the city’s original wealth. Dubai’s location on the Persian Gulf coast also made it excellent for trading. Merchants from nearby counties like Persia relocated to the settlement, claiming an area alongside Dubai Creek named Bastakiya - now known as Al Fahidi Historical Neighbourhood.

world with access to Middle Eastern markets. The Great Depression of the 1930s caused the collapse of the town’s pearl industry so focus was shifted to trade. When Sheikh Rashid bin Saeed Al Maktoum became the ruler of Dubai in 1958, he plugged revenue gained from trade into infrastructure in an attempt to modernise the city. In 1966, oil

at the emirate’s history, it’s no surprise that one of Dubai’s most iconic buildings, Burj Al Arab, was constructed in the shape of the sail of an Arabian dhow. This isn’t, however, the only means in which the city pays homage to times past. Construction of traditional Arabian dhows continues to take place in Dubai to this day,

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CHARTING HISTORY

at the Jaddaf Dhow-Building Yard located in the dry docklands next to Dubai Creek. Here,

While the Al Jadaf yard is not open for unscheduled visitors, there are many ways

enthusiasts. Attracting in excess of 100 boats at each edition, the race is a striking

the ancient art of dhow building is preserved, with skilled craftspeople using tools such as hammers, saws and chisels to handcraft beautiful vessels. The completed boats are then used by the few remaining tradespeople who prefer using wooden cargo boats over modern ships, or for tourism and leisure. In 2008, two Emirati brothers by the name

that people in Dubai can partake in the heritage of dhow boating. One of the most authentic experiences is to step onboard one of the working dhows that cross Dubai Creek all day, every day. For the cost of a single dirham, passengers can travel from the fabric souk on one side of the water to the spice and gold souks on the other, or

celebration of UAE heritage. Contending boats begin at the island of Sir bu Nair, situated 50 nautical miles from the city, and finish at Dubai International Marine Club, Mina Seyahi. Strict rules are in place to ensure the traditional authenticity of competing boats, and each must be 60 feet in length. On race day, the billowing of white sails

of Hureiz and Salah Ahmed bin Touq El Merri tasked themselves with the mission to build the UAE’s largest dhow boat. Crafted using traditional methods at the yard at Al Jadaf, the boat is made from an immeasurable amount of wood and iron, and can carry 2,000 tonnes of cargo. The brothers inherited the line of work from their ancestors – who

vice versa. While the trip is short, it is by far the easiest way to cross the creek – not to mention, shopping in the souks and riding alongside local inhabitants gives an authentic taste of a former time when Dubai was just another humble trading port. A number of local companies also offer a variety of longer dhow trips along the

as they utilise the power of the wind to drag wooden boats across the Arabian Gulf is a majestic sight to behold. However, you don’t have to be a sailor to be involved. Thanks to Dubai Ferry, visitors can witness the race up close from ferries that travel alongside the dhows. It is hoped that sailing events such as this will retain interest in UAE traditions

were successful seamen and boat builders – and worked alongside labourers to complete it. The boat, which is currently in the final stages of completion, is named Fazza, after the nickname of HH Sheikh Hamdan bin Mohammed Al Maktoum, Crown Prince of Dubai. The brothers’ aim for the project is to engage young people with the craft and, in turn, to inspire them to preserve the art of

Dubai Creek. From sunset dinner cruises to boat excursions hosted by knowledgeable tour guides, there is a plethora of options available to suit all interests, budgets and occasions. A key opportunity to soak up the magnificence of dhow boating is the Al Gaffal Dhow Traditional 60-Foot Dhow Race. Taking place annually in May, it is one of the most

and remind residents of the potential that the neighbouring waters present. From fishing and pearl diving to shipping and dhow sailing, the ocean plays an integral part in Dubai’s history. It seems that discovering the city’s maritime roots is the key to fully appreciating its charm and understanding its development from a small fishing village to a bona fide hub of

dhow building for generations to come.

exciting events on the calendar for boating

the world.

