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S I G N Ã&#x2030;

VINTAGE VOCABULARY

THE BERNADINI SHOWROOM CELEBRATES VINTAGE LUXURY IN ALL ITS FORMS

TIME AND TIDE

THE FOUNDING FATHERS OF THE WATCHMAKING TRADITION REVEALED

THE ART OF COMPLICATIONS

These spectacular timepieces are the epitome of horological engineering

NEW DAVIDOFF NICARAGUA O U R TO B A C C O M A S T E R S T R AV E L L E D U N FA M I L I A R PAT H S I N T H E I R SEARCH FOR A MORE COMPLEX CIGAR BLEND WHICH COULD STIMULATE B OT H T H E SW E E T A N D B I T T E R TAST E B U DS

T H E Y FO U N D I T I N T H E

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FROM THERE

ROSE THE LEAVES WHICH DAVIDOFF’S UNIQUE EXPERTISE WOULD TURN I N TO N E W DAV I D O F F N I C A R AG U A

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WILL NOT TAKE YOU ON SUCH AN EXOTIC JOURNEY UNDOUBTEDLY WILL

BUT THE TASTE

D I S COV ERED BY AND APPRECIAT ED BY T H O S E I N TH E M OO D TO EXP LO RE

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Manufactured By www.passaia.it

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LUIGI BRUNO A

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Via Fatebenefratelli, 17 - 20121 Milano www.pratamastrale.it

CONTENTS

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INVESTING IN TRUST As the market continues to show promise, Daniel Savary from Julius Baer discusses the potential for growth in the luxury segment

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THE JAZZMAN Louis Armstrong’s particular brand of Jazz musicianship had a tremendous impact on popular culture

038

PASSION AT SEA Art Marine’s 360-degree approach to personal boat care is a world first and new CEO Gregor Stinner is set on taking the brand forward

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A BRIEF HISTORY OF TIME The history of timekeeping was set in stone, until a recent discovery rewrote the history books

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CONTENTS

S AV O I R FA I R E 066

048

COFFEE CULTURE A guide to brewing the perfect cup of coffee and savouring every sip

052

FROM WARP TO WEFT The highly coveted and unique fabrics produced by Dormeuil can be found in tailors worldwide

054

CASE STUDY Globe-Trotter’s bespoke luggage is proof that a suitcase can be so much more than simply a box on wheels

062

A PROFESSIONAL APPROACH Pour Homme Atelier in the Fairmont Sheikh Zayed Road, offers a refined, 21st century grooming experience

066

THE ART OF COMPLICATIONS The engineering of complicated watches pushes watchmakers ever forward in search of the ultimate horological masterpiece

073

LUSTRE OF LIGHT Enamelling is a centuries old process that can turn the smallest object into a sublime piece of art

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SHOE LEXICON A guide to the key points of shoe construction, courtesy of Berluti

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THE WORLD’S FINEST PURE VICUNA Extremely rare, Extremely pale, Extremely difficult to weave...

The search for excellence, chic luxury and cutting-edge spirit makes Dormeuil’s new Extreme Vicuna collection stand out as unique. www.dormeuil.com

CONTENTS

S IGN É S E L EC TION

084

078

ULTRA SONIC Ultrasone’s Edition 5 headphones are a strictly limited edition item that blends style and substance

080

DIRECT FROM THE BAR… The legacy of the Rat Pack lives on in this elegant and collectable photographic book

082

ART IN MINIATURE Aliel’s Iznik cufflink range is a work of art within arms reach

084

HAND AND GLOVE Montblanc’s exclusive and beautifully crafted falconry glove is worthy of the white star

086

WITH A TWIST Thomas Lyte’s Twisted Spitfire cocktail shaker is the perfect companion for the at home mixologist

088

WRITTEN IN THE STARS The Caleograph from Caran d’Ache is a writing instrument of absolute craftsmanship and elegance

090

WORLD OF DIFFERENCE Baselworld 2014 reveals a range of spectacular timepieces fit for the modern gent

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EDITOR’S PICKS FOR HER Jewels and gems of the highest order – these delicate and intricate picks are sure-fire winners

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ABSOLUTE PERFECTION Bretón’s brand of hand made cabinetry designed to keep valuables safe and sound, are a tour-deforce in craftsmanship

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CONTENTS

PHIL ANTHROPY

100

104

The heritage of watchmaking continues to be promoted, thanks to this award for excellence from A. Lange & Söhne

The art scene receives much needed support from Cuadro – a gallery established to nurture the region’s art community

PASSING THE TORCH

CULTIVATING THE ARTS

100

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CONTENTS

OBSESSION

110

124

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The Piaggio Aero P.180 Avanti II is a stylish and luxurious private aircraft that doesn’t compromise on practicality

Max Bernadini’s luxury vintage showroom in Milan is a must visit for the modern gentleman of style and character

Bonhams auction house in London has seen the auctioneering game change dramatically, especially within its fine watch sales division

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130

136

Louis Vuitton and sailing’s longstanding relationship sets the tone for the brand’s wonderful ocean-going collection

MB&F’s MusicMachine is a music box that is a fitting tribute to the Sci-fi genre

A game of croquet is more than just a genteel pastime to be enjoyed on a sunny afternoon

FIRST IN CLASS

THE YOUNG MAN AND THE SEA

VINTAGE VOCABULARY

FLIGHT OF FANCY

THE HIGHEST BID

GAME OF THRONES

124

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CONTENTS

H E R I TA G E 144

142

154

The release of American Gigolo in the early 1980s forever changed the face of menswear

Even in today’s modern world, Islamic architecture remains a unique source of design and cultural relevancer

144

156

The masters of time – these men have built the companies on whose shoulders every watchmaker stands today

The crown jeweller of Europe’s elite classes, Cartier is famed for a flair that will never go out of style

AMERICAN GIORGIO

DESIGN TRADITIONS

TIME AND TIDE

AGELESS BEAUTY

152

HARMONY AND SYMBIOSIS The relationship between man and falcon remains a significant part of global culture to this day

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CONTENTS

L A D O L C E V I TA 172

166

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British luxury travel agent Journeys by Design offers some of the most pristine island experiences along the African coast

The stresses and strains of getting through the airport can be eschewed, thanks to a range of services for VIP clients

172

189

The Museum Hotel offers a most authentic Cappadoccian experience

Toko is a restaurant that puts a uniquely Aussie spin on Japanese cuisine

178

191

Visit La Chaux-de-Fonds and get a hands-on horological experience from manufacturers and historians alike

Al Fanar is allowing diners to rediscover the delicacies of Emirati cuisine

THE ROUTE LESS TRAVELLED

HOW TO GET THROUGH THE AIRPORT LIKE A VIP

ROCKS OF AGES

PUSHING THE BOUNDARIES

HOME OF TIME

PAST, PRESENT

180

SAILING IN STYLE

`O SOLE MIO The Hotel Carusso Belvedere revels in the breath-taking beauty of Amalfi Coast

192

Chartering a yacht can be a complicated procedure, but International Yacht Collection is on hand to streamline the process

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PUBLISHERS’ LETTER www.signemagazine.com MANAGEMENT Managing Director Daniel Giacometti Managing Partner Shama Tholot Marketing Director Roshin Rahman EDITORIAL Luxury Editor Francesca Foley Assistant Editor Roopa Raveendran-Menon Creative Director Muhammad Jamal Siddiq Illustrator Damiano Groppi Additional Images by Getty Images

