Signe - Edition 12 by Signé

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SIMPLICITY IS THE KEY CLÉ DE CARTIER STANDS TESTAMENT TO ACCURACY, BALANCE AND PROPORTION. HERE’S SHOWING HOW SIMPLICITY IS TRULY THE ULTIMATE SOPHISTICATION

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CONTENTS

SCHOLARS

030

026 THE VERSATILE VISIONARY Although Renzo Piano is known as the world’s most sought-after architect for museums, a look at his portfolio proves that he is more than just that

028 YOUNG BLOOD Marco Tedeschi’s innovative ways of thinking seem to have done the trick for Swiss watchmaker Hublot

030 SIGNÉ MAN Heritage of Italian style, the core of a good meal, his concept of beach polo, and the importance of family time — a rendezvous with Sam Katiela

036 PEARLS FROM HEAVEN Yasa Caviar has set out to form a fine and indispensable part of the world’s most sumptuous gastronomic experiences — Emirates AquaTech Managing Director, Ahmed Al Dhaheri, talks about the company and it’s chief product

SIGNÉ ◊ EDITION 12

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

CONTENTS

S AV O I R FA I R E

044

040 AHEAD OF THE CURVE Signé turns to Alfred dunhill’s past and to its inherently British roots to interpret dunhill’s latest offerings

044 SIMPLICITY IS THE KEY Clé de Cartier stands testament to accuracy, balance and proportion. Here’s showing how simplicity is truly the ultimate sophistication

054 ADMIRATION IN ALL FORMS The artisanship freezes the beauty of glass within its mould, precision and elegance. Lasvit has managed to strike a balance between creativity and tradition with serious attention to detail

060 FIT FOR A KING Spun from its finest fibre yet, Loro Piana’s The Gift of Kings wool has been transformed into a collection of clothing and accessories that exudes luxury in both form and feel

SIGNÉ ◊ EDITION 12

SINCE 1922

"Since 1922 we have been proud to be t he guardians of timeless values: handmade in Italy x e cellence, unmistakable style and understated luxury, in a winning balance of tradition and innovation".

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TRUE LUXURY

CONTENTS

SIGNÉ SELECTION

064 SPREZZATURA Whether a fan of vibrant and loud colour schemes, or classy and sober ones — flip through to view our style guide comprising looks from Gucci, Thomas Pink and more

071 SALONE DEL MOBILE Leading in the league today, Salone del Mobile is the benchmark in the world of home furnishings. The 2015 affair is the 54th edition, and is in the spirit of rediscovered optimism

076 FOR HER Max Mara launches a collection that offers women sophisticated wardrobe solutions. Coined as the “life-style” line by the brand, the Weekend is a colourful collection symbolising glamour and chicness

071

SIGNÉ ◊ EDITION 12

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the finest garment for men in the world

CONTENTS

PHIL ANTHROPY

080 A SPECTACLE OF SIGNIFICANCE ‘Keys to a passion’, at the Fondation Louis Vuitton in Paris, has brought together scores of celebrated works of art

080

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CONTENTS

OBSESSION

090

084 A MASTERPIECE OF THE MIDDLE EAST One of the most awaited openings in the Saadiyat Cultural District is Louvre Abu Dhabi. Here’s a peek into the museum’s extraordinary architecture and also its art collections and works loaned by Paris Louvre and other French museums

090 SPACE THERAPY Kartell puts forward multiple solutions for home design and decor, at the same time provides innovative ideas and tips on living in the contemporary world

098 SUITED TO LUXURY Maserati and Ermenegildo Zegna have teamed up to craft a limited-edition Quattroporte sedan

SIGNÉ ◊ EDITION 12

CONTENTS

H E R I TAG E

106 AN EXPLOSION INTO TIME

116 TRANQUIL LUXURY

A decade of intense devotion to invention, endeavour and meticulous skill, Hublot is highly regarded for innovation, artistry and immaculate class; it all started with the Big Bang

The Bottega Veneta atelier, in the town of Montebello Vincentino, is an ode to the house’s commitment to craftsmanship

106

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

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

CONTENTS

L A D O L C E V I TA

122

120 A DAY AT THE RACES The Ruler of Sharjah Cup was Sharjah’s final race meet of the season. Each of the six races presented by legendary timepiece maker Longines made for a riveting spectacle

122 PURE SPORT Signé takes an in-depth look at the adrenaline-pumping affair of the 2015 AMG Performance Tour

128 HAUTE SOCIÉTÉ Take a peek into the new authentic Thai restaurant, the swanky 118 residences in Downtown Dubai, and the largest Burberry store in the UAE

SIGNÉ ◊ EDITION 12

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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

T H E V E R S AT I L E V I S I O N A R Y

THE VERSATILE VISIONARY Renzo Piano may be known as the world’s most sought-after architect for museums. But a look at his portfolio proves that the Italian architect is an all-rounder. From The Shard in London, to an airport terminal in Japan, Piano continues to draw praise for his timeless architecture BY

B E V E R LY P E R E I R A

Renzo Piano has designed approximately 25 museums across the world. And yet, when it comes to his design philosophy, the Italian architect isn’t

Besides working on grand designs for museums, he has worked on several project types, including the New York Times office, concert halls, and even the Kansai

New York, the Italian architect had already become famous in the world of architecture and design. He has always been known to respond to the diverse set of architectural

one to subscribe to the norms and formalities commonly associated with academia. Neither is he inclined to repeat a signature style for the fear of going unrecognised. It’s a gaping wonder how he introduces an innately contextual yet progressive approach into each of his works, most of which stand out from the rest in the subtlest way possible. This could, perhaps, be one way

Airport terminal in Osaka. Take The Shard, for instance, one of his most acclaimed works in London, a city not exactly known for high-rise living until recent years. The 87-storey skyscraper resembles a glistening shard of glass and is not unlike a vertical city, accommodating offices, residential spaces, a hotel and an observation deck that commands dizzying views of the city. One

challenges that both master planning and expansion projects have presented him with. When commissioned to work on the expansion wing for the Kimbell Art Museum in Texas, designed by the renowned architect Louis Kahn in 1972, Piano — who incidentally worked at Kahn’s firm between 1965-70 — built a pavilion that complemented the original building without mimicking it. In fact,

to understand Piano’s thought process. However, it’s just that when it comes to an architect of his experience, there is no single thought process involved. Every sketch that leaves Piano’s office is unlike the other; each one is an adventure of sorts that makes sense only when completed. A browse through Piano’s project list proves just how versatile an architect he is. There’s the unabashedly dynamic The Shard in London and the bold Centre Georges Pompidou, which is rather unconventional even by Parisian standards. He’s also worked on the expansion projects of such longstanding cultural institutions as the Art Institute of Chicago and the Harvard Art Museums. That he has been regarded as one of the world’s best architects is by no means a form of baseless flattery. One might call Piano, now 77, an unstoppable force. He has completed dozens of prestigious projects across the world — from Japan to Caledonian and from New York City to Berlin and Italy. And, with at least 10 more projects in the pipeline, the Pritzker Prize-winning

would imagine a skyscraper to be well at home in the skylines of Manhattan or Dubai. But, for one — the tallest in Western Europe at that — to spring up in London and to actually be received as a rare, welcome complement to urban planning is nothing short of a nod to architectural brilliance. Glass walls and glamour aside, more intriguing is the fact that The Shard was cleverly designed to cast a shadow on the river, minimising the effects of its vertical build on the surroundings below. A subtle addition to London’s skyline with no hints of arrogance in sight was how Piano once explained his thought process that went into the making of this skyscraper that was completed in 2012. His vast portfolio also includes a structure for Hermès. Commissioned to design a building for the celebrated French fashion house’s Japanese headquarters in 1998, Piano designed a translucent glass façade reminiscent of the traditional Japanese screen. By day, the façade appears to be sparkling silver and by night it glows like a warm lantern. Even before he started his own firm

Piano’s structure looked out on to Kahn’s masterpiece, acting much like a viewing platform for the original building. And yet, Piano’s work at the Kimbell Art Museum didn’t stray away from the existing dialogue already set in stone by Kahn. Piano, who was born in Genoa into a family of builders in the construction field, initially worked with experimental lightweight structures. He first came to be known for his collaborations with a range of iconic architects, including the likes of London’s Z S Makowsky and Philadelphia’s Kahn. Between 1971 and 1977, Piano established an architectural firm with Richard Rogers, the Piano and Rogers firm, and together the duo embarked on what can be described as their most famous joint project — the Centre Georges Pompidou in Paris. Critics and enthusiasts continue to assign somewhat of a ‘high-tech’ approach to its design, thanks to the building’s inside-out façade that exposes its pipes. But Piano still differs. He has, many a time, likened this Parisian fixture to a parody to technology, calling it his way

architect, who was appointed Senator for Life in 2013, is certainly very much in demand.

Renzo Piano Building Workshop in 1981, that now has offices in Paris, Genoa and

of challenging the conventionally intimidating cultural institution of erstwhile times.

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SCHOLARS

YO U N G B LO O D

YOUNG BLOOD Marco Tedeschi has successfully established a presence for the Swiss watchmaking brand in the region. His innovative ways of thinking, coupled with a creative bent of mind, seems to have done the trick for Hublot

Marco Tedeschi was completing his graduate studies at the Engineering School

“The region is very important for us at Hublot. Although the economic situation

the first luxury brand that was allowed to sell through a pop-up store at Dubai Mall. It

of Geneva in 2006, when he found himself presenting a watch movement to the then CEO of Hublot, Jean-Claude Biver. Impressed with Tedeschi’s project, Biver encouraged the 22-year-old to join Hublot. In the following year, Tedeschi was hired as Hublot’s Product Director, and hasn’t looked back ever since. Today, as Hublot’s Head of the Middle East

was slow last year, the Middle East proved to be one of the few markets that showed a double-digit growth,” says Tedeschi. Having researched this market, he explains that people here are always looking to own the latest trends, adding that the Big Bang Steel Ceramic has remained a bestseller in the region since 2005.

helped us to prove Hublot’s market presence to the management and we got the final approval to open the boutique just one or two days after we started the pop-up store,” explains Tedeshi. Even the Hublot boutique in the Mall of the Emirates that opened in September 2014 has been doing remarkably well.

and Africa market, the Swiss-Italian has, in more ways than one, successfully established the brand in these regions. Born on 29 April 1985 in GenevaSwitzerland, Tedeschi was exposed to the ingenious ways of Swiss watchmaking from a young age, and was known to spend much time at his father’s jewellery store to feed his fascination for the workings of a

Hublot, like many high-end watch brands, has a global presence, thanks to more than fifty mono-brand boutiques in strategic locations; it also sells through a widely established network of retail partners. In the Middle East, Tedeschi has always made sure to choose the most prestigious locations to showcase the brand. To better understand this, he quotes an example of Hublot’s

“By December, it had already become the first Hublot boutique in the world to have sold over 60 pieces a month. “Still, it does not always make sense for us to open every boutique all by our selves,” he says. “We work closely with our partners because we are stronger together. And in this region, nobody knows the market better than our partner, Ahmed Seddiqi & Sons.”

watch’s movements. It’s no wonder then that the young Tedeschi went on to pursue an education in this field. He first trained as a micro-technology draftsman — specialising in watchmaking — at the Technical School of the Vallée de Joux in the cradle of Swiss watchmaking, and later graduated in microtechnical, design and surface engineering. Even his vacations were spent learning the tricks of the trade as an intern at Swiss watchmaker Franck Muller. His first role at Hublot involved watch design, technical studies, prototyping and production. He contributed to the creation of iconic product lines like the Classic Fusion and King Power, and to the development of the Unico movement. He also represented Hublot in such emerging markets as Latin America and the Middle East. When Tedeschi was named Head of the Middle East and Africa market in 2011, he set about implementing and developing the brand strategy in these promising regions. By organising exclusive events and by creating the first social media accounts for Hublot, he developed a strategic

presence at Place Vendôme, the Mecca of luxury in Paris, where the rents are exorbitant. “So while we cannot make profits out of a Hublot boutique there, we still need to have a presence at such locations.” Tedeschi’s most recent launch was a Hublot boutique in Dubai Mall. He explains that having a presence in this luxury-shopping hub offers the right kind of exposure for the brand. “While we already had a presence in Dubai Mall through our retailer, Amhed Seddiqi & Sons, this mono-brand boutique, opened in April this year, has taken the brand’s presence to another level. Prior to this, in September 2014, Tedeschi had launched an innovative campaign at the mall that offered customers a professional driving simulator experience. “The Hublot Challenge involved a professional driving simulator used by Ferrari drivers; it wasn’t a video game or anything you might be allowed to try unless you are a Ferrari driver. We wanted to give our customers a ‘money-can-buy’ experience while they browsed through our watches,” he says of the Hublot pop-up store in Dubai Mall.

Tedeschi also serves as Hublot’s Creative Manager, collaborating with Biver (Hublot’s current Chairman) and Hublot CEO Ricardo Guadalupe on new designs. So when the international launch of the much-awaited Forbidden X took place in December 2014 in his market, Dubai, it was a double pleasure for Tedeschi, more so for his role as the watch’s designer. “We teamed up with Carlos Fuente Jr, grandson of the famed cigar manufacturer, Arturo Fuente. By crafting its dial out of real tobacco leaves, we integrated the cigar world inside a Hublot watch, which is delivered in a humidor that resembles a treasure box.” Hublot is celebrating a new milestone this year with the 10th anniversary of its most iconic watch, Hublot Big Bang. Among the three anniversary models is the Big Bang Unico Full Magic Gold made from a scratchresistant, patented alloy that fuses 18-carat gold with ceramic. “Mr Biver worked with the Polytechnical School of Lausanne — the MIT of watchmaking — to develop this alloy,” he explains. As for the Middle East, new regional friends of the brand will soon be announced,

marketing technique tailored to the Middle Eastern region.

The campaign also proved to be important from the business point of view. “We were

concludes Tedeschi, adding that the region has many events to look forward to.

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Cashmere jacket: Loro Piana; Shirt: Luigi Borrelli; Trousers: Brunello Cucinelli; Shoes: Loro Piana

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MAN

the finer things in life Signé in a candid conversation with Sam Katiela, the Managing and Creative Director of Mamemo Productions…Katiela discusses heritage of Italian style, the core of a good meal, his concept of beach polo, and the importance of family time BY SANA KRISHNA

“We don’t want to be better than others…just different” — there’s certainly a heavy dose of confidence that upholds a motto like that. By carefully crafting an amalgam of innovative technology and intelligent content, brands today have more than a

always about long-term thinking, not short-term experience. A lot of people maybe immensely talented, but running a business requires its own prerequisites. I started operating the company when I was 23 years old and

reasonable amount of access to the minds of their audiences, in ways that are both entertaining as well as informative. In today’s chaotic world, people cherish simplicity. Straightforward and relevant messages that provide a clear perspective for convoluted words, messages that evoke a connection with one’s emotions, and that make sense of sheer perplexity — Mamemo Production’s ideology is committed to delivering the best to its enrapt clientele, who seek to be back for more. Understanding and embracing the fact that nothing remains

studying, to actually practise what I was learning, and because it went so well, it got to a more serious level. The company became a success, but not only from business perspective, but also for my soul and passion, because I truly loved it. It went from a mere hobby to a successful professional hobby.

unique for long, the production house comprehends that merely improvements don’t create premiums any longer. Not one, but staying two steps ahead of the game, and constantly reinventing the world of events is vital for the production house.

completed 20 years since then. Today, we have offices in Dubai (Middle East headquarter), Zurich (international headquarter), Munich, Jeddah, and Los Angeles. Starting off as a TV production company, today we run live marketing, show productions and strategic marketing consultancy. We focussed on a lot of product placement on TV back then, so we created initiatives and ideas as well as incentives on television to create more brand value for companies. This went bigger and bigger, and started we filming most of the TV productions for the German television between 1999 and 2005. These were about the Middle East, but mainly about the UAE and Dubai, of course, which presented Dubai as a shining example of how Arab lifestyle really is; even back then, we managed to bring on a lot of celebrities onto our TV shows. It just grew into a larger success, and that blessing continued. This was when we discovered that Dubai would be the apt place to work from; I made my move, almost 14 years ago, as an expansion of our business, and it was a great decision made.