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GOLDEN ERA

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GOLDEN ERA OVER A CENTURY OF QUALITY AND LUXURY ENTICING ONE INTO A GLAMOROUS AND OPULENT WORLD, DAMAS BELIEVES IN ENRICHING THE STORY OF EACH PURCHASE BY D OMINIQUE MAHONEY

Damas, the foremost Gulf and Middle Eastern jewellery and watch empire, has been establishing itself in the arena of fine luxury for over a century. UAE-born

that customers would be able to communicate to loved ones upon purchasing Damas jewellery. A romantic notion untainted by the corresponding monetary transaction was

Mohammed Tawfique Abdullah founded the colossal retailer in 1907. His vision to create an entity that adorned the elite was sired when he first established his design and manufacturing business in Dubai. He continued onto Syria, honing the business by crafting gold pieces for Syrian jewellers. A new standard for jewellery was established under his initiative. In 1959, the first Damas retail outlet was opened in Dubai’s Gold Souk, bringing the brand back to its roots equipped with multicultural influences. A sense of innovation and meticulous precision encased every ornate piece designed and crafted by the Damas pioneers. With time, that precision and quality was carried over along with a contemporary consciousness, and in 1970, Damas began its wholesale gold operation in Dubai. Grandmothers owning pieces bought in the early 1900s were comparing their Damas pieces with their granddaughters’, marvelling at the fashionably innovative designs, but appreciating the same exquisite level of excellence that Damas has maintained since its founding. It was made clear that what began in excellence would only continue on, doing so with the same poise. Mohammed Tawfique Abdullah’s son, Tawfique Abdullah, then inherited and continued his father’s craft. He reinforced the family seal that made the Damas name

a seemingly impossible feat that Damas had succeeded in. Despite being the head of a multimillion-dollar enterprise, Tawfique Abdullah would be seen walking the factory floors on a regular basis. The fact that the eyes of the owner had brushed past the piece a customer could be wearing, the seal of approval personally given, gave Damas a further reputation for understanding what it truly means to be caring for your belongings yourself. Tawfique then raised his sons to do the same after him. Since then, Damas has taken steps that have resulted in over 300 stores being established in the Gulf and the Middle East, and the surge continues on. The legacy turned into an empire, beginning with the offering of international brands from 1985 onwards, the list of which today includes Baraka, Fabergé, Marco Bicego, Mikimoto and Luca Carati to name a few. By 2012, international respect and trust for the luxury brand was further cemented when Damas was appointed the sole agent of Graff, the luxury London jewellery house, in Dubai. The relationship developed into a joint venture status following their phenomenal performance together in integrating Graff into Dubai under Damas’ careful handling. Damas, by then, had begun cultivating its own jewellery lines, which today boasts the Ananya and Farfasha line amongst others. Diamonds became Damas’ best friend when in

glow, clasping on a precious sense of bonding and love, a concept that continued to be translated into the pieces

1995, the Diamond Division was established. The Damas Group started sourcing diamonds and loose stones as

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well as finished pieces. The new millennium marked a novel level of presence for the jewellery tycoons as they spread across the GCC and Middle Eastern countries in

Damas to gush past the barriers. Upon going public and raising $270.6 million, giving the company a value of $968.6 million, Damas became an irrefutable force

addition to the creation of a colossal 30,000-squarefeet manufacturing plant in Dubai. This paved the way for Damas to position itself as an indisputable leader of the region’s jewellery market. The spread to South East Asia

with a solid standing, giving it the opportunity to traipse the rest of the world with more fluidity. The transition experienced by the Damas Group, from family business to publicly listed entity, gave the company a unique and

commenced when the brand D’damas was founded in 2003 as a joint venture between India’s largest jewellery retailer, Gitanjali, and Damas. A more recent partnership with the De Beers Group made Forevermark diamonds available for the first time in

stronger standpoint from which to continue expansion. And because Damas thrived on a well-rounded peripheral vision of the bigger picture from the very beginning, this was achieved without diluting the name that the Abdullah family had cultivated