Time is a luxury, one that cannot be given a price – especially in this high-speed age of fast paced living and technological advancement. Understanding how time has come to mean so much has led us to create this edition, under the theme of Watch Etiquette. In it we look at the various ways in which time affects daily life in both the abstract and concrete sense as well as the variety of

ADVERTISING for advertising Inquiries advertising@admaioramedia.com CONTRIBUTORS Elizia Volkmann, Silvia Pennacchio

ways time can be both understood and appreciated. Be it from the creation of timepieces of staggering technical merit like the Complications and Grandes Complications fabricated by only the finest watchmakers, or the dedication of brands to the future of its artistry and the history of horology, every facet of time’s understanding, study and appreciation can be found here. As the saying goes, “to understand the future, you must learn from the past” – a phrase the finest watchmakers in the world have taken to heart. While horology takes centre stage, we never miss an opportunity to bring you the finest lifestyle stories from across the world. This edition features an engrossing interview with Max Bernadini, a man of great taste and the owner of a one of kind luxury vintage store based in Milan which specialises in the restoration and refurbishment of finely crafted vintage objects, and also looks at the origins of the elegant and oh-so competitive game of croquet. A bespoke travel package through the African trade routes courtesy of Journeys by Design and a review of two of Dubai’s best fine dining destinations in the shape of Toko and Al Fanar are also highlights. Within

AD MAIORA MEDIA (Europe) Via Lungadige Catena 15 37138 Verona, Italy EU AD MAIORA MEDIA (EMEA) 2520 Shatha Tower, Dubai Media City P.O.Box 502473 Dubai, U.A.E

our pages, as always, you will find only the very best of what the world of luxury has to offer. info@admaioramedia.com

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

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INVESTING IN TRUST

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INVESTING IN TRUST

With the luxury market growing strongly, many are looking at investment opportunities within the segment. So where better to get advice on investing than from Julius Baer – a private Swiss bank with bespoke service as its calling card. Daniel Savary, Managing Director of the bank’s Eastern Mediterranean, Middle East and African markets, gives his impressions of how the luxury segment is shaping up globally.

The havoc that has been played on the world’s markets appears, on the surface at least, to be on the wane. When stock exchanges nosedived eight years ago, the journey back to normalcy was always going to be long and complicated as the ramifications and ripple effects on businesses played out. It appears now that many of the institutions that triggered the financial collapse have gotten their houses

but grow, much to everyone’s relief. However, one segment in particular is outstripping the rest – developing at a staggering rate in fact to be almost on par with pre-crash revenues. This is the luxury segment. It appears that, even in these uncertain times, high net-worth individuals simply could not do without their luxury items, and their hunger for fine objects and services continues unabated. This makes the luxury sector an attractive and

back in order to a degree and the markets worldwide are beginning to not only stabilise,

intriguing prospect when it comes to making savvy investment decisions.

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INVESTING IN TRUST

Winter apparel specialists Montcler, for

The advice on offer from Baer is very

instance, floated on the stock exchange in December 2013 to wildly successful results – its IPO was oversubscribed twelve times over, indicating definite strength in the numbers. However, to the uninitiated, the luxury market can be something of a minefield – it hasn’t all been rosy of late with illustrious name brands like Gucci recording slowing sales. Navigating the markets requires intimate knowledge of the industry and the segment. When it comes to investing wisely, as in all things, knowledge is power and getting the right advice is key. Julius Baer is a bank prepared to offer said guidance. A pure private Swiss bank famed for its dedication to bespoke financial services – offering its clients’ tailor made investment advice and a diverse variety of wealth management solutions – Julius Baer is regarded as one of the best banks of its kind internationally and regionally. One of the first financial establishments to receive its DIFC license in 2004, the bank is the third largest in Switzerland and in the words of the man heading up their Eastern Mediterrenean, Middle East and African

specific to each of its clients’ specific portfolio needs and its exceptionally qualified senior analysts, with their strong networks are on hand to advise on individual solutions. With the bank keeping its eyes on how best to serve its clients in relation to prevailing investment trends, the luxury market is clearly on their radar. When it comes to luxury, the growth has come across the board, which indicates why so many investors are looking to it. So keen has been the interest, that last year the bank held a number of talks on the subject of investing in luxury in Dubai, inviting portfolio managers and analysts to advise on the industry for the information of its client base. As a whole, the luxury market covers a dynamic and diverse spectrum of products and audiences. Prior to investing it is important to recognise specific target areas of growth and Daniel is quick to point out that there is particular strength in the gentlemen’s luxury product market. “The luxury sector in general has an

wallets, bags and other accessories have increased tremendously, accounting for fifteen to twenty per cent of the luxury market. This indicates that it is not only the women’s sector that is performing strongly, men are also paying attention to brand awareness and are prepared to spend money on these luxury items. In fact this specific area is growing at a faster rate than the women’s segment.” However, the diversity of growth of the luxury market at the international level has not gone unnoticed by the bank’s expert

operations, Daniel Savary is “small enough to care, but big enough to matter.”

extraordinary track record over the last few years. Percentage wise, sales of men’s

advisors, and the reasons for its success can vary from place to place. “The reason

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Many individuals are looking to very specific markets as investment options. From luxury cars to rare watches, items are chosen which can be enjoyed and appreciated by their owners while they appreciate in value

for the extremely promising growth of the sector is specific to each country, but when one takes into account that the average age of the millionaire in China is 39 years compared to 65 for all of the Western countries, it shows where the growth markets are and where the potential lies for the luxury industry.” With more and more people looking for luxury, the bank is learning first hand how clients are choosing to capitalise on its successes. “From a bank perspective, we look at the behaviour of clients that invest

LVMH (owner of brands such as Fendi, Loro Piana Hublot and Louis Vuitton among many others), for instance, is a group that is heavily involved in many different segments of luxury, and clients look at them and brands like them as a solid way of diversifying their portfolio.” However, Daniel points out that the savvy investor may want to look very specifically at stocks in terms of trend-based investment. “Even in the luxury segment it is clear to see definite trends in certain areas and based on these trends, they may want to invest in these areas of strength.”

staying away from the stock exchanges and heading to the auction house – the purchasing of key luxury items which can be admired and enjoyed while they go up in value is now a clever and highly pleasurable way to enjoy one’s wealth, and again Julius Baer is prepared to assist their customers in choosing the best segment. “I think we offer a best in class investment approach. We are not stuck to just recommend conventional investments to our clients. We have a very open architecture and whenever we feel

into luxury, and they are putting their money primarily into very well-diversified brands –

But there is also a great deal of growth in personal luxury investment –

that there is a segment that has potential we will happily recommend it.”

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T H E JA Z Z MAN

The Jazzman Louis Armstrong’s mastery of the Jazz movement forever shifted the understanding of performance and musicianship in popular song composition.