Give us a brief background on your academic as well as professional path. I was studying Economics, Psychology and Media Science, and started the company some time along my academic path. Economics helped me to understand the world of business, and Psychology helped to know how to deal with people because that is something that’s vital to every business person — you need to deal with various kinds of people to educate and inform them, impress them, convince them, sell to them, and of course, socialise with them. Media Science helped me understand the roots of media, in every aspect. Everything we do in life has to do with that sector…be it even giving an interview. I believe that life is about two images one has — the online image, and the real one. The online image is the one we portray on social media, which I feel today people misuse and put out information that’s not needed by others to access. The real-life image is the one portrayed to family, friends and business. But, these two images are “media” as well. Media Science isn’t about media technology or public relations; the subject is about the know-how and integral bits that form everything in the world of media. So, these three subjects — Economics, Psychology and Media Science — combined under one roof is what makes me a happy person today, and my company successful. Remember that it’s

You’re the Managing and Creative Director of Mamemo Productions. Tell us something about the company. Mamemo Productions was born in Germany, and has successfully

Today, beach polo is played world over. Years ago, you were the one to come up with this idea. How did this transpire? The Beach Polo Cup developed in 2004, the first of its kind. Back then, it was the first sport in the Arab world being invented, and today, it’s being played in over 33 cities around the world. The sport is globally accredited as an innovation of Mamemo Productions, and everybody acknowledges that Dubai, in the country UAE, was the founding place. Beach polo came to me as a fun idea. I was sitting with my wife, Gaby Katiela, and some very dear friends — Rashid Al Habtoor, Majid

SIGNÉ ◊ EDITION 12

Suit: Tom Ford; Shirt: Luigi Borrelli; Shoes: bespoke from Santoni Gaby Katiela wearing Elie Saab

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Awwad and Wael Buheiry. We were making fun of polo being played in

Borrelli from Naples, Luciano Barbera from Biella, Loro Piana

the snow, as my wife is from Switzerland, and I mentioned that since Dubai hasn’t got any snow, we could play on the beach. So, that’s is how I developed the concept and idea, and organised the event. We received immense support from the Habtoor family, especially Rashid Al Habtoor. He supported us with horses as well as infrastructure needed that was related to the sport of polo. So, we put the whole tournament together, and almost four weeks later, it all materialised only to become a great success. People loved it! Hence, it continued,

from Trivero and Brunello Cucinelli — is there something about Italian fashion that allures you? I love Italian fashion the most because it is accompanied by a long history. It’s not about the new brands people like to follow; it’s about the old-school sartoriale — the real makers of fashion. It’s more about the fabric than the fashion. It’s about the material and the hand stitching; it’s about how fabrics are combined with colours. The Italians were raised with that thinking. These artists of clothes-making teach their

and in 2013, we brought it back on a big scale because we had a few years of short break — this was the event that the entire polo world was anticipating. It was such a great success that now it has become an annual event. The event has been taken under the government, as we were honoured to receive the Patronage of HH Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, as well as the support of Dubai Sports Council, and many other officials being involved. Of course, the sponsors committing each year to be part of

children that, and up till this day, especially in Naples, which is very known for the classic sartoriale, they produce clothes with pride; it has a story. If you hear somebody talking about the world of art to someone who hasn’t a clue, they won’t relate at all. Art has a story to tell, it’s about style, it’s about taste, about the craftsmanship that has gone behind it. The same way, fashion is a symphony of materials and colours, and of the spirit behind how it has been produced.

it was also of immense support to us. It was the biggest beach polo event in the world and now we’re looking for many years to come to host it again and again in Dubai — the birthplace of beach polo.

What’s your take on the fashion scenario of the UAE today? I think the fashion industry in the UAE has a big future, and the world has a huge market because numerous people have a lot to learn as to how to dress well. Fashion is a kind of revolution; it is in the roots of human history, and is an old story. In this part of the world, many people wear the kandura, the national attire but most of them, when they change, are extremely fashionable because they’ve developed that from the extensive travelling they do. Dubai is developing in fashion tremendously when it comes to brands, but what I feel we

What is style? Many people follow trends, and fashion has been set to determine what one should wear. I think there’s a huge difference between women’s and men’s fashion. Women’s fashion is trendy, fast and vibrant, but for men, it’s a different world. There are three kinds of fashion styles: one for official occasions, one for casual times, and the other for certain special parties and happenings. I also believe that fashion is set for people who have no taste. Fashion should be reflecting your character, your style and your spirit. It’s not about expensive or cheap, it’s about how you combine colours and fabrics, or what shoes you want to wear with a garment. I very much believe that that people should enjoy and try and explore what could fit for them as individuals. It’s like cooking — you must experiment with the ingredients until you’re fine with the balance you have, because everybody’s taste isn’t the same. Some people like spicy food, some like non-spicy; fishy or non-fishy; meaty or non-meaty — the list is endless. It’s the same with fashion; some people may like a certain colour, some may like it conservative, bright or monochromatic — but experimenting is a must. Being well dressed is a kind of art. Most men think that when women dress up nice and attractive, it’s for them. That’s wrong, women dress to impress other women. It’s a competition between women itself, and we men should stop thinking that they dress for us.

need more of is education. Plus, Dubai has just started; it’s a young city, so there’s a long way to go. I think the city is going to be, in the near future, one of the lead cities in the world to be a trendsetter for fashion. Dubai reflects a lot of trends and many other things —

Your style choices are on the lines of classy brands including Kiton and Luigi

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architecture, restaurants (we’re one of the top multi-cultural places in the world when it comes to food). I think UAE has a lot of talent, they just need to be managed well. I also believe very much that your style and the way you dress influences the acceptance of your presence. I’ve had my own style since years; I was wearing my coloured trousers when people would make fun of them, and now many people are embracing it. Fashion is not making your character; it’s only underlining your character. It is like a frame, and the picture is you, the painting is you. If you try to convert it the other way round, you’re lost even before you started. You love to cook, so we’ve heard. What do you enjoy about cooking the most? Cooking really calms and relaxes me. I love to cook a full-course menu for a group of like 10-12 people because it trains my time management. If you do this, you will be sure to have everything ready at the right time, you’d know when and where to start, what to cook, and when to present it. Besides that, it’s a great way to socialise with guests in an intimate manner. I believe that cooking is the only carrier of real culture in the world of today because languages are dying. The only real carrier is food, or the dish. I like to work with ingredients, which are provided by Mother Earth. I have a lush garden behind my house in Switzerland. Even here in Dubai, we plant tomatoes and potatoes. I cook mainly out of the garden — good ingredients don’t need too many spices. Besides salt and pepper, I use lots of herbs. My most-known dish to cook would certainly be the Wagyu Beef Filet with Strawberry Chilli Sauce, and I love restaurants that reflect the city’s spirit. My favourites include Spago in Los Angeles, Nobu in Malibu, Spatenhaus an der Oper in Munich, Frioul Bistro De Luxe in Madinat Jumeirah, The Catch at the Fairmont, Dubai, and of course, La Petite Maison in Dubai.

Jacket: Kiton; Shirt: Luigi Borrelli; Trousers: limited edition from Kiton; Shoes: bespoke from Ed Meier

We’ve learned that you’re a family man. Any particular activities you enjoy with the family? My children are five and seven, and so they need a lot of attention. I believe that children from the age of three to eight learn as much as the rest of their life. That’s why this is the most important age to spend time with them. I try to get home by 6 pm, atleast thrice a week, in order to spend time with the kids before they hit the sack at 8 pm. I love to play with my kids and explore a whole new world with them. My weekends, during the daytime, are absolutely dedicated to the children. I know that 84 per cent of the world’s tourism goes to city vacation destinations. I enjoy going with the family to tranquil, vintage hotels in the wilderness and amongst nature. We stay at the 300-yearold Schwarz hotel in Austria, near Innsbruk, quite a bit. Hiking, mountain biking, trekking — we do it all. The hotel cooks food with ingredients that are organic, and from nature. It’s a beautiful familydriven hotel in paradise. Another one we frequent is the Hotel Giardino Mountain in St Moritz. People who enjoy the rare quality of life go here. It has old-school hospitality in a modern environment with a touch of cultural inspiration. It is more low profile, not so glamorous, but you are sure to experience high-end quality here.

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“Remember that it’s always about long-term thinking, not shortterm experience”

Jacket: Kiton; Shirt: Brunello Cucinelli; Trousers: Luigi Borrelli; Shoes: bespoke from Ed Meier

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SCHOLARS

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PEARLS FROM HEAVEN Long known as premium hors d’oeuvres, caviar has been relished by the rich and famous for several generations. For lovers of the delicacy, Yasa Caviar has set out to form a fine and indispensable part of the world’s most sumptuous gastronomic experiences BY SANA KRISHNA

The fact of the matter is that when it comes to luxurious epicurean consumption, caviar is positioned high up on the chart. As the importance of having homegrown luxury products in the UAE weighs heavy, Emirates AquaTech Managing Director, Ahmed Al Dhaheri, talks about the company and it’s chief product. With a maximum capacity to produce 35 metric tons of caviar and 700 tons of sturgeon meat per year, the firm has the unrivalled ability to produce Siberian caviar and sturgeon meat all year round. Acquiring an MBA degree from Zayed University in Abu Dhabi, Ahmed Al Dhaheri has been in the family business since its foundations were laid — 20 years, and counting. Emirates AquaTech Caviar Farm LLC announced the launch of Emirates AquaTech on 26 November 2013, and today is the largest and most technologically radical aquaculture farm in the globally.

THE COMPANY Emirates AquaTech was born from a straightforward concept: to produce the globe’s most luxurious delicacy in a city that is tantamount to luxury. That ideology has evolved into one of the most groundbreaking feats of modern aqua farming — the world’s largest aquaculture farm today. Emirates AquaTech encompasses over 56,000 sq m, and also benefits from an environmentally friendly process; over 90 per cent of its water is recycled and used as a valuable source of plant fertiliser. This full life cycle farm utilises patented and leading fish-breeding technology allowing for an economically viable, environment-friendly and sustainable aquaculture farm not only in terms of local resources, but also internationally. “Some think this would only be suitable in Siberia, the Caspian Sea and that part of the world, but with the technology and the capabilities anything can be done,” says Al Dhaheri.

ETHICALLY BENEFICIAL “An important aspect of the project is the environment — the saving of the species. We want to make a wider range of products available in

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an environment where supply and demand can be controlled,” says Al Dhaheri. By providing year-round superior and fresh-farmed

is the first in a long line premium, luxury roe. From dark to light grey in colour, with a fascinating glimmer that hints of the sumptuous

sturgeon caviar, Emirates AquaTech is playing a vital role in supporting the protection of the globally endangered wild sturgeon species. As a local company, it is keenly involved in businesses set to flourish in the international market and the region’s miscellaneous and economic climate, thus contributing to Abu Dhabi becoming more of an attractive locality for global shareholders and major businesses. Emirates AquaTech has unquestionably endured the position of front-runner in the new technical segment of aquaculture, and has

pleasure it holds within, Yasa Caviar’s texture is unswerving, and each egg is discernible in the mouth. The taste is delicate, fresh and multi-faceted — changing with every bite. Al Dhaheri tells us about the four categories of Yasa Caviar: Royal, Excellence, Elite and Premier. The difference depends on the roe size as it is considered a very significant characteristic in the scale of caviar classifications. Emirates AquaTech is one of the few farms that is able to decide what size eggs are to be harvested, as the company uses

taken on the challenge of finding an environmental and long-term solution to a universal issue using the most advanced technology available today. By doing so, the company has taken an enormous leap forward ready to cater to the ever-increasing market for extra caviar and sturgeon meat in the world.

scanning technology to decide when and which females are harvested, and in turn, will depend upon the demand at that point in time. Globally applauded chefs and connoisseurs have spoken of their absolute delight in the product — sincerely considering it to be matching and even surpassing the texture and flavour of wild, high-quality caviar. Experiencing lavish food is a pleasure bounded by mesmeric aesthetic. The instant one’s senses connect with its flavour, all are moments that live on…

ABOUT YASA Yasa Caviar is sturgeon caviar of the Siberian Ossetra variety, and

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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 creations of one-of-a-kind masterpieces

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AHEAD OF THE CURVE

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AHEAD OF THE CURVE The Spring Summer 2015 menswear line from dunhill is a mix of the playful and the suave, the masculine and the functional. Signé turns to the luxury label’s past and to its inherently British roots to interpret its latest offerings

That dunhill is synonymous with the motoring and sartorial world comes as no surprise. Its reputation as a quintessentially British luxury label is

accessories along with men’s leisure apparel and protective clothing. As supplier to other prestigious manufacturers, including RollsRoyce, dunhill Motorities inevitably became

Colour is as important an element for the Creative Head of dunhill as much as it has always been to the dunhill man. Reminiscent of long lazy days spent in the country or

equally riveting, thanks to its deep-seated heritage in fine craftsmanship. This keen attention to detail dates back to dunhill’s days as a supplier of “everything but the motor” and extends right up to its exquisitely tailored menswear lines and bespoke offerings of the present. The eminent label has its roots firmly, and literally, entrenched in old England, a heritage that the brand has

a global business. Alfred was both a futurist and an artisan, a unique combination that is evident in where the brand stands today. Over the years, even though dunhill transformed into so much more than a motoring company, the label’s ready-to-wear menswear lines and bespoke services remain tethered to its motoring roots, which is the very DNA of the

by the sea, the new menswear collection covers a vibrant palette of British pastoral and coastal shades — English mustard, India yellow, Wellington green and blossom pink, set against brick red, ivory and the alltime classic dunhill Navy blue. Its textures, too, aren’t far behind. Fine canvas, knitted loopback towelling, over-scaled herringbone in cotton linen, English wool gingham and

kept alive and that was established when Alfred Dunhill inherited his father’s saddler and harness business in 1893. The young man’s vision for his newly acquired family business was very much in line with the changing times of the 18th century. When horse carriages were slowly giving way to motor cars, Alfred immediately took up the challenge of transforming the family business into a supplier of accessories, including leather covers, to match the transportation of the new age. That the 21-year-old Alfred had a passion for meticulous craftsmanship is also unsurprising; his obsession for perfection was akin to something of a religion for the young man, who had trained as an apprentice craftsman at his father’s equestrian-related accessory business. Alfred’s entrepreneurial nature coupled with his progressive outlook to match has certainly been responsible for the brand’s longstanding associations with the motoring world. In fact, when Alfred refined the business to establish dunhill Motorities, the brand was soon

brand itself. These offerings underline the dunhill creator’s keen sense to offer both the functional and the sartorial with equal ease. Even though dunhill Motorities might now be a thing of the past, the brand’s close ties to British luxury are still far from undone. The latest collection, the dunhill Spring Summer 15 line, draws on pastoral and coastal elements evocative of the English countryside and seaside. At the helm of this collection is dunhill’s most recent creative director, John Ray, who was appointed as the label’s creative torchbearer in 2012. Keeping the dunhill’s grandiose approach to life untouched, Ray seems to have effortlessly blended his own sartorial approach with that of dunhill’s. The resulting Spring Summer 15 menswear collection embodies, in equal parts, the spirit of adventure and the accompanying insouciance of British style. The British have an underlying respect for appropriateness and presentation of oneself, says Ray, adding that at the same time they might unwittingly get it all wrong. “Those mismatched details and unconventional pairings worn with a devil-

English rib in dry cotton knitwear make this line ideal for travel and associated summer activities like sailing. While prints are not exactly a signature dunhill offering, they have been introduced into this collection with ease. Many of the garments feature repeat prints inspired by Victorian botanical drawings of English seaweed; of fern and magnolia buds from the ubiquitous English garden; and of the exotic markings of a shell that remind one of a beach in Mustique. The collection itself has been built upon the notion of escape, targeted to the man who drives to the country or who travels to far-flung destinations without putting too much thought into the very idea of a journey. It’s for the habitual traveller who throws in a selection of cherished pieces, or an almost haphazard mix of clothes, into his bag. Which is why you’ll find a playful blend of resort attire and eveningwear in this collection — from exquisitely tailored dunhill suits in silk and standard pinstripes, a plush hounds tooth driving coat, Italian and English silk evening jackets, right up

manufacturing “everything but the motor” including exquisite leather and metal

may-care-attitude strike me as inherently British,” he further explains.

to swimming shorts and well-cut shirts in a range of British prints.