the Middle East, another move for over a century. By 2012, putting Damas ahead of the Qatar’s Mannai Corporation game it created and shaped. had consolidated control by Appointing brand ambassadors buying EFG-Hermes’ 19 per that represent Damas’ cent stake of Damas at an Damas CEO Anan Fakhreddin personality, such as Lebanese estimated $150 million. Since multi-platinum singer Nancy Ajram, exemplified the company’s astute then, new opportunities have flourished for the jewellery titan. Now in ability to translate the beauty behind its name into a vision that patrons the aftermath, Damas continues to bask in the glory. recognise and carry certain affection towards. It was for Damas’ There are few names that command the same respect and Farfasha jewellery collection that was launched in 2011 that Damas, reverence Damas does, an honour that was recognised by the Belgian in the words of CEO Anan Fakhreddin, were extremely pleased to government when Tawfique Abdullah was knighted in recognition for announce the return of Nancy Ajram as the face of Farfasha. “Nancy the company’s excellence and in appreciation for its reliability and is someone that consumers connect to very well as she embodies the performance throughout the years. With the passing of the torch core attributes of this fast-growing brand – youthfulness, vibrancy and continuing onwards, from one family member to another and then success. Her popular face will further energise Farfasha and position it onwards into a new stratosphere, Damas has erected a new platform as an iconic brand internationally,” he said. from which to leap into the abyss. Today, this leaves the rest of the In 2013, Damas showed an exotic side and appreciation world fully aware of its presence, wrapped in nostalgia and anticipation for embracing the new when it appointed Bollywood actress for their lead. Damas is a name that exemplifies the most poignant Nargis Fakhri as brand ambassador for its Diwali 2013 campaign. “We side of the Gulf and the Middle Eastern region, breathing meaning into wanted to find someone who was a representation of classic beauty, the fine jewellery business on an international scale. This would not but would also give a modern take on traditional style, and we feel we have been possible without both sides of the business mentalities at have definitely hit the mark with Nargis Fakhri,” said Deputy COO Ajit play: family business versus corporate owned. George. Through these iconic beauties, people now recognise Damas The Damas Group showed the world what a legend and a pioneer on a human level, and can see this reflected in the opulent pieces it living in the same body looks like. This international treasure is a puts into creation. fine example of the delicate yet powerful essence encapsulating the In 2008, there was a realisation that while the family business carried an inimitable identity, it was time to open the dam and allow

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mystery and beauty of 1001 Arabian nights in the form of glittering, highly coveted jewels.

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LA DOLCE VITA Curated with passion

A guide to the world’s highest standards of living, covering all aspects of a lifestyle that can be maintained by a lucky few. Whether it’s a life-changing trip to one of world’s natural wonders or an unforgettable gastronomic indulgence, the exclusivity of the experience is guaranteed

L A D O L C E V I TA

SAILING SMOOTH

Sailing Smooth INITIALLY NOTICED ON THE BACKS OF SAILORS IN 19TH CENTURY FRANCE, THE SEAFARING STRIPES HAVE EVOLVED FROM NAVY UNIFORMS TO CHIC STAPLES

The merriment of maritime Nautical style brings to mind toffee-nosed yacht clubs and the typified society that goes with them, i.e. Madras shorts, lobster-print belts, cable knit sweaters tied around the shoulders and so on. The nautical is a refined look, and sprucing it up is easy. At the contrasting end of

Present piece: fisherman or rain jacket Practical, light in weight and waterproof, it makes a great top layer and will battle off any wafts of wind or rain without making you swelter once the sun decides to visit. A brightly coloured option in maybe yellow or orange is customary and is sure to make a

the continuum is authentic nautical style of The Old Man and the Sea variety. Men that have matured by years on the waters are truly tough in their striped Saint James shirts, Greek fisherman’s hats and wader pants. Trends come and go, but if there’s one that isn’t being left ‘high and dry’, it’s nautical fashion. Red, white, cream and blue have been the colours for nautical that enthused things since the 1850s. Similar to military, nautical inspirations are entrenched within the very textile of menswear. The conventional nautical palette is both timeless and easy to wear, whilst eternal staples such as Breton tops,

statement. Instead, more subdued tones such as navy, brown or cream will portray versatility; pair with a Breton top.

pea coats and boat shoes have a prominent nautical tradition and stay true to form a vital part of any naval-inspired look. With the nautical look holding an uninterrupted place in the modern-day closet, it’s tough to label it as a ‘trend’ as such. Each year, designers and brands fashion their own exclusive spin on the key pieces, helping to give the classic appeal a contemporary twist. The nautical stripe has become synonymous with legends as varied as Pablo Picasso and Brigitte Bardot. Black-and-white photographs of Beat poets and Left Bank starlets are imbued with the striped shirt with mod-ish carefreeness and, of course, the fact that it’s found on every yacht deck implies desirability. But it is not just the sphere of the shuttling experimental. Embellished on swimwear, bags and the simple cotton tee, the nautical stripe suggests an athletic classiness that works year-round, at sea or on land. Dapper with a blue blazer or confidently ingenious with casual sundown garb, it is eternal yet current.

concentrated to precise spaces) and even print-blocking – whereby multiple stripes, both horizontal and vertical, mingle within a single piece. Stick to customary navy and white stripes for ultimate adaptability and apply them as an individual top layer or beneath your choice of outerwear.