The emergence of Jazz from the underground and onto the radio was a profound moment in musical history. It came along at a time when traditional rhythms and styles were rigidly enforced, and the songs played at concerts were dominated by standardised time signatures and a more vaudevillian sing-song style of

city while working that he came into contact with music. The south of the United States is famed for its Dixie, Blues and Country music, and the honkytonks and nightclubs of the city were filled with musicians plying their trade. The famed brass bands and parades that New Orleans is famous for were also a major fixture and their music permeated the

develop his skills. From here he learned to read music and also how to undertake the responsibilities of a professional gig. Travelling throughout the United States with various bands, Armstrong became legendary for his improvisational skill and his warm, lilting yet supremely powerful trumpet solos. His dynamism left an indelible mark

music — particularly in America. Traditional orchestral music like classical and opera were also still heavily in favour but the emergence of Jazz brought an iconoclastic break from the staid music of the age and shook the establishment to its core. Its pace and abstract time signatures with rambling runs and potent solos that explored the possibilities of both instrument and musician, brought about an elemental shift in musical appreciation. Springing out of New Orleans’ hotbed of cultural fusion it spread wildly throughout the 1920s and changed the musical world forever. Among the leading lights of the age of Jazz was a trumpet and cornet maestro, Louis Armstrong. Affectionately known as “Pops” and “Satchmo” (Satchmo – a contraction of Satchel Mouth), Armstrong was born in New Orleans, Louisiana, on August 4th 1901 into a working class family in a rough section of the city, before the term Jazz was even coined. He began working at a very young age in order to support his family, singing on street corners for pennies, working on

city soundtrack. It was the brass that called to young Louis, and he demonstrated a born talent for the cornet and trumpet when he was given formal lessons at the age of 13. But his instruction came at the hands of the ‘Coloured Waif’s Home for Boys,’ where he was confined for a year and a half as punishment for firing blanks into the air and disturbing the peace. After his release the young Armstrong began to use his newfound talent, performing with pick-up bands in small clubs and playing in marching bands and funeral parades around town, gradually picking up on the city’s burgeoning Jazz culture. In doing so he captured the attention and respect of some of the older and more established musicians within the city. Joe “King” Oliver, a member of Kid Ory’s band and one of the finest trumpet players around, became Armstrong’s musical mentor. When Oliver moved to Chicago, Armstrong took his place in Kid Ory’s band, a leading group in New Orleans at the time. A year later, he was hired to work on riverboats that travelled the Mississippi. This

on the genre – plenty imitated, but rarely duplicated. He toured worldwide throughout his career as a musician and as an American goodwill ambassador. His career achievements remain a staggering testament to his musicianship, not only as an instrumentalist but also as a vocalist. His gravelly warm voice was hooky and very distinctive and with both, he recorded hit songs for five decades. His music is instantly recognisable and widely played on television, radio and used in films today, as many of the compositions have become culturally significant Jazz standards. His love of the music was clear when one looks at the simple statistics that on average throughout his playing career he performed approximately 300 concerts per year, worldwide. While completing this gruelling schedule, Armstrong also found the time to appear in more than thirty films – over twenty of which were full-length features. Despite his fame, he remained a humble man and lived a simple life in a working-class neighbourhood. His musical and cultural

a junk wagon, cleaning graves for tips, and selling coal. It was on his travels around the

experience enabled him to play with other highly prominent musicians and to further

legacy cannot be overstated, and his skill and talent made him a legend.

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The bottom line of any country in the world is “what did we contribute to the world”...We contributed Louis Armstrong.” TONY BENNET

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Gregor Stinner Chief Executive Officer Art Marine

PASSION AT SEA

With new leadership and a new mandate, Art Marine has charged Gregor Stinner with reviving the fortunes of one of the region’s biggest names in boat brokerage and luxury marine management service.

The relationship between the UAE and boats is as intrinsic as the sand on which the country has been built. Long before the empires of retail, real estate and finance were established, the creek was filled with skiffs and dhows for fishing, pearl diving and trading. Hardly surprising then is it to see every marina in the land packed with pleasure craft, and working boats taking advantage of the fair weather and fine seas. However, while the commercial boat owner will have staff on hand to maintain his or her vessel, the recreational owner today does not necessarily have the time, knowledge or inclination to really maintain a boat – keeping them “ship shape” requires a great deal of knowledge and patience, the latter of which is hardly synonymous with the fast paced living of the modern day Emirates. But there are alternatives to rolling up one’s sleeves and getting elbow deep in varnish and sandpaper. Art Marine is a well-established

Art Marine clients can buy, customise, moor, service, crew and maintain their boats anywhere in the UAE. However, it has not been smooth sailing for the company in the past few years. Due to a degree of mismanagement in the past, the company was not thriving as it should. Art Marine has therefore undergone a rebranding and relaunch campaign under the guidance of its new CEO Gregor Stinner. Initially brought in under a six-week consultancy, his mandate was primarily to track down and analyse the problems within the company and plan a strategy to steady the ship, so to speak. He has since been employed on a full time basis to take Art Marine forward and re-establish itself at the top of the luxury marine market. “Coming into Art Marine, my main focus was on the company structure. I needed to create a motivated team with accountability and passion for what they do. When I started, there were a lot of rumours in the market that Art Marine was about to close, but I came to understand that the

luxury boat maintenance, charter and brokerage firm with a long reputation for high-end boat management services. With their support

market locally was surprisingly buoyant, and with careful guidance the company could not only survive, but thrive,” explains Mr Stinner. In the

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“There is no dealership worldwide that offers a 360-degree leisure spectrum of services, amenity features and products the way we do.” GREGOR STINNER

months since Gregor’s appointment, the company has indeed begun to turn around. His vast understanding of the Middle East markets as well as contacts throughout the maritime world has meant that Art Marine is once again able to offer a service worthy of high-end clients. The company’s new direction focuses on premium offerings to satisfy the demands of high net-worth individuals and is partnering with leading yacht brands that complement its 360-degree yachting service experience. Having struck a new partnership with Ferretti Group, Art Marine is exclusively carrying Riva – one of boating’s most illustrious names, and Itama, the open design performance yacht. On a non-exclusive basis, the company also promotes Custom Line, known for various designs and models in the range of 97 to 124 foot, and CRN, the builder of ‘mega custom yachts,’ with the remaining brands of the Ferretti Group coming on board this year. While the boat ownership service is extensive, Art Marine differs from its rivals by offering all-in boat maintenance, mooring and servicing packages. “There is no dealership worldwide that offers a 360-degree leisure spectrum of services, amenity features and products the way we do. We act on behalf of our customers at every step. We are present at the shipyard assisting in finalising the boat with pre -delivery inspection ensuring our customers receive the product they have paid for. The day the boat is ready for transport we are there, organising and arranging the logistics – registering the boats, arranging insurance etc. We then valet the boat to make it attractive for the customer when it is handed over.” The Art Marine service then continues beyond the delivery, and the company can also be employed in the upkeep of the boats. “After the boat is handed over we then move into the realm of service. We are on hand to all our customers to help train crew, educate on what products are good and bad for the boat as well as advise on preventative maintenance. We live with our customers and we want to have the owners understand what is required and offer advice and assistance wherever we can.”

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A BRIEF HISTORY OF TIME

Nicolas Mathieu Rieussec

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À brief history of time In 2012, the history of the Chronograph was not in dispute – until horological super sleuths discovered a timepiece that would change the history of time forever.