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AHEAD OF THE CURVE

Alfred dunhill store, Bourdon House, London

Alfred dunhill SS 15

dunhill’s Spring Summer 15 collection also offers accessories that are elegant and timeless all at the same time. “I believe that in the Duke and Chancellor bags we have found our legacy pieces, what’s more, the many design details, custom-made hardware — such as the faceted padlock, cut-away D-ring and mushroom rivets with knurling are a direct reference to the rich driving heritage of dunhill,” explains Ray. It’s true: Both bags are very British and have been built to last. While Duke, fashioned from doubletanned French calf with alternating straps, is evocative of Alfred Dunhill’s history as a harness maker, the dunhill Chancellor bag — much like an investment piece — is crafted from the finest British racing green bridle leather. Another bag, Guardsman, is sportier and features drill lining, interior leatherwork and a pick-stitched strap for added character and definition. The very fact that dunhill works exclusively with only the best mills to incorporate the choicest fabrics into its collections proves just how far the label

service for its clients through the dunhill Bespoke department that represents the best of the Savile Row tradition. Each dunhill Bespoke piece is hand cut and hand finished in London and an extensive choice of over 2,000 tailoring fabrics — including high-twist weaves with natural crease resistance — as well as luxurious blends like vicuña and silk are on offer. It’s no wonder then that this service comes highly recommended. And it doesn’t stop there, for the service also offers bespoke sporting jackets, casual weekend jackets and luggage for the discerning gentleman’s travelling wardrobe, as well as special consultations for the stylish groom and his groomsmen. But the label’s fondness for modern classicism goes beyond its retails stores, as is evident in its flagship property opened in 2011. The heritage Bourdon House in London’s Mayfair district is a Georgian house that happens to be the only detached property in this tony locality. It was once the former residence of the Duke of Westminster, and now represents dunhill’s historic

number of artefacts and early collections that date back to the time of its creator. At the same time, it is also a brilliant retail concept, much like a home away from home for the label’s esteemed clients. Besides retailing dunhill products, including jackets, shirts, leather goods and accessories like pens and sunglasses, dunhill’s Bourdon House represents the grandeur and legacy that comes attached to the brand. There’s a bespoke tailoring room along with a barber and spa, as well as an oldfashioned gentleman’s club with the Cellar Bar and alfresco courtyard dining. Tucked away in the vaults of this historic mansion is a luxurious 12-seat screening room for private events. Although Bourdon House is one of the more recent extensions of the brand, it offers the classic lifestyle and sophisticated experience only privy to a dunhill man. At the end of it all, dunhill’s menswear collections, bespoke offerings, innovative retail concepts and links with the sports world reflect everything that the brand stands for. It is likely that this is exactly

goes to push the boundaries of sartorial elegance. dunhill also offers a personalised

beginnings as well as its movement with the times. The two-storey house showcases a

how its creator, Alfred Dunhill, would have wanted it to be.

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SIMPLICITY IS THE KEY

Simplicity is the key WITH SMOOTH CURVES AND CLEAN LINES, CARTIER’S LATEST TIMEPIECE, CLÉ DE CARTIER, STANDS TESTAMENT TO ACCURACY, BALANCE AND PROPORTION. CONSIDERABLE MASTERY WAS REQUIRED TO CREATE FLUID LINES AND HARMONIOUS ENSEMBLE. HERE’S SHOWING HOW SIMPLICITY IS TRULY THE ULTIMATE SOPHISTICATION

It was rightly quoted by Leonardo da Vinci, “Simplicity is the ultimate sophistication.” In a race wherein brands strive to craft the most complicated timepieces, Cartier has always had a pioneering ethos that shines through every piece crafted by the house. Intrinsic to Cartier’s history as a creative watchmaker, is a bona fide spirit of innovation. Not only bringing about several technical advances, Cartier has set the benchmark surpassing all expectations, and at the same time, the house has engendered groundbreaking novel forms that many others are trying to replicate in their respective capacities. An apt example and result of the brand’s creativity is a line of emblematic timepieces that have not only created a new aesthetic, but also stood the test of time. Creativity, passion and pure excellence are the keys to a success that has endured for over a century. These are the core qualities of the Clé de Cartier. As daily commitments multiply, we find ourselves conditioned to juggling tasks and complicated schedules. Bliss can surely be elusive when life seems complex; lets keep it simple…

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SIMPLICITY IS THE KEY

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BACK TO THE BASICS Several watches today run off wrist power alone, but winding a watch via the precious crown keeps the mainspring tight, and the watch running at its peak performance. Cartier has a rich history of creating innovative crowns and Clé de Cartier firmly upholds that heritage. This time, it is not only one of the watch’s most distinctive features, but also the inspiration for its name. ‘Clé’ in French means key, and the crown’s resemblance to one is unmistakable. The act of resetting the time and date introduces a new gesture to the world of watchmaking — one that recalls the traditional turning of a key to wind up a clock. Its sizeable dimensions make the crown remarkably easy to handle. But, functionality is not its sole asset. It is also an exquisite object in its own right. Elongated and pure, it is adorned with a sapphire that is not set in a classical manner. Instead, it is ingeniously inserted to remain flush with the metal surrounding it.

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SIMPLICITY IS THE KEY

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CURVES OF CURIOSITY A Cartier timepiece is always a form of art in three stunning dimensions, always a quasi-architectural exercise. The luxury house has traditionally placed great emphasis on the volumetric qualities of its designs, creating models that are characterised by strong lines and distinctive forms. Clé de Cartier is certainly no exception. In a single graceful swoop, it introduces a new element into the brand’s watchmaking vocabulary: the tightly drawn curve. It is arched, streamlined and sleek, organic and ergonomic. Its sensual shape fits snugly to the wrist, providing ease and congeniality to the wearer. In pure Cartier style, it feels as good as it looks. Perfectly poised to one side, the element that gives the new model its name: its jewel-like, key-like crown. The model’s warm retro tones make it a very strong candidate for the ‘new vintage’ aficionado, tossing up between a Ballon Bleu, Santos or Tank.

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SIMPLICITY IS THE KEY

SIMPLISTIC TREASURES For crafting the Clé de Cartier, the end goal was extremely clear, and had a main focus: to introduce a new form that’s based on a perfect circle — a task that may seem effortless at first thought. What often seems plain sailing to the mind is misleadingly so. The consequence is an accomplishment of intricacy and restraint — shapes are tapered down and reduced to their essence, and all else remains a question of meticulousness, equilibrium and proportion. Prodigious proficiency was put into creating a uniform flow, and sharp edges were jettisoned. The bezel has been mildly rounded, whereas the horns, smoothly narrowed. Each constituent bonds to conjure up an ethereal flawlessness that is at once surprising, instinctive and complete. Only gentlemen who comprehend that the crux of life is to be found in balance, lucidity and limitation can appreciate the Clé de Cartier collection, as it projects an unruffled strength and self-assuredness.

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SIMPLICITY IS THE KEY

CLÉ DE CARTIER 40 MM

M A N U FA C T U R E A U T O M AT I C

MOVEMENT 1847 MC

1 8 C A R AT W H I T E G O L D

1 8 C A R AT P I N K G O L D

Combining cutting-edge technology and in-depth expertise, the new movement was developed, produced and assembled by the craftsmen of the Cartier Manufacture in Switzerland. Its name — 1847 MC — pays homage to the year the Maison was founded. The incorporation of a particularly rapid barrel provides it with tremendous chronometric stability. The dual-direction winding automatic mechanism provides great durability via a specially designed lever system.

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A D M I R AT I O N I N A L L F O R M S

Frozen by Maxim Velčovský

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Admiration

In All Forms While artisanship freezes the beauty of glass within its mould, precision and elegance brings the organic flow of the material to bustling life. It may seem improbable, but these transparent bits of glass burst with activity and yet seem so passive BY SANA KRISHNA

Beauty and sophistication came together in the heart of Europe and made Czech glass, also known as Bohemian, celebrated for its exclusivity and incredible level of quality. For several centuries, it became the embellishment of choice in almost every palace. Lasvit is derived from two Czech words that mean “love” and “light”: láska and svit. Although the two play a chief role in the philosophy of the brand, Founder Leon Jakimič believes strongly in another two-word definition for his company: Bohemian perfection. Lasvit has managed to strike a balance by forming an amalgam of creativity and tradition with serious attention to detail. With a mission of creating perfect experiences through light, glass, and design, Lasvit has swiftly emerged as a leading designer and manufacturer of custom contemporary light fixtures, architectural glass installations, and lighting collections. Eight years and counting, Lasvit’s idea is to provide talented architects, interior designers and artists with a platform or medium to create something spectacular that, of course, involves glass and light. “Glass without light is dead. So integrating the two, plus of course the engineering, enables us to create really amazing and unique things for the most impressive environments worldwide,” says Jakimič. The glass used by his company dates back to over 600 years. “We combine new approaches with an old

ALICE Meaning electrical motions, and triggering emotions, E-motions is a Lasvit collection that was showcased at Downtown Design last year. An impactful work part of this collection was Alice, by Petra Krausova. Krausova seeks inspiration not only in materials and technology, but also in the seemingly contrasting areas of convention and futurism. The Lasvit designer focuses mainly on the design of furniture, products and futuristic concepts. “By using kinetic technology, we inject even more emotions into our already emotional pieces. It took us two and a half

years to develop this technology and now we use it for many installations including Alice,” says Jakimič. The inspiration behind the Alice sculpture was a search for something common in glass and nature. Glass, as in nature, is natural and erratic, where each leaf and tree is unique. Bringing the exclusive visual properties of glass to the work induces an experience supported by its name — a sense of Alice in Wonderland. A kinetic bloom, Alice’s hints of flowers that are equally delicate and fragile denote peace and love.

FROZEN In 2011, Maxim Velčovský became Art Director of Lasvit, also heading the Ceramics and Porcelain Atelier of the Academy of Arts, Architecture and Design in Prague. The Frozen collection was inspired by the transformation of water into ice. Velčovský allows the glass to spill over a cold metal cone and seeks advantage in its natural properties. Each piece traces a unique record of the process, becoming an original in its own right. Velčovský drew inspiration among pieces of ice created by nature and applied that element of unpredictability in nature to his craft in the context of glassmaking. The result is a ‘frozen’ sculpture, which is an amalgamation of the richness of glass texturing, wrinkled detailing, bubbles and varied thicknesses.

craftsmanship, and every Lasvit piece has an intense story to tell.”

Frozen is a series in which no two shapes can possibly be the same. Founder of Lasvit, Leon Jakimič

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Sun Pillar at the Trident hotel, Bandra Kurla, Mumbai, India — by Jitka Kamencová Skuhravá

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Lasvit has managed to strike a balance by forming an amalgam of creativity and tradition with serious attention to detail

Homune by Michael Young

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Droplets by Jan Plechac & Henry Wielgus

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Supernova by Petra Krausova

DANCING LEAVES AND ELEMENTS OF NATURE…

steel finish complements the design, which uses LEDs and RGB-based optical fibre with

century historical building that’s in the centre of Prague — it is probably the best location in

“My favourite work is definitely the one at The Peninsula, Paris in the main lobby area,” says Jakimič. Uniting customary Bohemian glassmaking with groundbreaking design and technology, Lasvit has created an artistic glass sculpture titled “Dancing Leaves” designed by Luděk Hroch. It evokes a strong rush of wind, progressively spiraling upwards, created by entering the hotel lobby. The

a 150W projector to cast its beautiful glow.

the city.” The building has five floors, and it is in the hands of Lasvit’s Art Director, Velčovský, to choose ten artists who will showcase their works here. Amongst the confirmed are Zaha Hadid, Thomas Heatherwick, Olafur Eliasson, Tokujin Yoshioka, Moritz Waldemeyer (the famous lighting consultant who did the lighting for the Olympic games). There will be glassworks inside, and this museum will be

spectacular sight of mystically flying leaves from Parisian trees induces a sensation of dancing. This installation is made of 800 hand-blown glass abstract leaves: some clear and some with silver leaves on the inside. Lasvit’s first step into Dubai was in the year of 2008 when the company worked on Water and Fire at the BurJuman and Al Rigga metro stations, respectively. Fire is a work by Katarína Kudějová Fulínová, who is an in-house designer at Lasvit. Three distinct pieces create Fire — the Dome, the Sky Ring and the Flame. Radiant red-fused bent-glass mosaic tiles and hand-blown glass make the Dome a memorable light sculpture. Opalwhite glass composites create the Sky Ring. The centrepiece of the entire design, the Flame, brings together the hand-blown glass parts, each one unique. Jitka Kamencová Skuhravá, now an external designer created Water. The beautiful lighting sculpture graces the ceilings of the BurJuman metro station and two main parts make up this work. The base features textured bent glass that connects to the

geometric as it moves horizontally and vertically. Alice is more flowery and Supernova is more futuristic,” explains Jakimič. Blown handmade glass was used to create Alice, whereas, for this, cut crystal glass formed the main component. The work introduces the future to the present as it enchantingly transforms itself in both time and space, responding to the viewer’s movement by changing its form. The installation is composed of clear glass elements with linear textures that create captivating light patterns while moving through various angles. When exploring the universe, scientists use prismatic refraction in order to recognise a supernova’s configuration, temperature, pressure, density and expansion. Here, it’s up to the onlooker to see through the glass and into the light, aware that this imaginative burst is likely to overtake all constellations.

A very interesting upcoming Lasvit project is the glass museum in Prague. “We don’t own the museum, it’s owned by one of the biggest

According to Jakimič, the open-mindedness and ability to push the envelope is what brought the company to the regions of the Middle East and Asia. “The openmindedness of the developers here who are willing to explore, experiment and try new things is great. Even though, occasionally, we do a very unique project in Europe or the States, such as the ones in The Langham hotel, Chicago or The Shard in London, we get to do braver things here,” says Jakimič. He feels that the people in these regions have an affinity for contemporary things. Also, the fact that there’s a lot of construction and new

second part, a stylised waterfall phased into hand-blown, hollow glass drops. A stainless

Czech developers who is a friend of mine,” says Jakimič. “He bought a huge 18th-

buildings coming up, is a big pull factor for the brand.