Present pattern: stripes Stripes may not be revolutionary, but can work wonders if reimagined to portray something distinctive. Adding your own touch to a classic is sure to bring you positive feedback. This year, we notice that the classic Breton stripe has been given a transformation through varied stripe breadths, limited prints (with the stripes

Present detailing: prints Prints and motifs have been well-accepted trends within menswear, with both appreciating a dramatic rise in our run-of-the-mill closets. While an evident and accurate take on this specific look, a nautical-influenced print offers a spirited, casual option that works well with more conventional pieces. Anchor motifs are a rampant theme and have been used a lot by several brands to recognise and value the update. Seen on everything from socks and tees to shorts and knitwear, there are boundless ways to amalgamate the print in an emphasis.

Nautical update There are several ways to accomplish the flawless seafaring look, and it’s a must to try and do something remarkable each time you attempt it. When it comes to your footwear, all shades of brown, navy and white work exceptionally well for boat or deck shoes. This season, the nautical update has focused on fisherman jackets, jewellery, stripes and seafaring-style motifs. The fisherman or rain jacket is a steady pick irrespective of nautical’s popularity, yet this season, it blends in well as a tastefully

Present accessories: jewellery Mindsets are progressively altering with regards to men’s jewellery; several modern men are realising the consequence an elegant ring, collar bar or neck chain can produce on an ensemble. With this in mind, an easy way to delicately indicate the nautical trend is through maritime-inspired jewellery. Whether it’s an item that embraces classic iconography, such as anchors or fishing hooks, or merely woven cord/ rope accessories that evoke imageries of sailing, there is something

sensible option.

for every personal taste.

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Trending now: stripes on stripes While it sounds like absolute overload at first, this comes off truly cultured when done correctly. The trick is to choose pieces with stripes of different sizes – the larger the juxtapose, the better (playing horizontal and vertical against one other helps as well). The sailing jacket Roll sleeves till just about below the elbow to accomplish a cool, Michael Bastian-inspired look. This works really well with suit jackets too. The seersucker blazer On a three-button blazer, only fasten the middle button. Keep it buttoned when standing – this will make your upper torso seem slimmer. The trench coat Buy a classic navy trench. An all-rounder like this works flawlessly over a suit as well, so it’s not just for the weekends. Make a statement with a pair of wine red chinos – they look just as good with a jacket and tie. The double-breasted jacket For a traditional nautical look, go for a navy double-breasted jacket with white or gold buttons. Break up your blue jean apparel with a pair of fresh white chinos. Pin a subtle anchor brooch to the jacket. Riviera-inspired Nautical influences are not limited to the sea and fishermen. Take inspiration from the Riviera and instil some timeless Cannes styling through neat tailoring and clean colours. You’re then left with a tasteful outfit that exudes eternal and continental charm. Figure how to include stripes into your look, maybe through a blazer or Breton tee; shorts are an equally good option too. This look opts for a navy and white striped polo teamed with a white blazer over the top for a stylish yet slightly more laidback Côte d’Azur attitude. Split up the neutral with some rose pink shorts. Lastly, complete this look with classic deck shoes. Practical nautical Team a bright yellow fisherman’s jacket with navy and white stripes in the form of a snug, casual t-shirt. Denim needn’t be avoided; just make sure it’s a classic cut and timeless wash. Complete this getup with ankle-high suede boots and the jeans folded up slightly to show a bit of skin for that summer touch. Modern nautical Bold printed knitwear is a great way to embrace this trend, particularly with the anchor motif offering an almighty bow to maritime. Layer a navy crew neck over a harmonising orange check shirt for an uncomplicated approach to pattern integration. Keep your trouser choice simple and neutral. A pair of slip-on trainers keeps this off-duty look dressed down and comfy for a walk by the bay or lunch on the harbour. Conclusion Nautical’s enduring and multipurpose nature means that it lends itself to an array of styles, from casual to formal. This is a trend that will endlessly remain part of the modern-day man’s staple garb – whether accessorised with a yacht or not.