The invention of the Chronograph is widely regarded as a one of the more important moments in the history of man’s pursuit of measuring time. So famed was its origin that brands revered its inventor Nicolas Mathieu Rieussec, rightly paying homage to his genius with tribute pieces that acknowledge his artistry and talent, and he remained a hero of the study and measurement of time until a recent discovery came to challenge the timeline that had been universally accepted. The history of watchmaking was turned on its head. Born in Paris in 1781, Nicolas Mathieu Rieussec began his apprenticeship as a watchmaker at no. 14 Rue du MarchéPalu and became a fully-fledged maker in 1802 at the age of just 21. By 1810 he had built a solid

222 watchmakers of Paris in the relevant trade almanac. For Rieussec, this was a first sign of recognition, but things really began to happen for him in 1815 when, after the defeat of Napoleon at Waterloo and the restoration of the monarchy in France, Rieussec would be installed as a watchmaker for the highest of society. In 1817 he was granted the title of watchmaker to the king – one of only six watchmakers to receive this honour. In 1818, he received a further warrant from the royal household as “Watchmaker to the Royal Furniture Depository.” But not content merely to produce beautiful timepieces for the establishment, Rieussec set about finding new methods to keep time and prove himself to be a bonafide genius in timepiece creation. On September 1st 1821, Rieussec

reputation for his watchmaking and was registered as one of the

attended the Champ-de-Mars race in Paris – not as a mere spectator, but as an

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A BRIEF HISTORY OF TIME

inventor, keen to try out his latest creation. The invention in question was a unique chronometer he had created in order to consistently measure the time horses take to travel the prescribed race distances – not only the winning horse, but also those that cross the line after it. Horse racing was very much in fashion at this time, and Nicolas Mathieu quickly saw an opportunity to use his skill to create a timepiece fit for horse racing. Running the horses and determining the winner was one thing, but being able to measure the time for each of the racers was quite another. At this time, early in the 19th century, the need was felt for an instrument that could accomplish this. Rieussec filled the void and his timepiece was able to measure accurately time intervals by inking on the face of the piece as it moved. Convinced his invention was the solution to the quandary, in October 1821, the French Academy of Sciences reviewed his timepiece. Reports on Rieussec’s invention describe the piece as follows. “The volume and shape of this instrument are about those of a large pocket chronometer. The dial is movable and turns about an axis that is perpendicular to its plane and passes through its centre. When operating, the dial makes one revolution per minute, and since its circumference is divided into 60 parts, the angular motion of one division corresponds to one second. A small window next to the hanging ring reveals a number, which is replaced by another number with each revolution of the dial and indicates the minutes; it can run about three-quarters of an hour without stopping.” The minutes of the meeting went on to describe the functionality of the piece. “When the moment to start timing arrives, one presses a small button next to the knob to set the machine in motion. The observer can give full attention to the phenomena whose successive time intervals he wishes to measure, and as soon as one of the divisions of these intervals is reached, he presses a second button next to the one we have just mentioned. At the moment when it is pressed, a small pen or metal point, passing through the open tip of a cone filled with black oil ink and placed opposite the moving dial’s fixed zero point, marks a point on the circumference

corresponding to the beginning or end of the period of time being measured.” The piece was examined by two of the academy’s most distinguished members, Breguet and Prony. They dubbed the piece the “Chronograph with Seconds Indicator” and subsequently recommended its use for both recreational and scientific use. The pair went on to recommend Rieussec’s chronograph be awarded the academy’s seal of approval. In 1822, Rieussec obtained the patent for his timepiece and his association with its invention was confirmed. He instantly became a legend in the timeline of horological invention and it is a legacy that endured uncontested for just shy of two hundred years. It therefore

awarded, historians would discover an earlier invention, designed and made specifically for scientific purposes that predated Rieussec’s Chronograph by some five years. In horological terms it was an earth-shattering revelation. Rieussec, in spite of the ingenuity of his Chronograph, was proven not to be first past the post. An academic, Louis Moinet was a watchmaker, sculptor and painter who occasionally dabbled in astronomy. He often made his own instrumentation and he occasionally sold exquisite clocks and watches, which furnished the homes of people of status like Napoleon Bonaparte and Thomas Jefferson. It was in 1816 that Moinet invented

that is divided into seconds. This point then indicates the second and fraction of a second

came as a complete surprise to many that in 2012, some 190 years after the patent was

a mechanism specifically for his astronomical study. He needed a mechanism to measure the

A foremost authority on the science of timekeeping, the discovery of Louis Moinet’s Chronograph has cemented his place in horological history

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passing of the stars – it was invented at a time before the term Chronograph was even coined. The timepiece perhaps should more accurately be called a Chronoscope, because unlike Rieussec’s invention, it did not mark down the exact moment in ink but, in all but execution, it performs exactly the same function. Historians had suspected the existence of Moinet’s “Chronograph” for some time with many leading academics who were familiar with Moinet’s ‘Traité d’Horlogerie,’ an encyclopedic work from 1848 finding clues in its pages, but no concrete proof of its existence could be found – until an auction of exceptional watches at Christie’s “Important Watches” sale held at Geneva’s Four Seasons Hotel des Bergues on

northern European royal family. The Moinet watch, which resembles the modern chronograph much more closely than Rieussec’s invention was purchased for the jaw-droppingly low price of CHF 62,500 after initially being valued for a pitiful CHF 5,000 – the experts clearly not understanding precisely what was in their possession. The CEO of the watch brand that now carries the Moinet name, Jean-Marie Schaller, did however understand what was at stake and he purchased it in order to set about reestablishing Moinet as one of the original greats. The piece was cleaned and fixed (the lubricants that keep the watch working had all dried up, thanks to its years of storage and

the restoration not only proved the theory of Moinet’s invention predating Rieussec’s but also established Moinet as being around 100 years ahead of his time. The Moinet Chronograph was running at remarkable frequency of 30 Hz – extraordinary for the era and a feat that would not be repeated for another century. The Moinet discovery does not diminish Rieussec’s Chronograph in any way – they invented two different machines for two very different needs, completely independent of one another. But despite the plaudits that Rieussec so rightly deserves it would be remiss now – given the weight of evidence to support the claim, to deny Moinet a slice

May 14th 2012 – when the piece itself turned up as a lot in a high quality collection from a

lack of use and it required expert restoration to get it running again). Once completed,

of the credit having been so egregiously overlooked for so long.

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Savoir Faire

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C O F F E E C U LT U R E

coffee culture “AH! HOW SWEET COFFEE TASTES! LOVELIER THAN A THOUSAND KISSES, SWEETER THAN MUSCATEL WINE! I MUST HAVE MY COFFEE...” — JOHANN SEBASTIAN BACH 1732

Coffee culture is continuing its march ever forward into the cupboards, caddies, French presses and espresso machines of all and sundry, and as the understanding for its complexities and pleasures develops, many are coming to finally comprehend that the brownish-black sludge that we became so accustomed to pouring on a grim Monday morning is to coffee what McDonalds is to haute cuisine – a pale imitation at very best. It took a long minute for coffee to reclaim its place as a genuine gourmet product, but the appreciation of the art of the fine roast and appropriate preparation, storage and

molecular level. The way viniculture has been perfected for millennia, so too now is coffee being appreciated in a similar vein. If the term hasn’t already been coined, it should be called Caficulture, such is the adoration the humble bean receives today. The degradation of coffee came about in the middle of the last century. Edward Bransten, a genuine knowledge and connoisseur of tea and coffee and the third generation of his family to run the famed San Francisco coffee house MJB, is quoted in 1969 as having said “I believe that the American coffee industry is doing itself irreparable harm by mass marketing mediocre

a foreshadowing of the eventual indifference of the total American public to the world of coffee drinking.” His prediction came true and the public as a whole became used to inferior products and the degradation of taste in favour of a quick caffeine fix. From the way it is roasted, to where it is sourced, how it is ground to how hot water should be when it is applied to the dark rubble of ground down coffee bean, the reverence that people hold today for the drink and its confectionary derivatives is a borderline fetishisation, and quite right too. Prepared correctly, coffee is a sublime tasting, complex and intoxicating