UPCOMING PROJECTS Petra Krausova showcases her recent work — Supernova — at Salone del Mobile in Milan this year. “Supernova is another kinetic installation, which has more movement than Alice; it is larger, and has more components. Alice is more organic; this one is more

GLASS EXPERIENCE BY LASVIT

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the only place to watch glass performances. “Every half an hour, our glass master would blow a glass horse or some fascinating object for viewers to see, and there will also be an opportunity for tourists to try their hand at blown glass,” says Jakimič. This museum will be completed with a flagship showroom, which will be a large two-floor showroom, to introduce Lasvit collections.

MIDDLE EAST AND ASIA

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FIT FOR A KING

Fit for a

king

Spun from its finest fibre yet, Loro Piana’s The Gift of Kings wool has been transformed into a collection of Loro Piana clothing and accessories that exudes luxury in both form and feel BY

B E V E R LY P E R E I R A

A Loro Piana jacket commands a price equivalent to that of an entry-level hatchback. It’s a hefty price to

of Kings wool borrows its name from the prized lineage of merino sheep that provide it; this particular breed of sheep happens to

One needs to wear clothing stitched from The Gift of Kings wool to truly understand the unique properties of this supremely

pay for a piece of clothing, no doubt, but it’s also completely justified. That Loro Piana represents Italian craftsmanship and consistent quality in the luxury fabric space is one reason to buy into the brand’s exclusivity. That it’s about the unique feel of a Loro Piana pullover or jacket created using the world’s rarest fibres is yet another. Strong with six generations of know-how in fabric production, the company is a longstanding acquirer of some of the world’s most exclusive raw materials, including Merino wool and a fibre made from the lusciously soft wool of the vicuña, an animal only found in the Andes. The Loro Piana legend of offering exceptional luxury through its garments still rings true as is proof in the form of its newest wool, The Gift of Kings. This remarkably precious fabric, spun in the finest fibre yet, certainly lives up to the royal connotation of its name. It is the finest merino wool in the world at 12 microns, but to better understand this, it helps to know that the average woollen fibre is 17 microns, the prized vicuña is 12.5 microns,

be one of the most ancient breeds to have evolved from the Phoenician times right up to the era of Captain Cook. In fact, the King of Spain was known to have gifted the Elector of Saxony pairs of merino sheep during the 1700s. Due to the mobility of trade some of the sheep from this rare lineage soon arrived in Australia and New Zealand. And now that Loro Piana produces this exceptional raw material in both Australia and New Zealand, it has, in effect, brought about the revival of a rare fabric. Once sourced, this exceptionally fine wool travels back to Italy, where it is skilfully crafted into Loro Piana garments of unmatched quality, appearance and feel. As of now, the collection comprises a gossamer soft scarf, the all-weather Rain System jacket, a bomber zip jacket and sweaters. At a production rate of approximately 2,000 kg/year, The Gift of Kings wool is being presented as a special edition and the collection is limited to just 2,000 pieces. Like each one of Loro Piana’s exclusive array of weaves, such as baby cashmere, vicuña

soft, impalpably light fabric. Acting like a second skin, its fibres adapt to changes in body temperature caused by alterations in the external temperature. To put things into perspective: When the weather is cold, it traps body heat within its subtle fibres, and when warm it offers an inexplicable amount of breathability. The characteristic crimp of this wool’s fibres ensures that garments are fluid yet completely crease-resistant. As it is, the natural elasticity of merino wool ensures freedom of movement when worn, making garments crafted from this fibre perfect for travel. Loro Piana’s dedication to sourcing only the best of noble fibres goes back to the early 1800s, when the Loro Piana family, originally from the small Italian town of Trivero, traded in wool and other fabrics. The current company that operates out of Quarona, a village at the foothills of the Italian Alps, however, came into being in 1924 as a result of the efforts of Pietro Loro Piana. By the 1940s, Loro Piana was exporting its fine fabrics to international markets, but it was only during the 1970s

and baby cashmere is 13.5. Once coveted by European royalty and nobility, The Gift

and lotus flower fabric, this wool is also as exclusive as they come.

that the brand entered the sphere of luxury retail. Today, the company — still a family-

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S AV O I R FA I R E

FIT FOR A KING

run business — is operated by brothers Pier Luigi and Sergio Loro Piana, and has a direct presence in major raw material markets such as Australia and New Zealand for fine merino wools, China and Mongolia for cashmere

The company’s quest to harness The Gift of Kings fibre began over 30 years ago, when Loro Piana embarked on building solid relationships with a select number of breeders in Australia and New Zealand to

relationship with the indigenous South American vicuña, which aids the preservation of not only an Incan tradition but also an animal that was on the verge of extinction, the company’s dedication to sourcing natural

and baby cashmere, Peru for vicuña and Myanmar for lotus flower.

incentivise the production of this superlative quality wool. Like Loro Piana’s multi-year

resources on an ethical level continues with this outstanding fibre as well.

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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

GUCCI

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ECLECTIC SUMMER 1. Bow tie : Hackett London 2. Document bag : Bally 3. Travel pouches : Prada Saffiano 4. Belts : Ermenegildo Zegna Couture 5. Sneakers : Etro

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SIGNÉ SELECTION

SALONE DEL MOBILE

S PR E Z ZAT UR A

THOMAS PINK

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GROOMSMEN 1. Bow tie : Thomas Pink 2. Blazer : Thomas Pink 3. Necktie : Thomas Pink 4. Shirt : Thomas Pink 5. Pocket squares : Thomas Pink

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S PR E Z ZAT UR A

RALPH LAUREN POLO

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URBAN GENTLEMEN 1. Sunglasses : Christian Dior Men 2. Document case : Bottega Veneta 3. Tote : Prada Vitello 4. Shoes : Le Moc’ J M Weston

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S PR E Z ZAT UR A

JET SET 1. Trunk : Prada Saffiano 2. Trunk : Prada Saffiano

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SALONE DEL MOBILE 2015 Leading in the league today, the furniture fair Salone del Mobile is a lens to understand what will be the home in the future, where technology is a drive that shapes spaces and changes the furniture. It is the benchmark in the world of home furnishings. The 2015 affair is the 54th edition, and is in the spirit of rediscovered optimism

LA PERLA The sartorial spirit of La Perla tailoring reflects the ESPRIT D’ATELIER project by the Italian brand. ESPRIT D’ATELIER has been designed as a multi-functional piece to be used as a pouffe or coffee table and also reflects the allure of La Perla in its satin ribbon fastened with the same golden hook as the exclusive pieces from the Atelier Collection 2015, presented in Paris during the Haute Couture show. A number of small satin folds create a suggestive 3D effect, inspired by one of the cult La Perla techniques: nervures. This new piece of furniture was created by designer Walter Terruso exclusively for the brand. Colours include the most symbolic shades from La Perla: black, white, nude, red and blue.

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SIGNÉ SELECTION

SALONE DEL MOBILE

ZAHA HADID While most buildings our eyes come in contact with remain in their ground for decades, some can still express dynamic movement and fluidity while staying passive. Building each project on over thirty years of intense exploration and research in the fields of urbanism, architecture and design, Baghdadborn Zaha Hadid is undoubtedly the world’s most famous woman in the architectural stratosphere. Hadid founded Zaha Hadid Architects, which continues to be a worldwide leader in revolutionary research and design

investigation. Her work toys with novel spacial ideas, and incorporates all fields of design — ranging from urban spaces to products and furniture. In the year of 2004, Hadid was the first woman to receive the Pritzker Architecture Prize for a pavilion she built in Spain. Some of Hadid’s famous works include the Riverside Museum in Glasgow, the Guangzhou opera house, the London Aquatics Centre for the 2012 Olympic Games, Sheikh Zayed Bridge in Abu Dhabi, and the MAXXI: Italian National Museum of 21st Century Arts, which is in Rome.

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THE SERPENTI An ancient representation of rebirth, sensuality and renewal for both East and West, the Serpenti motif has heavily inspired Bulgari’s innovations since the 40s, when the luxury house was the first jeweller to reinterpret its meandering coils in treasurable watchbracelets. Since then, this brave motif has often been revisited by Bulgari — sometimes in a more realistic key, and other times in a more stylised version, but always incorporating the artistic trends of the time. Over the decades, watch-bracelets have been joined by necklaces, rings and even jewel-belts, while the reptile’s skin has been draped in scales of diamonds, cabochon gems, polychromatic enamels or even precious stones.

ZAHA HADID AND BULGARI Bulgari celebrates Milan Design Week by unveiling an installation created by master of contemporary architecture Zaha Hadid at the Bulgari Hotel. This iconic work was inspired by luxury house’s timeless design icon — the Serpenti. The design expresses the sense of sinuosity and repetitive change through the rhythmic movement of figures, which recall scales of the snake. The combination of flowing and geometric forms, typical of Hadid’s style, is in complete accord with the style of the Italian jeweller, and its search for perfect balance between proportions and rounded shapes. Hadid and Bulgari also share a passionate desire to reach beyond barriers — be it geographic, conceptual or stylistic. Hadid’s designs are a planned endeavour to embody the chaos of contemporary times, adapting shapes to a dynamic and flexible concept of space. Not paying much heed to current architectural trends that strive to create the loudest shapes possible, Hadid prefers structures in which individual parts blend amicably with the whole. The installation in the Bulgari Hotel gardens is the manifestation of the happy synergy between these two visionary imaginative forces.

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SIGNÉ SELECTION

SALONE DEL MOBILE

MARNI On the occasion of the Salone del Mobile 2015, the Marni showroom at Viale Umbria 42 transforms its look into a vibrant and colourful fruit market — the Marni Mercado de Paloquemao. Drawing major inspiration from the market of Bogotá, Colombia, Marni exhibits an installation where the main protagonists are played by the vibrant colours of the exotic fruits from a land far away. As in the last year’s project, this edition offers unique pieces released in several colours. The fruits become sculptures in metal and PVC, which may turn into containers in larger sizes, or ornamental items for centrepieces in smaller sizes. The set-up of the installation invites to hospitality, to be lived around a large table, enriched by the shapes

archive motifs. Around the table are placed new Marni chairs made of metal and colourful PVC weavings, whereas stools of various shapes, colours and woven patterns complete the collection. A rich banquet where pineapple, guanabana, zapote and curuba can be tasted: those are the fruits that Marni brought from Colombia, with the aim to offer the taste of different flavours to the Design Week’s public, also proposing theme-based workshops on particular days. A communicative liberty with regard to choice of compositions is reflected in Marni’s collections; each combination is unique and unexpected. Also this year, the limited edition of objects and furnishings was entirely handmade in Colombia, involving a group of women who

of exotic fruits and all set with tin plates hand decorated with Marni’s

have found their independence and freedom through their work.

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VERSACE Versace Home showcases a special capsule collection of the innovative chair — La Coupe des Dieux. Created by Donatella Versace, the chair is enhanced by unique leather that is finishing available in four colours: pearl grey, red, turquoise and black. The piece boasts the iconic Medusa on the back and echoes the elegance of art nouveau design as well as the modernity and innovation of Versace. The La Coupe des Dieux collection also includes a complete range of furniture for living, dining and bedroom.

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FOR HER

A muchanticipated Weekend Italian label Max Mara launches a multifaceted collection that offers women sophisticated wardrobe solutions. Coined as the “life-style” line by the brand, the Weekend is an ingenious and colourful amalgamation of glamour and chicness, and expresses the bona fide ethos of “utility de luxe”

Purely with a desire to produce high-quality fashionable clothing, Achille Maramotti was the brainchild who started the label Max Mara. This proved to be a revolutionary idea at a time when fashion in Italy was still mainly handcrafted. Drawing inspiration from the Founder’s surname, coupled with “Max”, because it had a global connotation to it and seemed easy to pronounce, the name of the brand was formed. Classic clothes that are tastefully crafted in luxurious textiles shape the ethos of Max Mara. Introduced in 1984 as a casual and outdoor collection perfect for “week-ends” (as the choice of name intended to propose right from the beginning), the label progressed swiftly over the years to become the brand with the exclusive character we know today. So, no longer just leisure wear: the Weekend Max Mara label is an extremely plush and refined, complete wardrobe, including all the diverse sets of garments (coats, knitwear, shirts, T-shirts, denim wear and lots, lots more) and is complete with a full range of accessories (including shoes and bags as well as scarves, belts, shawls and jewellery) specially designed for the Max Mara woman to give her an all-inclusive solution, whatever she needs and whatever the occasion. An oxymoron of sorts, the collection is formal informality. Meaning the answer for the modern demand for garments that are practical and versatile, “town & country”, full of colour and gracefully feminine. The pieces are about easy-chic fashion with a casual touch; a clever amalgam of glamour and style matched by the label’s original sportswear DNA. Starting from the fits and choices of textile (especially linens and cottons, plain colours and yarn-dyed fabrics, crêpe de chine, cashmere, wools and tweeds), there’s an artistic use of colour and ornamental features (above all patterns and prints) and the minutest and most carefully designed detail (like hoods and drawstrings).

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FOR HER

A CHIC WEEKEND MAX MARA

Weekend Max Mara presents a special project that gives emphasis to the commitment of the Group in the search of new and best-performing raw materials, which the first step towards the manufacture of a product of flawless quality.

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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

A S P E C TA C L E O F S I G N I F I C A N C E

A spectacle of

significance The ‘Keys to a passion’ exhibition at the Fondation Louis Vuitton in Paris has brought together scores of celebrated 20th-century modernist works of art, including Edvard Munch’s The Scream. A show as remarkably important as this is not worth a miss B Y B E V E R LY P E R E I R A

France’s enthusiasm for the arts is unmatchable. When the Fondation Louis Vuitton opened its doors in October 2014, the privately owned cultural centre and art museum in Paris created a stir in the art world. Even its conspicuous presence — in both the physical and the cultural Parisian landscape — was inescapable, more so for the building’s architecture than for the first phase of the foundation’s inaugural art programme that was considered to be unsubstantial by the art world at the time. Now, as the foundation presents the third phase, an exhibition titled ‘Les Clefs d’une Passion’ (Keys to a passion) the foundation has, in effect, tapped into one of its own founding principles — its engagement with the arts. And, much to the joy of art lovers, the art exhibition unlocks an expanded world of myriad possibilities to the visitor. ‘Keys to a passion’ is a very important exhibition. For one, it brings together some of the most groundbreaking and seminal modernist works of art that have been key to the development of modernity and that inevitably changed the course of art history in the 20th century. This means that you’ll see select pieces by Claude Monet, Henri Matisse, Edvard Munch and Kazimir Malevich, among others, all under a single roof. Curated by Suzanne Pagé and Béatrice Parent, in collaboration with Isabelle Monod-Fontaine as scientific