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RECORD HEIGHTS

Club suite at the Burj Al Arab

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RECORD HEIGHTS On the eve of Burj Al Arab’s 15th anniversary, Signé takes a look at Dubai’s greatest record-breaking architectural accomplishments and the structure that started it all

A little over 15 years ago, Dubai welcomed a launch that would change the face of the construction industry - and the city’s skyline - forever. When the Burj Al Arab, dubbed the world’s only seven-star hotel, was opened on UAE National Day in December 1999, it became not only an emblem of Emirati heritage and luxury accommodation, it installed a mindset that the Emirates could achieve the impossible. In the wake of the hotel’s success, architects were inspired to develop further record-breaking feats in the city, as judged by the Guinness World Records, including the world’s tallest building, the world’s tallest hotel and the world’s largest manmade island. Signé explores Dubai’s greatest engineering achievements, old and new, that have made the city the architectural marvel that it is today. The Burj Al Arab is one of the most distinctive buildings in the world. Only constructions like Singapore’s Marina Bay Sands and London’s The Shard have come close to emulating the architectural wonder that is the sail-shaped hotel. From the moment Burj Al Arab opened its doors, it

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RECORD HEIGHTS

Atlantis hotel and residential areas at Dubai Palm

received international recognition. The impressive structure was

feat, many more innovative projects were set in motion. Less than two

designed by Tom Wright, an architect at WS Atkins who was given the challenge of reflecting the city’s seafaring heritage while catering to the Gulf’s oil-rich elite. The exterior represents an Arabian dhow sail billowing in the wind, while the interior is extravagant and unapologetic in its quest for opulence. Acclaimed by many critics as the most luxurious hotel in the world, every element of the Burj Al Arab has been taken into consideration. The ‘sail’ is a screen that’s made from double-skinned, Tefloncoated woven glass fibre that looks dazzling white during the day and transforms to display a rainbow of colours and projections at night. Inside the building, rare Statuario marble forms the walls and flooring while 1,790 square metres of 24-carat gold leaf provides ample embellishment. Further finishings for the hotel’s luxury duplex suites were imported from across the globe, such as chandeliers from the UK and custom-made carpets from South Africa and India. The establishment also boasts a massive aquarium that can be viewed in all its glory while dining at Al Mahara restaurant, while a 20,000-litre fountain sits at the hotel entrance. A helipad at 212 metres above sea level allows VIP guests to arrive in ultimate style. Built on a man-made island off the coast of Jumeirah Beach, Burj Al Arab can be seen from most locations in Dubai. It is accessed via a private causeway, giving the establishment even greater exclusivity. At 321 metres above sea level - higher than the Eiffel Tower in Paris – it stands proud as the tallest all-suite hotel in the world. It’s also the tallest single structure in the world that rests on a man-made island.

years after the opening of Jumeirah’s Burj Al Arab, Nakheel began work on the world’s largest man-made island, Palm Jumeirah. The impressive construction was crafted from sand dredged from the sea floor that was vibro-compacted into the shape of a 17-frond palm tree, protected from coastal erosion by a crescent. Almost 100 million cubic metres of sand and seven million tonnes of rock were used to provide a stable base for homes and hotels to be built on. Initial plans faced criticism but when complete, there was no denying Palm Jumeirah’s appeal. The keys to the first residences were handed over in 2007 and these days, Palm Jumeirah is home to over 4,000 villas, a wealth of premium hotels, apartment blocks, a marina, parks and beaches. Soon it will also house a mall, which is scheduled for completion in 2016. While Palm Jumeirah was being celebrated, further inland, an idea was being formulated for a building that would boost Dubai’s reputation to new heights: Burj Khalifa. Certified by Guinness World Records as the world’s tallest manmade structure, the edifice became a symbol of an era in the Gulf, one that is powered by innovative initiatives, architectural greatness and progressive development. Burj Khalifa was the cherry on top of the government’s plan to transform Dubai from a regional trading hub to an international tourism destination. The iconic building took an impressive six years to complete, from start of construction to its official opening in January of 2010. It stands at a little over 828 metres tall, with steel and concrete foundations just as wide. Burj Khalifa is made of 160 stories that are partially occupied by the Armani Hotel Dubai and Armani Residences, owned