consumption of the coffee bean is now being understood to an intense and often

coffee at a low price. I think that what is happening today in the coffee business is just

blend of sensations. The preparation of real, 100 per cent

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C O F F E E C U LT U R E

honest to goodness coffee is a sort of strange alchemy – all the right things must be in place to achieve the perfect cup and even then, apply too much or too little time, pressure or temperature and it can all go wrong. Who really, apart from the expert Italian Baristas, knew ten years ago a perfect cup of Java was harder make that a soufflé? There are a number of methods for preparing a cup of Joe and no single technique is the “right” method because it also depends on what type of coffee is desired – be it a hearty mug of American for breakfast, an afternoon cappuccino or a dessert espresso. A great deal also depends on how the coffee is taken in general. Many prefer a milder coffee while others crave a more robust flavour. There are any number of specifics that can be attended to, but to get the best out of your beans, there are certain prerequisites that must be met. Firstly, the equipment that is being used must be clean and dry – make sure no old grounds have crept into the system because they can genuinely ruin your coffee before the water has even boiled. Such residue can impart a bitter, rancid flavour to future cups of coffee. The coffee itself is also a major consideration. It can take a great deal of time, and tasting to find your preferred flavour profile, but once a favoured variety has been found, the beans must be treated carefully. Purchase the coffee as soon after it has been roasted as possible as the freshness of the roast has a major part to play in maintaining the flavour of the coffee. A good tip is to purchase it in small amounts because the temptation to store it away will be removed. Ideally you should purchase coffee fresh every one to two weeks. Once the beans are home, it’s time to grind. Grind them up just before beginning to make a cup – again to maintain freshness. Purchase a burr or mill grinder for this as it will give the grind a consistent size. While blade grinders are gizmos du jour they won’t provide any uniformity, a blade grinder is less preferable because some coffee will be ground more finely than the rest. It may seem a trifling point, but the size of grind has a genuinely huge impact of the taste of the brew. If it tastes bitter, it may be overextracted, which comes from being ground

the grind is too coarse. There will likely be a bit of trial and error before you find the grind that suits best. A good tip is to rub the grounds between your fingers so that you can ‘feel’ the grind and become acquainted with the differences in size. What is a universal and capital error made all too often is that once used, grounds should be disposed of – never reuse old coffee as all the flavours have already disappeared. Again, it may seem an insignificant point,

filtered or bottled water is preferred as the chlorine taste of some tap waters will not offer optimum results. If using bottled however, also avoid distilled or softened water. The ratio of coffee to water should be around one or two tablespoons of ground coffee for every six ounces of water but this is not a hard and fast rule and it can be adjusted to suit individual taste preferences. The water temperature during brewing should be maintained at between 90 to 96

too fine. On the other hand, if the coffee tastes flat, it may be under-extracted, meaning that

but the quality of the water also plays a major part in the coffee taste. For the finest results,

degrees Celsius for optimal extraction. If the water is too cold the result will be flat,

The fanaticism which coffee is shown triggers many to avail themselves of gadgets and gizmos designed to make the perfect cup such as this mocha machine by Bialetti

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underwhelming coffee. Too hot and there will be a loss of quality in the taste of the coffee. If you are brewing the coffee manually, let the water come to a full boil, but do not over-boil. Turn off the heat source and allow the water to rest a minute before pouring it over the grounds. The final point is that the amount of time that the water is in contact with the coffee grounds will affect the taste of the finished cup. In a drip system, the contact

contact time should be two to four minutes. Espresso, as the name implies, means that the brew time is short—the coffee is in contact with the water for only twenty to thirty seconds. If the taste of your coffee is not optimal, it is possible that you are either over-extracting (the brew time is too long) or under-extracting (the brew time is too short) the grind. Experiment with the contact time until you can make a cup of coffee that suits your tastes perfectly.

creamy, chocolaty, delicious coffee that should be consumed immediately. A finely prepared cup should be enjoyed as thoughtfully as it was brewed. Take a moment to smell the aroma. Take a sip and notice its flavour. How does it compare to other coffees with regard to body, acidity and balance? If it is a coffee that is new, notice how its differences. If it is what you normally drink, note its degree of freshness or how simple changes in preparation affect the cup’s overall taste.

time should be approximately five minutes. If you are making it using a plunger pot, the

Perform all of these procedures and the results will be a perfect cup of rich, bitter,

A steeping cup of coffee will not last long, but every sip is meant to be savoured.

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F R O M WA R P T O W E F T

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From warp to weft Dormeuil’s name may be French, but its fabrics are 100 per cent British made and uphold the country’s ancient traditions of fabric weaving

Good tailoring is about more than the cut and stitch of a suit – the finest end product can only be achieved by

well as its physical quality. French elegance is one of the Dormeuil signatures. While the cloths appearance is every bit

exceptionally fine and delicate fleece, which can be woven into fabrics of unmatched softness and brightness. The vicuna is

using the fabrics, which have been created with the best end products in mind. There are too few fabric producers with this care and attention to the fine detail of warp and weft, colour, texture and drape. Dormeuil has set its stall out as a fabric maker with attention to detail and raw materials of the highest order. Their intelligent fabrics and materials of fine texture and weave are regarded as some of the best available. The brand has built up a unique level of trust with its clients as a maker of fabrics that are both desirable and durable. Established in 1842, it also has an excellent and proven track record. Its French founder, Jules Dormeuil, recognised the superior quality of English fabrics some 170 years ago and began importing them to France – the production has remained in the UK since at its Huddersfield factory. From the spinning of the wool to the unique Pennine water in which it is treated, there is great care put into the creation of each ream. The Dormeuil textile designers, based in Paris, pride themselves on their creative combinations of colour

the high-end textile, the stand out quality of a Dormeuil fabric is the ease with which it can be tailored. There is a wonderful drape to their fabrics, and the garments that come out of their creations are well-reputed. The ancient techniques put to work at the Dormeuil manufactory are adapted for the 21st century – modern innovations and intelligent fabrics are becoming more and more popular with new finishes and practical usages becoming more and more important. Domeuil aims to retain the elegance of their fabrics’ appearance and yet keep the wearer comfortable in different environments. While the fabrics are indeed becoming more practical, usable and eminently wearable, it is the vicuna range from the brand that is their standard bearer. This range is a natural progression for the brand. It follows on from the brand’s desire to create the best possible products, which has triggered its weavers and buyers to try to source the finest and rarest wool and yarns for the process and with the vicuna wool fabrics this is no different.

found living at an altitude in the Salta and Jujuy provinces of Northern Argentina. It is particularly precious wool because each animal can only provide 300 grams of its premium fleece and it is only sheared once every two years. Like a fine wine, it takes great patience to cultivate. The carefully controlled production process, from shearing to weaving and finishing, ensures the total traceability of this precious material. Vicuna wool fibres are also incredibly bright which gives them a beauty and lustre and makes for stunning fabrics. Its pliable nature also allows for genuine technical virtuosity. Creative innovations have been applied to the fibre whereby the weave can be left deliberately visible, while ingenious finishing, notably matte fabrics in line with modern trends, ensures that the cloth is even softer to the touch. The styling offers the same combination of refinement and innovation featuring leather or mink linings and contemporary cuts – all of which makes Dormeuil vicuna fabrics highly coveted and very unique. The fabrics produced by

and yarns, meaning that the entire Dormeuil range is famed for its signature creativity as

The vicuna possesses, a particular exclusive and highly prized quality in its

Dormeuil can be found in tailors worldwide and is worn in the finest suiting.