In the exhibition’s catalogue, Bernard Arnault, President of the LVMH group and of the Fondation Louis Vuitton, says that while today’s contemporary art creates the references of the future, it always responds to touchstones from the past, correspondences that the artists themselves reinterpret. Metaphorically apt, Arnault’s statement also equates to the eight-month-old foundation’s mission to bring into its radical shell historic pieces of art for all to see. Commissioned by Arnault to design the Fondation Louis Vuitton, celebrated American architect Frank Gehry also looked to the past, to 19th century glass and steel structures, for inspiration. Pulling out all the stops traditionally associated with a formal cultural institution, Gehry simultaneously opted for a progressive approach — and materials like glass, steel, timber and concrete — to create the soaring multi-layered structure. The ephemeral shell, or Verrière as Gehry refers to it, comprises a number of long sail-like glass windows, irregularly placed and sometimes overlapping. The end result resembles a cloud of glass floating over a garden; the building is set in the Jardin d’Acclimatation in the northern part of the Bois de Boulogne in Paris. In keeping with city’s stringent high-rise planning laws, the structure extends below ground level, appearing to hover over a reflecting pool. Within the building’s unmistakable

panels that come together to house the actual art galleries — there are 11 to be precise. The structure also houses an auditorium and multi-level terraces for art installations and private events. The new exhibition highlights the Fondation Louis Vuitton’s endeavour to encourage and promote contemporary artistic creations, both in France and internationally. It also throws light on the extent to which the foundation traversed to bring together roughly 60 modernist masterpieces in a single venue. Not often does an art enthusiast, collector or historian get access to such privileges. There’s Munch’s iconic The Scream from 1983 that was loaned to the foundation by Oslo’s Munch Museum. Even Matisse’s Dance has returned to Paris, even if just for a few months, after spending over a decade at the State Hermitage Museum in St Petersburg. The exhibition also cements the foundation’s collaborative relationships with some of the world’s most prestigious art institutions. The staggering list of lenders to this momentous exhibition include the Tate and the National Gallery of Art in London; the MoMa and Guggenheim in New York; the Musée d’Art Moderne de la Ville de Paris, the Musée National d’Art Moderne — Centre Pompidou, the Musée d’Orsay, and the Musée National Picasso in Paris; the State Hermitage Museum and the State Russian Museum, St Petersburg; the Pushkin

advisor, the exhibition runs from 1 April through 6 July 2015.

transparent shell lies what is known as the Iceberg, fitted with undulating luminous white

State Museum of Fine Arts, Moscow; the Munchmuseet in Oslo; the Moderna Museet

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The Scream by Edvard Munch

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Three Women (Le Grand Déjeuner) by Fernand Léger in Stockholm; the Fondation Maeght at Saint-Paul de Vence; the Národní Galerie in Prague; the Kunstmuseum in Stuttgart; and the Kunsthau in Zurich, among others. To showcase an entire century’s worth of art within a single museum space is certainly an ambitious attempt. And, even though deliberately limited in number, the works of art on show at the ‘Keys to a passion’ exhibition pretty much span across the entire 20th century. So you’ll find art dating back to 1909-10 like Matisse’s Dance and others that date back to 1921-22, such as Fernand Léger’s Three Women (Le Grand Dejeuner), and still other much later works such as Mark Rothko’s No. 46 (Black, Ochre, Red Over Red) completed in 1957. What makes this exhibition easier to approach and to be able to appreciate is the fact that it has been structured around four themes, or sequences, which echo the four “lines” that underpin the foundation’s contemporary collection: Subjective

have been specifically chosen to highlight their respective emblematic quality. In the first sequence, Subjective Expressionism, for example, you’ll find pieces that address the spectrum of issues that concern every human being, including life and death, angst and loneliness. It is here that you will see the faceless man in Malevich’s Complex Presentiment displayed opposite Munch’s The Scream, and so on, in an attempt to create a dialogue of sorts. Monet’s water lilies, Piet Mondrian’s dunes, and four versions of Lake Keitele by Akseli Gallen-Kallela (the quartet have previously never been seen together) can be found in the second sequence, Contemplative, focusing on meditation before nature. One then moves on to such legendary works as Malevich’s Black Square, Circle, and Cross, and Rothko’s No. 46 that plunges the viewer into an equally contemplative yet immersive experience. Nearby, a sculpture by Pablo Picasso from his Marie-Thérèse series dating

Popist, the third sequence, attempts to capture the vitality and dynamism of modern life through such works as Robert Delaunay’s Cardiff Team, and Léger’s famed interpretation of construction workers near an aloe plant. Finally, the fourth sequence depicts music and the relationship that artists share with it through some exemplary works by Matisse, Gino Severini and other artists. The sheer magnitude of ‘Keys to a passion’ prompts one to ponder over the story of art, its role in the world and how it is constantly evolving. It displays celebrated pieces of art that have never been shown together before, and are neither likely to come together any time soon. Approximately a month before the show closes, a symposium that will focus on all-important questions relating to the art world — what it means to collect art today, who is currently making art history, what makes a piece of art iconic, and the impact of the art world on this landscape — will take place at the

Expressionism, Contemplative, Popist and Music. Each sequence displays works that

back to the 1930s embodies a much more hedonistic approach to this pensive line.

foundation. It couldn’t, perhaps, be a more fitting end to this momentous exposition.

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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

OBSESSION

A MASTERPIECE OF THE MIDDLE EAST

A masterpiece of the Middle East One of the most awaited openings in the Saadiyat Cultural District is Louvre Abu Dhabi. The museum’s extraordinary architecture is certain to be a big draw, as will its own art collections and works loaned by the Paris Louvre and other French museums B Y B E V E R LY P E R E I R A

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L O U V R E A B U D H A B I , D E S I G N B Y J E A N N O U V E L , C O P Y R I G H T T O U R I S M D E V E L O P M E N T A N D I N V E S T M E N T C O M PA N Y

If Abu Dhabi is already reputed as one of the region’s fastest growing art hubs, its status as art capital of the UAE is likely to be cemented soon. Louvre Abu Dhabi, currently under construction on an island of sorts between the sand and the sea in the newly developed Saadiyat Cultural District, will open its museum doors in 2015, or even earlier, if all goes as planned. The museum, born of an intergovernmental agreement between Abu Dhabi and France in 2007, will put Abu Dhabi on the global art map as it joins

300 paintings and sculptures will be many masterpieces from the art world, including those by Andy Warhol, Claude Monet, Henri Matisse and Vincent van Gogh. As part of the agreement, Louvre will loan Leonardo da Vinci’s La Belle Ferronnière, more commonly known as Portrait of an Unknown Woman (circa 1495). Monet’s The Gare St-Lazare (1877) will arrive in Abu Dhabi from its previous home at the Musée d’Orsay et de l’Orangerie, while a rare salt cellar in ivory from the Benin Kingdom

the echelons of the world’s grandest museums — most of which are traditionally found in Europe and the US. Louvre Abu Dhabi is being portrayed as a universal museum of sorts, highlighting the interconnections, exchanges and conversations between civilisations, and the similarities and differences between their artistic traditions. It will display works of historical, cultural and sociological significance that range from the most ancient to the most contemporary. It is also known that many of the pieces of art to be

will be loaned by the Musée du quai Branly. Matisse’s Still Life with Magnolia (1941) from Centre Pompidou will also find a place at Louvre Abu Dhabi. This is the first time that many of these works will be travelling to Abu Dhabi or even the Middle East, for that matter. His Excellency Sheikh Sultan bin Tahnoon Al Nahyan, Chairman of Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi) feels that the opening of Louvre Abu Dhabi will present a rare opportunity to see important art from French

showcased in the Abu Dhabi museum originate from civilisations across the world. When the museum opens, at least half of the works on display will be from its own collection. The other half of the pieces of art on display at the museum will be loaned works, most of which belong to Louvre in Paris and at least ten other esteemed French museums and public institutions. Among the

museums along with Louvre Abu Dhabi’s own collection. “Ultimately, we hope to offer visitors a unique experience from a new perspective that underlines the universal spirit of the entire project,” he explains. The selection itself was a joint effort by TCA Abu Dhabi, Agence France-Muséums (AFM) and the lending museums. It followed the course of Louvre Abu Dhabi’s scientific and cultural programme defined

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OBSESSION

A MASTERPIECE OF THE MIDDLE EAST

by AFM, the organisation that was established for the realisation of the Abu Dhabi museum and that assisted with the training of UAE nationals in the field of museums. French institutions, many of which are stakeholders of AFM, will loan works for the opening year. They include the Musée du Louvre; the Musée d’Orsay et de l’Orangerie; the Centre Pompidou; the Musée du quai Branly; the Musée national des arts asiatiques Guimet; the Château de Versailles; the Musée Rodin; the Bibliothèque nationale de France; the Musée de Cluny - Musée

des Arts décoratifs; the Musée d’archéologie nationale de St Germain en Laye; and the Château de Fontainebleau. In the lead up to the grand opening of Louvre Abu Dhabi, two major exhibitions showcased pieces from the Abu Dhabi museum’s permanent collection, including one of the finest examples of a standing Bactrian Princess from the end of the 3rd millennium BCE. While the first show, Birth of a Museum, took place in Abu Dhabi in 2013, the second — Naissance d’un muse — was held at the Paris

national du Moyen Âge; the Cité de la Céramique Sèvres; the Musée

Louvre in 2014. Other intriguing works on display included a Middle-

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The Monzon lion, cast bronze with engraved decoration

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A MASTERPIECE OF THE MIDDLE EAST

Ewer, China, Ming dynasty

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Mattei Athena; Statue of Gudea, prince of Lagash, praying; and a rare salt cellar in ivory from the Benin Kingdom

Eastern gold bracelet with lion heads, a painting by Osman Hamdy Bey titled A Young Emir Studying (1878), and Paul Gauguin’s Children Wrestling (1888). Alongside, modern and contemporary pieces such as Piet Mondrian’s Composition with Blue, Red, Yellow, and Black as well as a series of nine canvases by late American painter Cy Twombly went on display. Louvre Abu Dhabi: Talking Art Series, a series of pubic discussions that serve to engage the local audience, has also been bringing together specialists, museum curators and academics since 2011. The series serves to discuss the museum’s collection through its cultural programme and to explore the significance of individual works both in art historical terms and in the context of the museum’s growing collection. Much is being talked about Louvre Abu Dhabi’s architecture, designed by Pritzker-prize winning architect Jean Nouvel. The museum is on its way to coming into fruition on a built-up area of 64,000 square metres, complete with pavilions, plazas, alleyways and canals that evoke the image of a city floating on the sea. “I wanted this building to mirror a protected territory that belongs to the Arab world and this geography,” says Nouvel, whose design for the museum forms a place of shade during the day and “an oasis of light under a spangled dome” by night. As of now, a vast, shallow dome, approximately 180 metres in

water is an emblematic feature of Arabian architecture, evoking the mosque, the mausoleum and the madrasa. The dome is perforated with a geometric pattern that casts diffused light, reminiscent of the shadows of the region’s iconic palm trees, on to the museum’s skin, or walls, below. These openings will make it possible to control the light and temperature inside, while an enchanting rain of light — reminiscent of the mashrabiya and the beams of light that illuminate souks — will flood the museum’s interior. The outer volumes of the museum, with their simple geometric forms will be haphazardly arranged to recall the Arab city and its medina. A promenade passes through clusters of low-rise buildings with diverse facades, creating a shifting, varied, poetic experience for visitors. In contrast, inside the building, the sequence of large galleries, with their straightforward geometry and high ceilings, offer exceptional spaces for the display of pieces of art. “Architecture is about harnessing the will, desire and skills of a handful of people in order to modify a place at a given point of time,” says Nouvel. “You always create it somewhere in particular, at the request of wone person or several people, but always for everyone to enjoy.” Given that Abu Dhabi is fast becoming the next big luxury destination, the opening of a cultural institution as significant as

diameter, is almost complete and has been placed into position at the museum site. The iconic white dome that partially extends over the

Louvre Abu Dhabi will most certainly propel the country’s reputation as a prime art market even further.

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COVER STORY

S PA C E T H E R A P Y

SPACE

THERAPY A colourless, transparent chair with a baroque contour, light fittings that are minimalistic and at the same time shed the right amount of light, an armchair that resembles soft marshmallow but proves to be solid and robust — it is these seemingly discordant and contrasting identities that make furniture by Kartell so very unique

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Italian goods don’t merely bring to mind aromatic ingredients to satisfy one’s culinary buds or high-end fashion to play along with different moods, but also great-quality furnishings that breath life into spaces that surround us — be it a home, an office, a store. Headquartered in Milan, Kartell offers multiple solutions to home design and decor, at the same time providing innovative ideas and tips on living in the contemporary world. A beautifully blended amalgam of cutting-edge ideologies, creative ethos and sheer aesthetic, the brand moves design beyond the current, and casts and an anticipatory peep to the futuristic appeal. Kartell has managed to remain a company that exemplifies Italian proficiencies in the field of furniture for over six decades. Since its origins, the brand has taken an entirely inventive methodology to the design of its products based on high-tech research and design vital in tackling the “design of plastic materials” which, unlike natural materials, are lacking any evident identity before processing takes place. Kartell’s success tale is clear through an incredible series of products crafted — furniture, interior design items and lighting — the three elements that have become part of the domestic landscape if not bona fide icons of modern-day design. Colour, wit, charm to the senses, transparencies, and exclusive forms for distinctive objects: the Kartell product is instantly recognisable

ITALIAN HERITAGE

world over for the emotions it evokes, its practical durability and its indubitable quality.

as Arad’s flexible shelf “Bookworm,” or Starck’s transparent chair “Ghost” quickly became 20th century style icons.

Some time in the 1940s, the young chemical engineer, Giulio Castelli, who had studied under Nobel Prize winner, Natta, dreamt of “producing objects with innovative characteristics, intended to be applications of new production technologies and aimed at economy of materials and process efficiencies”. It was on this basis that the Kartell company was founded in 1949, and began its business producing automobile accessories and domiciliary items, followed then in 1958 by lighting fittings and laboratory ware and, with the opening of the Habitat. International success, however, only came in the 1960s, and with Anna Castelli Ferrieri, the Founder’s wife. An architect by trade, she designed a new factory for Kartell, and as its Art Director, a novel product range. When Giulio Castelli was on the verge of completing his 70th year, he passed the helm to his son-in-law, Claudio Luti, who took over the trademark. While respecting and incorporating ideologies of Kartell’s “soul”, its expertise and its winning manufacturing strategy, Claudio Luti learned there was a need to practice a different type of research on the product and the material, and contributed to freeing plastic of the connotation typical of the 80s of being a “cheap” material. He called in famous worldwide designers to collaborate, first among whom was Philippe Starck and then Vico Magistretti, Antonio Citterio, Ron Arad, Piero Lissoni and Ferruccio Laviani, and soon developed an inspiring single brand distribution network worldwide…objects such

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Claudio Luti, President, Kartell

SALONE DEL MOBILE 2015 The most prestigious furniture fair, and the benchmark in the world of the home-furnishing industry today, Salone del Mobile is an

occupies around 2500 square metres in the building in Noviglio (Milan). The original display route developed by Ferruccio Laviani gives visitors

extraordinary platform to showcase talent and immaculate proficiency. Each year, Kartell loves to play with its appearance by decoding a theme, a trend, or a concept. This year, the motive behind the display, once again made up of Ferruccio Laviani products, is to show the collection in a new light pairing brand-new products with those already in the catalogue, and demonstrating how many artistic forms and products from different years can live side by side in impeccable concord. After all, the ideology of merging different tastes and styles has always been part of the Kartell DNA. It is not by chance that the brand has continuously worked with more than 20 designers, each with their own flair and communicative design approach, throughout its years. Kartell is exhibiting its own concept of elegance, which is versatile and eclectic, customisable and allows for free interpretation. In one word: contemporary. The Kartell stand at Salone del Mobile 2015 is designed to look like a large architectural building in a classical style. With a beige carpeted floor, slightly stylised velvet panel curtains, marbleised laminated platforms with bronze edging, and product displays featuring the same marble veining, every stylistic choice suggests the idea of the “bourgeois home”, and clearly shows how Kartell products can be tastefully incorporated anywhere.