Burj Al Arab is not the only development in Dubai with world records under its belt. Once the emirate had a taste of such an architectural

by fashion heavyweight Giorgio Armani. The rest are residential floors, office spaces and leisure outlets such as fitness clubs, observation

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decks and the world-famous At.mosphere lounge and restaurant on level 122. As well as being the Guiness World Record-certified world’s tallest building, Burj Khalifa holds six additional global records, such as the tallest free-standing structure, the highest occupied floor and the highest outdoor observation deck. The opening came in the aftermath of an economic recession that affected most corners of the globe. As a result, Burj Khalifa – named after the Sheikh Khalifa bin Zayed Al Nahyan, President of the UAE and Emir of Abu Dhabi – became a sign that the UAE had survived hard times and was fighting back stronger than before. Other countries, such as the Kingdom of Saudi Arabia, threatened to better the UAE’s record, but none have beaten it so far. The omen of competition didn’t stop the Emirates’ quest for world records. In 2013, Dubai gained another record with the opening of the world’s tallest hotel, JW Marriott Marquis. The spectacular hotel has two eye-catching twin 355-metre skyscrapers catering to hotel suites, dining and leisure outlets, and a health club. From one of the hotel’s 72 floors, guests can choose to overlook the spectacular skyline of Dubai’s business sector and Burj Khalifa, or face the ocean and enjoy a front row seat to the sunrise and sunset over the Arabian Gulf. In the 15 years since the opening of Burj Al Arab, Dubai has gone through momentous changes, particularly in regards to architecture. Spurred on by the notion of breaking records, the city has developed a unique persona of its own. Each year it attracts millions of visitors, who wish to marvel at such accomplishments, to its shores. Dubai’s skyline is already one of the most famed in the world, but there are many more projects in the pipeline that are set to push the boundaries of construction as we know it. Watch this space.

Burj Khalifa

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A CHOICE CUT R E S TAU R A N T Since opening in 2011, Jumeirah at Etihad Towers has become a focal point of Abu Dhabi’s culinary scene. The hotel’s restaurants are revered for their innovative menus and have scooped many top gastronomy awards. The newest offering, Ray’s Grill, is set to be no different. Bringing meat to the capital in a way that hasn’t been experienced before, the steakhouse serves some of the finest cuts of steak from around the world, cooked over a wood-flavoured charcoal grill. Carnivores are sure to revel in the plethora of options. Coming all the way from Australia is a selection of 1824 Sirloin, Mulwarra Ribeye and Wagyu Grade 9 Fillet Steaks, while from the other side of the world comes Irish John Stone Beef Sirloin and USDA prime graded beef. A feast for all the senses, guests dine in contemporary settings overlooking the Corniche with the Arabian Gulf providing the perfect backdrop.

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SPACE IN TIME BOUTIQUE Hublot is a premier name in luxury watchmaking. Earlier this year, the brand opened its first boutique in Dubai, bringing with it a unique form of Swiss craftsmanship to the UAE. While Hublot has already been available in Dubai through Ahmed Seddiqi & Sons, the company has now branched out with a standalone store at Mall of the Emirates in order to offer a greater range of collections to the city’s shoppers. Located near the mall’s famous Fashion Dome, the outlet allows watch enthusiasts to peruse a variety of men’s and women’s timepieces from the brand’s classic and latest collections as they experience Hublot’s renowned customer service. The brand can also be found at the independent Hublot boutique at Abu Dhabi Marina Mall and in Al Manara International Jewellery showrooms across Abu Dhabi.

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A PERFECT CONTRADICTION LOUNGE And Lounge is easily one of the city’s most unique venues. Epitomising a quirky sense of relaxation, the bar is a cross between an eccentric yet homely living room and a modern art gallery. Guests recline on comfy mix-match sofas as they snack on quick nibbles and indulge in decadent beverages served in all manner of unique drinks holders, from milk bottles to jam jars and even trophies. With Andy Warhol-esque artworks and old movie posters lining the walls and industrial-style fixtures clashing with bric-a-brac such as Rubik’s Cube ashtrays, the lounge wouldn’t look out of place in London’s trendy Shoreditch area or New York City’s Brooklyn district. Here, it seamlessly complements the modern nightlife scene in Dubai Marina, an area that has welcomed an influx of new venues in recent months.

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