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CAS E S T UDY

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CASE STUDY WHAT’S IN A SUITCASE? MORE THAN JUST THE OWNER’S BELONGINGS IF IT IS COMING FROM BRITISH LUGGAGE MAKER GLOBE-TROTTER. TEXT: FRANCESCA FOLEY

Nowadays the glamour has somewhat gone out of travelling. It’s no longer the journey that excites, but the destination, and suitcases are more often than not regarded as a mere utility – a glorified box on wheels. Look at the baggage carousel at any airport anywhere in the world and no doubt it will be awash with a monotony of navy blue, black, red and green bargain basement cases. Of course, there will be the occasional Samsonite, expensive but perhaps a little too functional, but these will be followed in quick succession by cardboard boxes wrapped in cellophane and red and blue tartan launderette bags pootling round and round, waiting for their owner to come to the rescue – shabby and battered from their automated excursion. Dirty, dank and dull luggage, a meagre conveyance of personal items that last two and

It strikes therefore that a real traveller should invest in their luggage. They will tell stories of you long after your days in the air or at sea are behind you – a friend, a personal valet, journal and travelling partner all in one. Once upon a time, suitcases had genuine longevity as standard and were storytellers. Every scratch dent and ding to the surface, each scuff and burr, every immigration sticker and address tag would give subtle hints to the life of travel the person who entrusted their belongings to its safe keeping undertook. The unspoken story of journeys physically illustrated like collaged biography of a life on the road. It was those unspoken tales that had the power to inspire the uninitiated to explore the world. I know this to be true because it has happened to me. My granddad owns a small travel case that has gone with him

a half trips before the zipper breaks or the plastic clasp snaps off, rendering it practically useless.

everywhere he went. For decades the small trunk – only slightly bigger than a briefcase, accompanied him all over the world – to Rhodesia

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when he was stationed there during his national service in his twenties, when he holidayed in Europe with his young family and when he was sent to Moscow with the trade unions in the 1970s. He used it until it

procedures performed using original tools and manufacturing methods dating back to the company’s establishment. The first step in the production process is the making of the trim elements. These

could be used no more. When I was but a nipper at his knee, he would take the case down from its cupboard in the spare room and show me his prized possessions that were held within it. The case has long outlived usefulness as a genuine travel case, but he has never disposed of it. He still occasionally brings it down from its perch to go through its contents. Every time, I marvel that this little case has survived the trials and tribulations life has thrown at it. I think that, as much as

include the handles, straps and corners and are created within the suitcase leather division. Each of the hand made handles and straps are made to order and cut on the factory guillotine. Once the shapes are cut out, they are stitched together on a 1928 harness sewing machine, achieving time-tested results. It is a point of distinct pride within the company that all the leathers used are sourced from high quality UK tanneries. The archetypal Globe-Trotter corners are designed to protect the

the cruise ship menus, postcards, letters and Boys’ Brigade badges it holds, this case has itself become an artefact with a story all its own – the physical representation of his meandering life. It went on every adventure with Albert – a small trunk with a personality, earned from a life on the road. That is what beautifully made luggage can be, and is exactly what modern suitcases all-too often are not – characterful. More and more people are cottoning onto this notion that a bag can be so much more than the sum of its parts and are coming to

case from wear and tear but are also a key design element and take time to create. These pieces are formed over five days on antique Victorian presses so that the leather remains strong enough for decades of travel. After this, the suitcase body is assembled. Unlike many suitcases, Globe-Trotter employs the use of vulcanised fibreboard for the suitcase body. The vulcanised fibreboard is moulded into shape using a method patented by Globe-Trotter in 1901. The fibreboard itself

understand that luggage can be a lifelong investment that gets better with age. There are many connoisseurs of fine handmade valise and portmanteau, fabricated in the traditional way that continue to demand a high level of tailor made perfection when it comes to their baggage. Globe-Trotter is one such brand that fills this void. No longer do people need to buy new suitcase after new suitcase, replacing damaged and travel weary pieces. Rather they can have and cherish a single piece that will stay with them. The

is a particularly unique material made from layers of paper bonded

company was founded in Germany by Englishman David Nelkin in 1887 and eventually moved to Britain in 1901 where it has stayed. Since then it has been a kit maker of genuine integrity and craftsmanship, supplying the great and the good with its expertly made, impressively designed and effortlessly beautiful bags, trunks and cases for over 125 years. The process of fabrication since that time has gone relatively unchanged and as such, its bags are reminiscent of those from an age long passed. Consequently there is glamour and style in each stitch and rivet that is ideal for the keen yet sophisticated traveller and every suitcase stamped with the Globe-Trotter logo is handmade at its Hertfordshire manufactory. The creation of each piece involves 98 different processes and takes a total of ten days, nine hours and thirty-five minutes to make with many of the technical

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together with rubber and produced in house. The method of making this board is unique to Globe-Trotter and while others have attempted to imitate it, none has succeeded. The material is incredibly strong and light as aluminium. So confident was the brand in the strength and durability of their cases, they decided to prove it publically by hiring an elephant to stand on it without breaking it. The case survived and a legend was born. The board is cut to size on a guillotine and formed by hand on a heat press; handles and locks are attached to the vulcanised fibreboard by hand. Each pieces of the suitcase is then riveted together along with the leather corners. The company’s in-house carpenter produces a frame for the case made from locally sourced beech wood that is fixed into the lid of each case; then both lid and base are lined with a paper-backed cloth that is glued and fitted by hand – a process which sounds much easier than it in fact is. The base is then fitted with a lip that is again produced in-house from a roll of steel. This ensures that each suitcase retains its form and rigidity. Finally, the lid is attached to the base and then quality checked before shipping to the customer. The traditional design of the Globe-Trotter bag has been updated with extendable trolley handles and wheels an essential addition,

brand has seen a definite revival in the last few years. Customers are eating up the chance to pick up a piece of luggage from the London based brand; many even take the opportunity to collaborate with them to create their own bespoke pieces. However, this can only take place upon visiting their London showroom – this process requires a hands-on approach and is something that Globe-Trotter would never compromise on. Anachronistic they may appear, but their hardwearing design is timeless, and elephant proven durability and longevity make for stunning investment pieces. Certainly a bargain basement case will get the job done, but they will undoubtedly break under the stresses of the task at hand – plus they are hideous to look at. A Globe-Trotter bag, with a little gentle care, can last a lifetime. They will never go out of style and will hold their intrinsic value because they will be usable time and time and time again for any travel need. The reimagining of the brand for the 21st century came at a time when the brand had become a little staid and unfortunately forgotten, but imagination and a little investment has put this little known Hertfordshire firm back on the map. Globe-Trotter as it turns out, is very big in Japan. With collaborations from the likes of Vivienne Westwood to

especially if you are forgoing a porter at the departure terminal. One look at Globe-Trotter pieces and it is clear to see why this

Mohsin Ali and special editions to inspire and whet the appetite, the future of this Iconic brand is bright, and oh so beautifully made.

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“Though we travel the world over to find the beautiful, we must carry it with us or we find it not.” R A L P H WA L D O E M E R S O N

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SHOE LEXICON

Shoe Lexicon DON’T KNOW YOUR UPPER FROM YOUR LAST? THIS

HELPFUL BREAKDOWN OF SHOE CONSTRUCTION FROM BERLUTI WILL TELL YOU ALL YOU NEED TO KNOW.