Kartell wanted to celebrate 50 years of budding business, and also illustrate the extraordinary alliance between plastic and design.

an instant reading: the collection is organised in sequential order over three floors, and the overall layout is divided into the following categories: shows, design, technology and communications. The legends tell the tale of the company and present its most significant stages. The first rooms are devoted to the 50s and feature Giulio Castelli’s totally new approach to technological research and to an aesthetic renewal in design. With its rich collection of awards, including five Compasso d’Oro awards, from the 60s, the company assuredly began manufacturing a series of more complex and evolved products, and developed interior design items made of plastic. The 70s were characterised by a new interest in the working environment and in that of collective services and by the development of research in the systems field. In the 80s, under the artistic direction of Anna Castelli Ferrieri, Kartell sought to combine industrial logic with a hightech approach, while in the following decade, Kartell enhanced its collection thanks to the contribution of various international designers with whom it began working. Thus, objects were produced in response to new needs and became seductive through their enchanting design. The exhibition ends with the successful pieces of the last ten years witnessing the ultimate confirmation of the brand as an international design leader and distinguished in its 60 years of history by its central theme of constant technological and functional innovation. In 2000, the museum received the exalted award from the Guggenheim for “Best Corporate Museum”, and its collections have been requested and shown at the

Container of 1,000 objects, designed by Anna Castelli Ferrieri and Ignazio Gardella, the Kartell Museum was established in 1999. It

Centre Pompidou, the Kunsthalle in Bonn, at the Triennale in Milan and the MoMA in New York.

THE MUSEUM

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“Precious, yes: this year, plastic has finally achieved its rightful status as a precious, rare and technological material” F E R R U C C I O L AV I A N I

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EDITOR’S PICK MULTIPLO BY ANTONIO CITTERIO Antonio Citterio has crafted a multipurpose family of tables: Multiplo. The key idea driving this project is that one can create absolutely different tables depending on the finish, colour or pattern used — by amalgamating bases and tabletops, from the minimalist to the ornamental, from pop art to more chic designs, from bourgeois dining tables to the perfect bar tables for contract furniture. KABUKI FLOOR LAMP BY FERRUCIO LAVIANI Ferruccio Laviani created the Kabuki floor lamp for Kartell. A beautiful actress in a white or black lace dress, with aesthetic curves and a neo-baroque look, the Kabuki lamp is injectionmoulded using mass-coloured thermoplastic technopolymer. The complex technology used — a speciality of Kartell, for which it is an undeniable universal leader — makes the product robust and stable, while at the same time its perforated surface conveys an ethereal image. Although at first sight it may appear to be the fruit of careful workmanship, this product is in fact strictly industrial and made from plastic. In addition, Ferruccio Laviani has brought out a coloured version of Battery, a revolutionary LED light that can be recharged via a USB cable. Perfect for both outdoor and indoor use, this new icon has a battery life of six hours. The designer has also created two new versions of the iconic Fl/y pendant lamp in extra small and extra large, featuring an outburst of bright and bold colours. AUNTS AND UNCLES BY PHILIPPE STARCK Philippe Starck extended the Aunts and Uncles family with his latest table, Sir Gio. This sculpture-like and timeless design reflects the designer’s fixation to generate maximum of effect with a minimum of materiality expressed by the strictly transparent polycarbonate base of the table. The collection is rounded off with the Uncle Otto side table made from either solid black polycarbonate or a transparent polycarbonate top boasting an elegant two-tone effect. Another offering by the French designer comes in the shape of the Only me in the Light mirror, made from opalescent polycarbonate, which has a light built into the mirror itself. Eugeni Quitllet put his name to a new chair, the Dream’Air, a concept that Kartell has never before visited in terms of form. The core feature of this new star product is the blend of diverse materials within a geometric base structure and an ethereal and transparent seat, with Leonardo’s Last Supper as a backdrop. Yet another will represent Milan’s fashion district to present Starck’s limited edition Madame armchair, upholstered with Emilio Pucci Cities of the World fabric, with the new print devoted to Milan.

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Colour, wit, charm to the senses, transparencies, and exclusive forms for distinctive objects: the Kartell product is instantly recognisable world over

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KARTELL PRODUCTS A R E AVA I L A B L E AT T H E G A L E R I E S L A F AY E T T E , DUBAI MALL

PRECIOUS KARTELL: ALL THAT SHIMMERS… Whilst imagining extravagance and allure in material, plastic probably isn’t the first to come to the minds of most people. Having said that, the innovative Italian brand Kartell has proved a serious number of people wrong. To celebrate and emphasise on the high-performing properties of their plastic, Kartell introduces the Precious collection, which features some of their most iconic bestsellers in sleek metallic finishes. Gold, bronze, silver, gunmetal grey and copper — the base of an exclusive and brilliant metallic-finished collection. All the metallisation processes

consequence in terms of manifestation, touch, resistance and strength of the varnishes used. Popular choice amongst design enthusiasts is the FL/Y Suspension Light — one of Kartell’s most recognisable designs. Designed by Ferruccio Laviani, the contemporary pendant lamp features a domed cover available in various options of colours, from Petrol Blue and Emerald to Cardinal Red. Laviani also designed the characteristic Bourgie Table Lamp, which balances an amalgam of classic and traditional form, complemented by playful colours and finishes. The

carried out by the innovate brand are cutting-edge and high-quality processes, and the result of major research to obtain an immaculate

Componibili Round Storage by Anna Castelli Ferrieri is a simple yet intelligent storage solution, and was fashioned to meet an array of needs.

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STROKE OF GENIUS

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SUITED TO LUXURY Maserati and Ermenegildo Zegna have teamed up to offer a limited-edition Quattroporte sedan. Here, we present this collaboration, in depth, to throw light on the exclusive offerings that the two Italian luxury powerhouses have brought to the fore

Collaborations between brands aren’t exactly a rarity these days, when the term ‘luxury’ is so often misused for the sheer hype of it all. But, when the brands in question are storied enough to each bear their own longstanding stamp of tradition and heritage, the result is bound to be quite unlike anything else. Collaborations like these rarely produce the ordinary; in fact, the outcome is almost always an offering so rare, it reminds one of the qualities of extraordinary exclusiveness that is expected of a luxury product in the first place. The recent collaboration between two Italian powerhouses Ermenegildo

the paintwork accentuates the already sinuous lines of the car’s body and the way in which one section flows into the next. You’ll see this same finish on its Mercurio 20” wheels, whose diamond-smoothed surfaces create somewhat of a polished, chromatic effect.

Zegna and Maserati, on a limited-edition Maserati Quattroporte sedan, couldn’t better exemplify this feeling of buying into what can only be described as the height of luxury and refinement.

a suit tailored by the renowned Italian fashion house. The generous use of leather seamlessly blends into prestigious fabrics such as silk, specially created by Zegna and inspired by its menswear collections. These exquisite fabrics complement the open pore, natural wood feel of the central console’s radica walnut trim. The cabin is finished in warm yet classic “Moka” colours — a delicate blend of light grey and sabbia to form “Greige”, and the sophisticated dark brown, “Testa di Moro”. Ultra-fine grain leather lines the interior while contrast stitching embellishes the dashboard and upper door panels. Perhaps, the most unusual is the use of silk in a car. The challenge was mainly in the fabric for the seats, as that area is usually heavily used. Not one to shy away from delivering the height of refinement, a fine grey jersey silk fabric, dubbed ZegnaSilk, was developed for the car’s roof lining and sunshades. The same fabric covers the central door panels that feature diagonal double stitching, while Grey Alcantara covers the upper sections of the pillars. The central seat and backrest sections are upholstered in an unbelievably soft 100 per cent silk chevron, produced at the storied Zegna woollen mills of Trivero.

CELEBRATION A CENTURY Maserati celebrated a century of its existence last year, in 2014, and its partnership with Ermenegildo Zegna, a fashion house five years past its centennial celebrations, couldn’t have been a better match. As part of this collaboration, only a 100 Maserati Quattroporte Ermenegildo Zegna cars have gone into production since July 2014, which says a lot about both brands’ affinity for the exclusive. The Limited Edition car is a sixth generation Quattroporte that adds more power and luxury to Maserati’s existing Quattroporte GTS. An ode to technological perfection lies just under the hood of this Limited Edition sedan. Powered by a twin-turbo V-8 that develops 530 hp and 710 Nm of torque, it enables the car to accelerate from zero to 60 mph in 4.7 seconds from 0-100 km/h up to a top speed of 307 km/h. You also have to consider the fact that many of the older GTS’s optional features — front-seat ventilation, a sunroof and four-zone climate control — are standard on this edition. This impeccably flawless treatment flows onto its exterior, finished in a sand-like colour called Platinum Silk that was developed exclusively for the series. Aside from the richly classic colour, it’s about the unique texture and depth of the paint’s finish that’s really quite astounding. The Platinum Silk finish uses extra-fine aluminium pigments to create an effect that combines the purity of metal with the soft look of silk, or simply put, a sheen like you’ve never seen. The flowing liquid effect of

A TAILOR-MADE CAR Touches of luxury, in true Ermenegildo Zegna style, are tailor-made to suit Maserati’s fine craftsmanship. The new Quattroporte’s unparalleled interior provides for an experience not unlike the feeling of wearing

OWNING A PIECE OF LUXURY The Limited Edition car carries that much more attention to detail as seen on the brass “Limited Edition One of 100” plate that’s set into the central console. And, like a Zegna suit, with its intriguingly fine attention to detail, the insides of the sunshades carry an exclusive “Ermenegildo Zegna Exclusively for Maserati” label. Another “Ermenegildo Zegna Limited Edition” plate on the car’s B pillar is a not-so-discreet nod to

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the finer detailing that has gone into its design and finish. The vehicle also comes fitted with a Bowers & Wilkins Premium Sound System with 15 speakers and a powerful sub-woofer.

and offers guests a close enough view to appreciate its fine details. Accelerating this concept to a whole new level, in parallel with these exclusive events, is the creation of the book “One of 100” that will bring

The collaboration between Maserati and Zegna extends much further than this magnificent motoring marvel. A 19-piece Owners Collection designed by Ermenegildo Zegna gives owners of the limitededition car access to accessories crafted from fine-grain calf leather and ZegnaSilk with the signature chevron motif. The line comprises travel bags and leather, metal and textile accessories, all of which feature iconic elements spotted in the car, such as the “Zegna for Maserati” selvedge. Each of the 100 owners gets a bolt of the same

together images shot by the renowned photographer Fabrizio Ferri at each of the four locations. The Italian photographer, who began his career as a photojournalist in 1970, is known for his sophisticated yet pure vision that has been seamlessly translated into portraits of many an icon including Sophia Loren, Madonna, Monica Bellucci, Naomi Campbell, Sting and Willem Dafoe, among a host of others. As part of his Quattroporte book project, Ferri will capture shots of the hands of 100 eminent personalities — musicians, chefs, athletes and

ZegnaSilk herringbone fabric used in the Quattroporte’s interior that can be tailored into a Zegna Made-to-Measure suit. Select pieces from the collection, as well as footwear and outerwear inspired by the unique sedan, will also be made available for purchase at Ermenegildo Zegna stores. OF ARTISANSHIP AND HANDCRAFTED EXCLUSIVITY Maserati’s glittering centennial celebrations began in 2014, and the

artisans — that have been invited to the One of 100 events. A special photographic set at the event forms the background for his photographs of hands, in a bid to express the person’s character through a visual story that portrays their hands as the instruments of their jobs. The book that also features interior and exterior details of the new Quattroporte in all its glory brings to the fore the exclusivity, excellence and uniqueness associated with the art of all things handmade and of artisanship, best represented in the DNA of Maserati and Ermenegildo Zegna.

announcement of the Maserati Quattroporte Ermenegildo Zegna series no doubt continues to be extremely fascinating. Starting with the One of 100 event of the car in Shanghai, the Zegna-Maserati collaboration was then showcased at a New York road show in September the same year. The show arrived in Dubai in March 2015 and will next travel to Milan for a Summer 2015 event. A special set-up resplendent in Italian elegance showcases the star of the show — the new Quattroporte —

With the launch of the Maserati Quattroporte Ermenegildo Zegna series, both Maserati and Zegna are also supporting the restoration of one of Italy’s most monumental civic fountains, the Fountain of Neptune, located in Piazzo Nettuno in Bologna. This initiative symbolises the importance of heritage and handmade work for both brands. In fact, the Maserati logo itself is based on the trident seen on the fountain’s statue of Neptune.

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MEN BEHIND THE MARVEL Dubai, the third stop in the One of 100 events calendar of the limitededition Maserati Quattroporte Ermenegildo Zegna sedan, saw an exclusive event earlier this year, on 19 March. While select VIP guests and regional clients in attendance at the Four Seasons Resort got an up-close view of the new car, Signé indulged in an exclusive têteà-tête with Gildo Zegna, CEO of the Ermenegildo Zegna Group, and Harald J. Wester, CEO of Maserati, who were present at the event. Excerpts from the interview: Take us through the birth of this collaboration. Harald Wester: I sat down with my team at Maserati a couple of years ago to think about which brand, or serious corporation, would be a perfect fit for our company to create a product that would be unique for both our customers. We were thinking along the lines of something that could not be done by either of the brands alone. We weren’t looking at a co-branding strategy but a collaboration that would have an impact on our product. At the time, there were seven or eight proposals from Italian brands. Ermenegildo Zegna was among the top three because the heritage of Zegna as an Italian luxury brand matches that of our company’s. Gildo Zegna: But both brands also had a previous history. We are not exactly first-time collaborators as we had worked on a Lancia model in the 1980s as well as on a Ferrari car the following year. More recently, we had a two-year collaboration with Maserati on the GranTurismo to design a few cars in our own colours and a fashion accessory line for Maserati’s top customers. Why have you selected Dubai as the main location for this launch? Zegna: Dubai is an important market for both Zegna and Maserati. It’s a bridge between Eastern and Western cultures. It has had a good amount of evolution, and as a market, it has the right target audience for both brands. This is also the same reason why we chose the three other major cities for the launch. What’s the message that you want to send across from the perspective of each of the brands? Zegna: We have the same or almost similar client. Their client could be ours, and vice versa. We share similar values, and both brands offer

What is special about the new Quattroporte as compared to Maserati’s previous special editions? Wester: It’s a very special car that is an understated amalgamation of beauty, elegance and high technology. I always feared that it would be received solely for its holistic beauty. But what I’d like to stress on, although it might just be the view of an engineer,

outstanding products — quality-wise and style-wise. Both brands also have a strong Italian heritage. We both create common stories.

is the technical competence that has been embedded into the product.

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Harald J. Wester, CEO of Maserati and Gildo Zegna, CEO of the Ermenegildo Zegna Group

Can you explain Zegna and Maserati’s involvement in this product, respectively? Zegna: We wanted to propose to Maserati a special fabric that said something new, which would complement the leather in the car’s interior. You see, silk is an interesting fabric because of its natural sheen. The car’s Platinum Silk paint also complements it well. The other challenge was to make use of an appropriate fabric that was built to last and perform. We developed several prototypes that focused on

Wester: Since the car carries the Maserati badge, the overall responsibility could not have rested on anyone other than us. We had a good and easy partnership with Zegna for the aesthetic side of things, to match the interior and the exterior colours, and those of the rims and other parts. It was the easy part of this project at least from our side. Going beyond this, it was Maserati’s role in setting the standards for nothing less than perfect quality. In the beginning, we had a very light and optimistic approach to bring silk into the car. We were clear

the finishing and the yarn, right up to the weaving. It took us six full months to develop the final fabric, ZegnaSilk.

that we wanted to do this. But at the same time, we also needed to be absolutely sure of our decision, which was in effect a daily worry.