A bespoke shoe is a time tested and exquisitely crafted object and has numerous components to its specific and individually tailored design. The intricate understanding of the shoe’s design is why the cordwaining tradition is so cherished.

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THE UPPER

THE VAMP

As the name suggests, the upper describes the top section of the shoe that covers the upper surface of the foot.

The very front of the upper is called the vamp – perhaps because this is often where the design of the shoe can really shine through.

THE WELT

THE SOLE

This piece of the shoe is less about form and more about function. The welt is strip of leather that keeps the upper firmly and resolutely attached to the sole. This can come in a number of forms. A Goodyear welt construction has the insole, upper and outsole secured by hand stitching to a strip of leather. A Norwegian welt is a variation on Goodyear welting where the welt is flush with both the upper and outsole.

It is the bottom of the shoe that is often the most hardwearing element of shoe construction. While there is a great deal of utility required from the sole, it can also offer surprising design notes with round, square and planed edges, which can either give a shoe a reserved subtlety or a profound attitude.

THE SHANK

THE BUILT HEEL

A piece of leather running between the insole and outsole and under the arch of the foot, the shank is purely functional and gives the bottom of the shoe rigidity.

Heels constructed in this fashion offer a genuinely classic style. Stacking layers of leather called lifts to the desired height assemble them. The last layer of a built heel is called the toppiece and they are traditionally made from leather or rubber.

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A PROFESSIONAL APPROACH

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A professional

approach

T he barber shop gets a 21 st century makeover with the Pour Homme Atelier in the Fairmont Sheikh Zayed Road, Dubai – grooming has never looked, or felt so good!

The days where the unkempt bed-head look was de rigueur have thankfully past and men are getting on with

together. The luxury barbershop is today taking many guises, often looking to the past for philosophical and design inspiration.

‘short back and sides’. Pour Homme by Hommage is a grooming atelier worthy of the brand itself.

the business of being men. The importance of keeping oneself sartorially correct is now more than ever a priority in daily grooming, however there are occasions, when having a well maintained regime at home simply won’t suffice. It is at these moments when men may choose to enter an inner sanctum of masculinity – a place with a deep connection with service and deportment – the modern day barbershop. Not the typical strip mall saloon, the barbershop is a place of trust where a man can be taken care of for an hour or two – lie back and relax in absolute comfort safe in

They are easy to spot – look for the retro twisted candy cane signage above the door and barbers with sleeve garters to keep their impeccably pressed pinstripe shirtsleeves out of the suds. Wooden floors and kooky facial hair styles will abound – this is the Dandy’s dream and while these establishments perform their craft with admirable skill and flair, this is the place where “hipsters” will undoubtedly feel most at home – perhaps not the most suitable venue for the more discerning gent. If you prefer a little more sobriety in your grooming experience, there is however

Hommage is currently producing some of the most highly sought after and beautifully crafted grooming products available on the market. The items that they trade are as lovely on the eye as they are in hand and worthy of the highest esteem. Of particular note is their Damascene Razor. From the artisan collection, this is an object not for the faint hearted. Straight shaving can be a meticulous and sometimes death-defying process and without a steady hand and indeed a sturdy wallet, the purchase of this piece should perhaps be eschewed. However, despite its eye watering price tag

the knowledge that his barber will have him leaving fresh, relaxed and impeccably put

an establishment that puts a serious and exceptionally professional face to your

of $10,000, the craftsmanship that goes into the fabrication of this limited edition piece

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A PROFESSIONAL APPROACH

The Damascene Razor from Hommage’s artisan collection

cannot be denied. The blade is hand-forged in Germany from 128 layers of legendary Damascene steel with a rose and torsion pattern. The sheath is then plated in pure platinum and treated to resist tarnishing, and all Hommage artisanal editions come packaged in an elegant lacquered gift box made of anigré wood from Tanzania – there

POUR HOMME LOCATIONS UAE FAIRMONT DUBAI (POUR HOMME, BY HOMMAGE) P.O. Box 97555, Sheikh Zayed Road, Dubai, UAE Tel: +971 4 332 5555 www.pourhomme.ae HOMMAGE GENTLEMAN’S GROOMING ATELIER AT THE ST. REGIS Nations Towers. P.O. Box 60476 Corniche Abu Dhabi, UAE Tel: +971 2 658 12 88 www.stregisabudhabi.com

shirtsleeves are rolled up and a deep tissue arm and hand massage is performed. This is a deeply relaxing experience, which makes the client forget that a deadly serious process is happening facially. The shave is over before long and once completed a cold towel is applied, closing the pores and helping the skin to recover. The barber

is elegance in the details of every Hommage piece and it is that same care and attention which is reflected beautifully in the atelier’s product and service offering. On entering the atelier at the Fairmont Sheikh Zayed Road, guests are welcomed into a metropolitan salon that has a refined and elegant style – no pastiche of the barbershops of yesteryear – no straw hats or red waistcoats or accapella quartets lurking round corners. The space is clean, modern and exceptionally well designed. Littered throughout are vintage design elements – the old suitcases and vintage trunks catch the eye and give the space an aura of professional respectability. Upon being seated in a supremely comfortable barber’s chair, clients’ shoes are carefully removed – not because of a specific treatment request, but to have them polished while the processes are being performed. There is an unspoken sense of know-how in the staff that gives the aura of security – customers understand that their shoes will be well taken care of. Then the process begins in earnest. Prior

collection and applies a hot towel to the face that allows the skin pores to open properly, and makes the shaving process a smoother and cleaner experience. After the skin is prepared, the shave starts. Whipping up a thick cream of shaving suds, the cream is applied to the face with a soft brush and is slathered on, covering every hair. Once the cream has been dolloped on, the razor is applied. Using one of the brands more standard blades (they can be forgiven for not using their limited edition masterpieces for day to day use) the barber expertly removes and styles the facial hair. Each pass is a carefully calculated masterstroke that removes the hair and leaves an immaculately soft finish. It is quickly clear why, despite the evolution of home grooming, the straight

then massages the face to complete the service. Should a customer want something more along the lines of skin maintenance, Pour Homme also offers a large variety of dermatological services – of particular note is the Diamond exfoliation. Clients are provided with a comfortable kimono in which to relax and taken to an impressive collection of enormous chairs, which lean back à-la la-z-boy. Massages to the face, shoulders, arms and hands set the mood before the client is covered with a blanket. Cozy is the aim of the game. Various treatments from the Hommage in house collection of unguents and creams are applied to the face, which is simultaneously being buffed, polished and moisturised. The treatment lasts for more than one hour, so is not for the man on the go, but more for the man who is taking a little time out to enjoy and relax in comfort and care. A trip to Pour Homme is an absolute occasion. The pleasure of stepping away from the day-to-day grind to enjoy a little pampering in the hands of skilled experts is

to the razor being taken to skin, the barber applies pre-shaving oil from the Hommage

blade shave has never gone out of fashion. While this is going on, the customer’s

a real treat and is a wonderful opportunity to rest and recharge.

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

Jaeger LeCoultre Reverso Grande Complication à Triptique – exploded view

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THE ART OF COMPLICATIONS The more complex they are made, the more coveted they are. Watch devotees are in

constant pursuit of these elegant, complex and boundary stretching creations that are timeless masterpieces.