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There is no possibility for any kind of deviation or compromise to our standards. If you want to sell a car at that level and price, it needs to fulfil your standards. We would have changed our course had we not achieved what we wanted with that fabric. “One of 100” — the book in collaboration with Fabrizio Ferri, focuses on artisanship and the handmade aspect of both brands. What are the challenges faced by artisans today? Zegna: Luxury brands tend to promote the designer over the actual artisan. There is a shortage of tailors in the world, no doubt. But at the same time, the market for artisanship is appreciating. Artisans are rewarded, provided they keep up with their promises. And, even though we don’t see traditional craft schools any longer, the new generation seems to be interested in starting their own small businesses. But I’m more positive now than I was ten years ago before because of the younger generation, who understands that there are more market segments opening up in different fields, be it design, food, fashion, or crafts. We have an internal school at Zegna that supports those who want to promote textile design and handcrafted works like leather, knit work or clothing. How is Maserati tapping into markets that now have a demand for everything bespoke? Wester: The world is getting increasingly sophisticated and challenging; there are many customers who might not care too much even if they get a chance to buy a limited-edition car because it’s not exclusive enough for them. What they really want is to own a unique car in a colour combination that that no one else might possibly own. Our customers value the fact that they can customise a Maserati product. They see a Maserati as an extension of their private living space. So they design it in line with their personality and personal taste. We can see this happening if we walk down the production line, where we’ve noticed people who want colours in the royal suite of the Burj Al Arab, or some who want more elegant, natural and sophisticated colours.

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I’ve also noticed that many people tweak the contrast stitching or seat colours using our car configurator, and after writing in to us, they change it all over again. The Zegna-Maserati limited-edition cars will be personalised right down to a tag in the car that states the name of the owner. It all goes back to the emotion of the person driving or sitting in the car. What is it in terms of emotion that you want to achieve with the new Maserati? Zegna: When you turn on the key, the sound of the Maserati engine sets the car apart from any other car; it is music to your ears. Once you shut the door and only hear the sound of the engine, you also get a unique scent that comes from the natural fibres, leather and wool. It gives you a warm feeling, which is what we call the cocooning effect. Wester: Not many can do the same thing as what Zegna does with their products and what we do with ours. Even in the high-end luxury market, particularly in the automobile industry, you may find many perfect pieces of technology these days. But the maximum emotional relationship to come out of this is that they’re too processed; they are just cold, anonymous pieces of steel, plastic and leather. We, however, provide emotions. I would go so far as to say that from time to time our cars are able to provide meaningful moments that stimulate emotion. Do we see another collaboration in the future, perhaps, on another model or fabric? Zegna: We are trying to go forward with the research and study of new fabrics for new Maserati cars. Wester: The vision I have, which I’m sure Gildo shares, will be extremely difficult to realise because we both have restrictions in our technical industries, but we are also restricted by minimum quantities of production. Zegna’s main business is not to supply a certain quantity of fabric to Maserati. Even if we have success with this edition, we will become an important customer to Zegna. But the ultimate vision is a tailor-made Maserati.

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HERITAGE 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

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explosion into

time

A decade of intense devotion to invention, endeavour and meticulous skill, Hublot is amongst the few timepiece houses of today that is highly regarded for innovation, artistry and immaculate class; it all started with the Big Bang, and here’s journeying through…

For several centuries, human beings have gazed at the stars and been in deep speculation as to how this universe developed into what it is today. In the same manner, watch aficionados were in constant search for answers and missing bits until luxury timepiece house Hublot executed a mighty plan. Ten years ago, Hublot came to BaselWorld and changed the way the curious looked at watchmaking. The year of 2005 marks great significance as the then-CEO, Jean-Claude Biver, unveiled what would become a new classic: the first Big Bang. Back then, when the Big Bang Steel Ceramic first exploded into the horological stratosphere, few people would have predicted just how big this bang would be, and how long it would pulsate. Ten years on, and Hublot is no longer just a bright star with exciting new materials, gases and atmospheres, but the brand has matured and swiftly evolved over the decade and found a permanent seat in the watch universe, orbiting out many brands that behold longer backstories. In celebratory mood earlier this year at BaselWorld, the Swiss watch house marked the 10th anniversary of one of the Big Bang, and also held a launch of some remarkable new timepieces for 2015. No longer only looking back to the past for inspiration, but ambitiously looking towards the future, the Big Bang embodies a new shape of luxury. Materials are combined that normally would never come together: carbon and gold, ceramic and steel — even jeans and diamonds. “Hublot’s strength resides in its very clear identity — the art of fusion — this unique ability to create timepieces which combine tradition and innovation,” says Ricardo Guadalupe, Chief Executive Officer.

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2005 Big Bang Steel Ceramic The opulence of the Big Bang drew instant attention to Hublot at BaselWorld in 2005. This watch also served as a starting point and a new direction for the brand. Its 44-mm case is made up of more than 50 components, making it an excellent representative of Jean-Claude Biver’s philosophy of “fusion” — the idea of smoothly combining several often-incongruous materials. The first Big Bang was produced with an 18-carat red-gold or stainless steel case in combination with a scratch-resistant black or white ceramic bezel. The immediate success of the watch showed Hublot was right in its prediction. Sales recorded at the end of the fair were 5.5 times higher than the previous year.

2006 Big Bang All Black Hublot’s presentation of an entirely black watch proved the All Black to be a bona fide trendsetter. The total rejection of any compromise extends to every visible part including the HUB 44 caliber, in which a black heavy-metal rotor winds the mainspring. To top that off, black hands travel around black a carbon dial. The All Black is in keeping with the same visionary spirit, reaching even further beyond the use of new materials with a new extreme design. With its assertive character and powerful aesthetics, it is distinguishable by its impressively proportioned 44.5-mm case, crafted entirely in black ceramic with alternating brushed and polished finishes.

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2007 Mag Bang The future of high-end technical watchmaking certainly lies in weight reduction. Light and extremely strong are words that can describe the Mag Bang quite aptly. Hublot loves to tout its ability with unforeseen and state-of-the-art materials. The new hightech Mag Bang is distinguishable by its imposing 44.5-mm case with extra-large bezel in magnesium or ceramic. Beneath the antireflection, double-faced sapphire crystal, the dial emphasises the innovative nature of the timepiece. The back of the watch case is blanked from titanium.

2007 Big Bang One Million This 18-carat white-gold-dressed case boasts 322 immaculate baguette-cut diamonds, totaling 24.65 carats. Special grooves in the stones allow for invisible settings — even for the twelve baguette diamonds on the crown. Hublot didn’t leave out the bilevel stainless-steel dial either: it alone has no fewer than 129 baguette diamonds. The One Million is an exceptional piece made by master stone-setters, and has enjoyed major success till date. Due to the complexity of its production, this is a timepiece that is made by special order only, which makes it even more exclusive.

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2010 Big Bang Unico

2012

After numerous years of development work, the in-house caliber HUB 1240 “Unico” debuted in a striking case with a scratch resistant ceramic bezel. The most noteworthy feature of this watch is that every timing action of the chronograph can be noticed through the scratch-resistant sapphire crystal. Thanks to a fly back function, the chronograph can be restarted without a reset.

Big Bang Minute Repeater Carbon Sound is crucial for a minute repeater. It depends in great deal on the materials used for the complex movement and the protective case — Hublot was prepared for this challenge. The Minute Repeater Carbon’s waterproof carbon-fibre case with titanium and rubber parts is well suited for the transmission of sound. The repeater chiming mechanism with its unusually long cathedral gongs marks the hours, quarter-hours, and minutes acoustically. A total of 404 separate components are needed for each piece, with a power reserve of 120 hours.

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Big Bang Ferrari Magic Gold There’s no logical connection linking solid gold and sports cars. But the objects Hublot fabricates from the shining precious metal fit perfectly alongside the material research conducted by Ferrari for its racers. Three years of rigorous research resulted in an 18-carat, scratch-resistant fusion of gold and ceramic with a hardness of 1,000 Vickers. Magic gold is a special 18-carat gold and ceramic alloy, which offers the look and feel of 18-carat gold with the incredibly high scratch resistance of ceramic materials.

Big Bang Carbon Bezel Baguette Rubies Would one think it possible to increase the value of a carbon-fibre bezel by decorating it with fiery-red rubies? The creative minds at Hublot have done it. Hublot first crafted a crystal ring made from brass so that skillful artisans could place 48 baguette-cut rubies in a traditional setting. Following that, the rhodium plating protects the metal from oxidation. Hublot then used a high-precision manufactured carbon-fibre structure with six segmented nooks to encase the gem-encrusted metal body. It has been attached to the case body with six iconic Hublot screws.

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2014

2013

Big Bang Unico FIFA World Cup 2014

Big Bang Jeans Carat The extraordinary Big Bang Jeans watch showed how Hublot can even put demin at a pedestal in the luxury watch sector. This Swiss manufacturer uses a special kind of jeans material — unexpected, remarkably trendy Dsquared denim from Italy. Fortyeight blue baguette-cut sapphires enhance the visual magnetism and value of the Big Bang Jeans Carat watch.

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Originally created for the 2014 FIFA World Cup Brazil™, the Unico Bi-Retrograde Chrono is emblazoned in Brazil’s team colours. This timepiece is Hublot’s first-ever Unico Bi-Retrograde Chrono, which means it can be used as a stopwatch that, once you stop the time, sends both hands jumping back to their starting places quickly and concurrently. Its satin-finished case has a carbon fibre-and-black-aluminium bezel with titanium crown and pushers; a yellow retrograde chronograph minute hand and a green retrograde chronograph second hand both glow with luminescence in the dark.

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2015 Ten years have gone by since Hublot’s first Big Bang in 2005. In celebration of these wonderful years, prestigious timepiece house unveils three new models, which are showcased at BaselWorld 2015. Discover these newly sophisticated additions to the Hublot family

Tourbillon Power Reserve 5-Day Full Magic Gold Equipped with the traditional Big Bang case measuring 45 mm in diameter in polished Magic Gold and polished Magic Gold bezel, the Tourbillon Power Reserve 5-Day Full Magic Gold has a beautiful skeleton movement and an added practical power reserve indicator function on the dial side. Its skeletonised dial features a five-day power reserve indicator at 9, and the tourbillon cage at 6 o’clock is simply spellbinding.

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AN EXPLOSION INTO TIME

Unico Haute Joaillerie Adding a sparkling touch to the 10th anniversary celebration of Big Bang, Hublot reveals an exceptional and unique collection — here are four luxurious gem-laden watches. Extremely exceptional, three of the most complex setting techniques have been used to create the pieces: invisible setting, Clou de Paris setting and rail setting. All four versions — the black diamond version, the white diamond version, the blue sapphire version, and the ruby version — carry 653 baguette diamonds or gemstones.

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TRANQUIL LUXURY

Tranquil Luxury The Bottega Veneta atelier in Northern Italy’s historic town of Montebello Vincentino is an ode to the house’s commitment to craftsmanship. It also mirrors the Italian luxury brand’s approach to local tradition and sustainable efforts

It’s safe to say that over the last fifty decades, Bottega Veneta hasn’t deviated from its standards of luxury. Established in 1966 as an artisanal leather-goods brand, the house was distinguished for its subtle luxury, and fine craftsmanship intrinsic to the Veneto region of Northern Italy where the company was founded. The following two decades saw Bottega Veneta favoured

to define Bottega Veneta, while its commitment to bring together the artisan and the designer at its ateliers remains unbroken. The only changes to have occurred essentially turned out to be quite beneficial for the brand and its customers. Over the years, Bottega Veneta extended its offerings to include fragrances, men and women’s wear, fine jewellery, furniture, home accessories and a watch.

by such personalities as Andy Warhol and the eternally stylish Jackie Onassis. Even as the luxury market was inundated with larger-than-life logos on ‘It’ bags of the nineties, Bottega Veneta didn’t stray far from its values to suit these ostentatious times. Instead, it made an indelible mark with its leather-weaving technique, Intrecciato. The brand embarked on a new chapter in the new millennium, when it was bought over by the Kering luxury group. It was also around this time that Bottega Veneta’s subtle luxury — reflected in its slogan of the seventies “When Your Own Initials Are Enough” — returned under the

Its most famous Cabat, Veneta and Knot bags still carry the promise of an exquisite past. Even its minimalist pieces of furniture are crafted to last a lifetime. The brand’s timeless appeal is also very much alive if you walk into any of the Bottega Veneta-owned stores in Europe, Australia, Asia, North and South America. Designed by Maier to match the house’s affinity for the sophisticated and the subtle, the stores are every bit as exclusive as one would imagine. In 2013, Bottega Veneta’s atelier found a new home on a 55,000 sq m piece of land in Montebello Vicentino, some 18 km away from

new creative charge of German designer Tomas Maier in 2001. Despite this, the house’s seminal values remained untouched. Even today, innovative design, an intensely personal sensibility, contemporary functionality and a guarantee of the highest quality materials continue

Vicenza, where its previous atelier was located. Not too far from the Montecchio Maggiore castles, the site also houses a historical 18th century villa, Villa Schroeder-Da Porto. Castello di Giulietta and Castello della Villa, both historically significant castles, are visible from

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the rooftop of the new atelier. As the home of craftsmanship, creativity and the very identity of Bottega Veneta, 300 of its staff members work at the new atelier, which is separate from its production site proper.

have been organised. A noise-barrier system in the atelier ensures a pleasant work environment for Bottega Veneta staff. Not unlike its parent company Kering’s green headquarters,

Bottega Veneta set about restoring the 18th century Villa Schroeder-Da Porto and recovered part of the annex in which the prototype section is now positioned. It also constructed a 12,500 sq m addition to the villa. When it came to the atelier’s design, the house opted for a people-centric approach, largely inspired by the university campus model. On site are expansive outdoor areas that can be seen from almost every section of the building. These open spaces, according to the house, can be used for multiple purposes to favour collaborations and relations between people. At the heart of Bottega Veneta lies its recognition of the importance of artisanal craftsmanship and the need to preserve this tradition that forms its brand identity. In 2006, the house had opened a school — the Bottega Veneta School or Scuola Dei Maestri Pellettieri di Bottega Veneta — to train and support future generations of leather artisans. Previously located in Vincenza and now hosted on the new property, the school has rooms designed to showcase the products of students who might go on to become the new generation of craftsmen. It is yet another reminder of the house’s support extended to the diminishing number of leather craftsmen in Italy. The atelier can very well be called a place that has been designed for and with those people who make up the very fabric of Bottega Veneta. The creation process was based on shared decisions involving its entire staff. That it took the people-centric route has also been reflected in staff services. Employees can avail of the shuttle bus and parking lot, besides an indemnity for the incurrence of additional

Bottega Veneta has incorporated a sustainable approach into the design and working of the atelier. The conditions of the historical site were first studied in a bid to keep the existing foliage untouched and to execute development through the use of certified materials and plants. Protected by Italy’s Environmental Heritage authority, the villa’s conservation and restoration process maintained its local stone façade, portals, columns, statues and fountains. From the perspective of environmental sustainability, the atelier is a frontrunner in the luxury and fashion industry. It became the first building of its type in the European luxury world to have been recognised for its ecological initiatives, when it obtained LEED certification at the Platinum level in March 2014. The atelier’s green efforts extend to the use of solar panels on the roof, an air conditioning unit that limits carbon dioxide emissions, and a rainwater collection system. Dimmer lights adjust lighting according to natural light levels to reduce energy consumption. To watch artisans at work in the atelier is to get a sense of their passion for craftsmanship. Also very evident is the scrupulous care taken to promote the well being of employees and the villa’s impact on the surroundings and its people. A private museum in the atelier houses some of Bottega Veneta’s most classic bags and other products created as early as the 1960s. It is in these archives that one can fully understand the artistic abilities of a Bottega Veneta artisan, who has always created with his or her hands, eyes and hearts. Today, as Bottega Veneta products come to life in the sunlit Montebello

travel. Parking space for bicycles encourages employees to ride to their workplace, while staff memberships at gyms in the vicinity

Vincentino atelier, one can sense that the house’s connection between the past and future remains very much alive.

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LA DOLCE VITA Curated with a 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

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A D AY A T T H E R A C E S

A DAY AT THE RACES The Ruler of Sharjah Cup was Sharjah’s final race meet of the season. Each of the six races presented by legendary timepiece maker Longines made for a riveting spectacle

A certain four-yearold horse was the cynosure of all attention on a particularly sultry March Saturday in Sharjah. At half past four in the evening, the prestigious Ruler of Sharjah Cup race, presented by watchmaker Longines, was on in full swing and spectators at the racecourse

for everyone involved with the sport, from riders aiming to improve their performance and buyers searching for promising horses, to stud farms and riding schools. The star of the Ruler of Sharjah Cup, Abhaar, emerged victorious in the 1,700m Race Number 5 presented by Longines

Since UAE’s 2014-15 race season kicked off on 31 October 2014, the Sharjah Equestrian and Racing Club has played host to six racing events; the last and final meet for the season at this venue was the Ruler of Sharjah Cup. The season’s final event, on 28 March 2015, took place at the

found it hard to give this promising horse a miss. The horse in question was Abhaar, who went on to make its debut on the dirt a winning one. The Ruler of Sharjah Cup, Sharjah’s most awaited race event of the season, took place on 14 March 2015 and entailed six exhilarating races. The equestrian tournament of significant proportions took place at the state-of-the-art Sharjah

Conquest Classic Moon Phase. The horse, aged 4, is owned by President of the UAE, HH Sheikh Khalifa bin Zayed Al Nahyan. Trained by Salem Al Ketbi, Abhaar had won all four career starts prior to this. Despite being its first race on dirt and the fact that it consequently struggled to handle the turn into the straight, Abhaar completed a perfect five. Rider Tagdh O’Shea corrected the colt,

Meydan Racecourse with many of the races presented by Longines. The brand is also involved in some of the most famous flatracing events in the world, such as the Prix de Diane Longines, the Dubai World Cup and the Qatar Prix de l’Arc de Triomphe. Launched in 1832, the legendary watchmaker is a member of the Swatch Group and its passion for the equestrian sport

Equestrian and Racing Club (SERC). Racing in the Middle East stems from the region’s noble Bedouin traditions. For millennia, nomadic Bedouins have prized the Arabian horse breed, known for its speed, refinement, endurance, strong bone and cooperative relationship with humans. One of the oldest breeds, the Arabian horse has a distinctive head shape and high tail carriage that makes it one of the most easily recognisable breeds in the world. Given the region’s undying love for this sport and the UAE’s thriving horseracing scene, Longines has been a leading supporter of prestigious events hosted across UAE’s race season. The brand has itself been associated with the Sharjah Equestrian and Racing Club for eight consecutive years. The eminent Swiss watchmaker Longines, based at Saint-Imier in Switzerland, has for decades been at the very forefront of the equestrian arena, sharing much in common with the sport, including its values like elegance, tradition and performance. In fact, timepieces by the brand with the

when it seemed intent on heading for the nearside rail, and together they claimed a 12-length victory. A 10 Furlongs Handicap contest was the only thoroughbred race of the event. Supported by Longines Prima Luna, the title was won by Famous Warrior under Sam Hitchcott for trainer Doug Watson. Although Al Nassa, under Richard Mullen, posed an initial challenge to Hitchcott’s mount, Famous Warrior impressively emerged a winner. The action-packed day concluded with the 2,700 m Sharjah Marathon. The main support race saw both Swyft and Fantastique MHF seeking to win for a second time. The latter, sporting the emblematic blue and white colours of its owner HH Sheikh Hamdan bin Rashid Al Maktoum, was however defeated by Zaffaan, a horse ridden by Paul Hanagan and that also shares the same owner. Zaffaan left all competition behind to claim the esteemed title that was presented by Longines Conquest Classic. The Longinessupported race meet also comprised other

dates as far back as 1878, when it produced a chronograph engraved with a jockey standing by his horse. The watch, which enables the user to time performances to the seconds, made its appearance on racetracks as early as 1881 and was incredibly popular among jockeys, bettors and spectators. By 1886, the equestrian-themed chronograph was already being used by sports judges in New York. Its first major involvement with the sport occurred in 1926, when Longines was named official timekeeper of the Concours Hippique International Officiel de Genève. Today, it continues to support equestrian events, with a particular focus on show jumping, flat racing and endurance competitions besides being the official partner and timekeeper. Longines’ association as official timekeeper in the world of sports extend to gymnastics, tennis and Alpine skiing too, and can be traced back to 1912, 1933 and 2007 respectively. But as far as horse racing is concerned, Longines and the sport go back much earlier. And, as the brand continues this longstanding association with the UAE

iconic winged hourglass have become indispensable timekeeping instruments

races like Longines Conquest Classic Gents, Longines Dolce Vita and Longines Saint Imier.

and in other countries, its passion for the sport lives on.

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Racing in the Middle East stems from the region’s noble Bedouin traditions

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PURE SPORT

PURE SPORT Sports car enthusiasts have good reason to get back on track. With an exhilarating line-up of Mercedes-AMG vehicles, the 2015 AMG Performance Tour generated as much thrill for drivers as the 15,300 horsepower that was set off at the Yas Marina Circuit in Abu Dhabi. Signé takes an in-depth look at the adrenaline-pumping affair

Every Mercedes-Benz vehicle carrying an AMG banner — be it a street-legal sports car or a full-fledged race car — is decidedly different from a regular Mercedes. The Mercedes-AMG GT is a powerful yet practical drive that parks itself in a league of

racing engine in the Daimler-Benz Development department, when the company announced the discontinuation of all motorsports activities. An unabated passion for motorsports led the duo to further hone the engine’s performance in Aufrecht’s hometown of Grossaspach,

its own, thanks to an undeniably classic appeal and a racetrackworthy performance to match. Taking place at the Yas Marina Circuit, participants experienced an incomparable ecstasy of testing the ‘driving performance’ of Mercedes-AMG vehicles in an environment that showcased the power, speed and agility of these exceptional machines. Set apart by looks and performance, an AMG-developed car has a distinctly aggressive appearance and a higher performance level. Then there’s the fact that AMG variants are badged with two numerals, as opposed to regular Mercedes-Benz cars that have three. They also happen to be the most expensive in each Mercedes-Benz class, distinguished by the extensive use of carbon fibre — a detail that can be traced back to AMG’s vital role in the performance division of Mercedes-Benz since the 1990s. However, a pure Mercedes-AMG vehicle — designed and built from scratch entirely by AMG — is quite another thing. In fact, such a car has only ever come around once with the powerful SLS AMG that enjoyed a production run from 2010 to 2014. And now, with the launch of the Mercedes-AMG GT sports car, the Mercedes-AMG racing heritage has been revived. Building on its predecessor, the new luxury coupe comes with a staggering list of features that extends to its engine, interior and silhouette. Here, we retrace the racing history of Mercedes-AMG that underscores its latest offering.

Germany. The newly developed engine earned the two a reputation as high-performance racing experts in 1965, when Manfred Schiek, a Daimler colleague, went to the start in the German Touring Car Championship and won ten times. But the success of this racing car was a miniscule part of the more important series of events that were to follow. Aufrecht and Melcher soon ventured out to found their own firm in 1967. Housed in a former mill in Burgstall near Grossapach, the firm AMG — taking the initials of Aufrecht, Melcher and Grossaspach (Aufrecht’s hometown) — thus came to be. The newly formed company started off by designing and testing racing engines and later expanded to build custom road cars based on standard Mercedes cars. AMG and Mercedes were also beginning to increasingly work together on cars for racing championships during this time. The former’s reputation on the racetrack was cemented when the Mercedes-Benz 300SEL 8.3 V8 saloon emerged victorious in the second place overall at the 24-hour race at Spa Francorchamps, Belgium. The legendary red car, also known as the ‘Rote Sau’, remains associated with the very roots of the brand reputed for its association with private racing teams.

SETTING A TRACK RECORD

AMG started off as a two-man operation and eventually turned into a

When Melcher developed a completely independent cylinder head with four valves per cylinder in 1984, AMG turned into an engine manufacturer. Two years later, the 5-litre V8 was implanted into the iconic Mercedes-Benz 500SEC coupe. It was also during the late 1980s

full-fledged company. Prior to this, Mercedes employees Hans Werner Aufrecht and Erhard Melcher happened to be working on the 300 SE

that Daimler-Benz and AMG started to work together as official partner for racing championships. By this time, AMG’s role wasn’t just limited

THE GENESIS OF A RACING ICON

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The Mercedes-AMG GT is a powerful yet practical drive that parks itself in a league of its own

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to modifying Mercedes-Benz 190 E race cars; it was also servicing and tending to them during the German Touring Car Championship. In fact, the Mercedes-Benz 190 E with the AMG banner won 50 DTM victories between 1986 and 1993. With AMG already well established as a high-profile purveyor

side, its dome-shaped, arched roofline is hard to miss. The GT’s lines are muscular and dramatic, evident on its surfaces and in its lines of the sidewall that flow into the rear end with a dramatic tapered effect. Lines in the shoulder region have deliberately been avoided; instead, a line that extends into the rear bumper lends the car a stretched

of modified Mercedes cars, Daimler-Benz AG and AMG signed a contract of cooperation in 1993 that allowed AMG to leverage DaimlerBenz’s extensive dealer network and to officially develop MercedesBenz vehicles. AMG was renamed to Mercedes-AMG in 1999, when DaimlerChrysler (as Daimler AG was known at the time) acquired a majority stake in the company. Today, Mercedes-AMG is a wholly owned subsidiary of the German carmaker, and is reputed as the highperformance division that makes Mercedes-Benz’s muscle cars.

appearance while making it seem lighter. Strong design elements can also be found in its three-dimensional diamond radiator grille with a central Mercedes star, a broad single lamella and the tasteful AMG logo. LED high-performance headlamps with stylised “eyebrows” as daytime running lamps, side lights, and indicators, along with three separate high-beam reflectors lend the car that much more of a dramatic character.

BOLD ELEMENTS THE AMG LEGEND LIVES ON The newly launched Mercedes-AMG GT sticks to the promise of performance that a Mercedes-AMG has come to be known for. The two-door, two-seat sports car channels sportiness and emotion all at the same time. Available in two guises — the GT and the higher-end GT S — the new luxury coupe distinctively announces its presence through the brand’s signature emotive V8 engine sound. The “One Man, One Engine” philosophy has always shaped AMG’s approach to manufacturing, and the GT, too, carries this personal touch. The AMG 4.0-litre V8 biturbo engine that springs to life at the touch of a button is handcrafted from start to finish by one of approximately 50 AMG master engine builders. The eight-cylinder engine offers unparalleled power delivery, performance figures not unlike those attained during motor racing, lightweight construction, and high efficiency. A 7-speed dual-clutch transmission permits an output of 462 hp and 600 Nm of torque that pushes the GT from 0 to 100/h in 4 seconds with a top speed of 189 mph. The more powerful GT S, on the other hand, has an output of 510 hp and 650 Nm of torque that goes from 0 to 100/h in 3.8 seconds with a top speed of 193 mph.

The hallmark aviation theme of a Mercedes-Benz car has been restyled to suit the AMG GT’s classic sports car cockpit to a tee. Emphasis has been placed on the width of the dashboard to create an impression of a powerful wing, while four central spotlight-style vents, as well as the individual vents at each end of the dashboard, serve to reinforce this. High beltlines, concave-shaped door panelling, low seating and a dramatic centre console design work together to produce the feel of a fighter jet cockpit.

The GT shares similarities with its predecessor, the SLS AMG, while dismissing many of its features. The new luxury coupe is lighter, slimmer and more compact than the SLS. It forgoes the traditional coupe layout, and heavy gullwing doors in favour of frameless front-hinged openings. However, both vehicles share in common the ultimate in lightweight aluminium body structures. The GT is also recognisable for its wide stance,

The dominant centre console features motor racing-inspired elements as a throwback to the prominent racing history of MercedesAMG. Trim options for its surfaces include silver chrome, matte carbon fibre, black diamond, matte silver fibreglass and high-gloss carbon fibre. That only the finest materials and the most superior quality of workmanship go into the making of this car is also evident in the GT’s sports seats, performance steering wheel and instrument cluster. And, the most important control for serious sports car enthusiasts — aptly labelled “Engine Start Stop” — can be found in the AMG Drive Unit. “The new Mercedes-AMG GT is a sports car in its purist form,” says Gorden Wagener, Vice President Design at Daimler. It’s true: The features of the Mercedes-AMG GT and the GT S undoubtedly translate into extremely fast laps on the racetrack. But at the same time, the vehicle makes for a reliable daily drive. Its practical deck lid and easily accessible luggage compartment add to the vehicle’s already high level of comfort during long journeys. Besides, an extensive list of MercedesBenz Intelligent Drive assistant systems ensures a high safety level. The GT is a pleasure to drive. It is also very much the epitome of sporty emotion and sensual purity, or, as Wagener aptly describes it,

broad shoulders and narrow tail light design. And, when viewed from the

“a consummate combination of beauty and intelligence.”

DYNAMIC DESIGN

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A THAI HIGH R E S TAU R A N T A tranquil and relaxing spot in the JW Marriott Marquis, Dubai is the new Tong Thai restaurant; the authentic Thai cuisine is complemented by a gorgeous setting. The meals are devotedly prepared and served by a Thai team that’s led by a female head chef, so the subtlety of the feminine touch is evident on every plate. Enjoy unmatched service and a menu that showcases exclusive local dishes, celebrating street food as well as authentic classics that are loved world over. The ingredients come alive in every dish, from the spice of the bird’s eye chillies to the fresh lemongrass and subtly sweet coconut milk. The signature balance of Thai cuisine’s sweet, salty, sour and spicy is accomplished to excellence without being overwhelming for delicate palates.

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A PRIVATE HAVEN RESIDENCES Nestled in the heart of the buzzing city, The 118 residences in Downtown Dubai, offers an exceptional collection of 27 commodious, full-floor homes. The multi-storied lobby greets residents with a colossal glass sculpture featuring fluid lines and non-figurative forms that are complemented by warm lighting. The lobby leads to the residences via corridors that are adorned with high-quality Italian marble. With comprehensive self-supporting bathtubs, full-length mirrors and high-end inventive fixtures, the bathrooms and powder rooms at The 118 are designed to be truly unique pampering retreats that offer fabulous indulgences. Each residence is allocated with a generously large parking space and ‘chauffeur accommodation’. The 118 boasts avant-garde technology with a temperaturecontrolled swimming pool, an on-site fitness centre, private rooms for beauty treatments, and spacious steam and sauna rooms.

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LAP OF LUXURY BOUTIQUE British luxury brand Burberry opens its largest store in the UAE — in Mall of the Emirates, Dubai. The space possesses the first dedicated Burberry Beauty area in the region housing the full assortment of make-up and fragrances. Some unique store experiences here include a wide range of Burberry collections in the Middle East, including menswear, womenswear and accessories, accompanied by a dedicated tailoring service. The store also exhibits an exclusive collection of Burberry evening dresses, and from September onwards, it will house the childrens wear collection, too. The collect-in-store service, allowing for customers to shop online at Burberry.com and collect their orders at the store the following day, is an added feature to this boutique. Another extremely luring factor of one’s experience at this store is the Burberry Private Clients lounge — it caters to personal and bespoke services and consultations.

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design a n d technology.

luminor 1950 regatta 3 days chrono flyback automatic titanio (ref. 526)

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