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

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Pictured left: The many faces of Complications. Pictured right: A beautiful example of a Retrograde Hands Complication

Complication is a word with negative connotations – “it’s complicated”, or “there has been another complication” inspire notions of inconvenience or struggle. Simple is easy, complicated is hard. But through difficulty can come elegance and beauty and as such, Complication is a fitting word to describe some of the more flamboyant, intricate and all-round fascinating timepieces ever created. By definition, a Complication refers to any timepiece that goes beyond simply displaying hours, minutes and seconds (these timepieces would simply be defined as movements) – while their main function is of course to tell time, they can perform a plethora of additional functions showing phases of the moon, celestial configuration, dates or even the hour in different time zones simultaneously – anything is possible and often, watchmakers will challenge themselves to use all the

complex designs imaginable. Complications are only to be attempted by the most skilled artisans. The variety is limitless, but the understanding can be simple when each is broken down into its essential elements. The most commonly use Complication is a calendar and the instant Perpetual Calendar is the most coveted version. This function would not be necessary if all the months of the year had a uniform number of days in them. In the past, watches would have to be manually altered in order to account for months of thirty or fewer days; however, the Perpetual Calendar requires no such manual intervention. It automatically appreciates which month has fewer days and automatically adjusts the date accordingly – even allowing for leap years. For watchmakers, the specificity of the design and implementation is a real challenge and the assembly of the mechanism can take anywhere up to ten

Perpetual Calendar displays time has become refined and rather than a gradual turning of the dials which blurs the lines between dates, the days and the months are now instantaneously changed at the stroke of midnight – a major improvement. This is regarded as one of the few complications of absolute necessity and one that every brand must have in their stable. There are many other functions possible in a watch; however, many are representations of complexity for complexity’s sake. While the Perpetual Calendar is a commonly used Complication, a less common movement comes in the form of the Grande Sonnerie. A Grande Sonnerie can be compared to a church clock. For each hour that passes, it strikes the hour, the quarter, the half and the three quarters. If counted the piece will strike a total of 35,040 times each year. Despite the sophisticated machines that make the parts, it is often the artisan who has

perquisite skill and accuracy demanded from the horological profession to create the most

days. It requires immense patience to put one together. Over time, the manner in which the

to make individual alterations to the parts when it is time to assemble the piece. Days

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can be spent working on each piece but the final product is a watch that plays chimes in absolute harmony and tune. The watchmakers

no bedside switch with which to illuminate the room in order to read the watch face – it was required to call out to the wearer and describe

winds a second mainspring inside the watch. A typical repeater has two hardened steel gongs, and first chimes the hours on the lower

who make such timepieces are as much audio engineers as watchmakers, as they file, shave and turn hammers and bells with absolute precision in order to generate the perfect cadence. The result of their labours is striking watch of unique pleasure. A Petite Sonnerie is a variant of this mechanism however, unlike its Grande

the time. The Minute Repeater does this by chiming out the hours, quarters and minutes to the nearest measure. While the practical uses are perhaps a little unnecessary, this does not diminish the skill it takes to get a watch to perform this function and consequently the Complication is still sought after in watchmaking and is often regarded

of the two, then the quarter hours, as a double stroke on both gongs for each quarter hour, and then finally a stroke on the higher-pitched gong for each of the minutes. While chiming watches are often used by those who would like to hear the time, for those looking for some variety in how time is represented visually, there are a number

cousin, it only strikes on the hour rather than demarking the quarter half and three quarter hours as they pass. In tandem with this Complication, a watch can often be fitted with a Minute Repeater. A variation of the chiming watch, the Minute Repeater was invented at a time when at night, there was

as the single most complex Complication in watchmaking. Everything must be absolutely perfect to deliver the precise striking of the gong and an immaculate sound. Pressing a slide on the side of the timepiece operates the mechanism with the action of pushing providing the energy to power the chime as it

of options including the use of Retrograde Hands. There are many things that are associated intrinsically with watches, one of which being that the passing of time is documented through the movement of an hour, minute, and occasionally second hand in a 360-degree motion passing over measures of twelve in order to show the time. However,

The Jumping Hours Complication is a tour-de-force of mechanical ingenuity

it needn’t always be this way. The concept of the Retrograde Hand means that instead of completing a 360-degree rotation, the hand of the watch shows time in a linear fashion moving up and down the dial. This offers a more dynamic representation of the passing of time. This idea is tremendously difficult to create in the workshop and the timepieces require real talent to produce, however the payoff is a minutely detailed tremendously artful timepiece that gives the wearer a more defined sense of the passage of time – with a definite start and finish. The Retrograde Hand can also be used to delineate the days and months of the year in tandem with a Perpetual Calendar function. Another way in which time can be displayed is through the Jumping Hours Complication. Like the Retrograde Hands format, the Jumping Hours watch is atypical and is usually seen in watches of extreme craftsmanship. The Complication originated in the mid 1800s and is not all that commonly seen – perhaps due to the extreme intricacy of the Complication. However, it is that complexity which makes it a sought after style in watches of pedigree. In this Complication, a jumping disc indicates the hour that is displayed through a small aperture in the dial. This means that there is only need for a single rotating hand, which indicates the number of minutes past the displayed hour. These movements were once highly inaccurate because the “snap” required to make the hour display jump needed precise timing and additional power, because of the sudden force needed to move the disc.

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However, the power and accuracy issues have, over time, been whittled down and the Jumping Hours watches produced today are beautifully mechanised and accurate devices for time measurement. It is the pursuit of accuracy that has driven many a watchmaker to create devices and Complications that precisely describe the perfect time. Once such device is the Tourbillon. As with Minute Repeaters, Grande and Petite Sonneries and Perpetual Calendars, the Tourbillon is one of the most fascinating Complications of mechanical horology. Translated as “whirlwind” from the French, this is a mechanism invented over two centuries ago in pursuit of the accurate measurement of time and to counteract natural forces impacts on precise time display. Gravity’s effects on the escapement of a pocket watch were well-documented especially given that pocket watches would sit all day in an upright position. This meant that its springs were stretched abnormally, which impacted the overall performance of the timepieces as they were stretched out of shape. By putting the springs in a gently

Tourbillon Complication

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Pictured left: The Patek Philippe Calibre 89. Pictured right: The Breguet Marie-Antoinette Grande Complication

spinning cage prevented deformation and inaccuracy over time. While pocket watches are less prevalent than wristwatches, the Tourbillon is still pursued as an exercise in watchmaking skill rather than a practical necessity. While all of the aforementioned timepieces are expertly crafted and especially complex, there is another echelon above the Complication that requires years of skill, untold fathoms of patience and the absolute desire to push the limitations of mechanised horology. These come in the form of the rather grandly named Grandes Complications. The combination of multiple functions in a single, usable mechanical piece is unimaginably difficult and as such, Grandes Complications are revered items of engineering skill. How does a watchmaker put the Complication of a Perpetual Calendar alongside a Tourbillon

there is still one level more – where Grandes Complications become Ultra-Complicated watches. These are rare specimens indeed – born of the desire to defy and press the laws of mechanics to their ultimate conclusion by combining the greatest number of practical functions in a single escapement – the ultimate expression of the watchmaker’s art. These are almost exclusively limited edition, and even singular in their construction – such is the difficulty in their creation that often they are standalone items, coveted by collectors and admirers of great craftsmanship. Cogs, springs, gears and screws combined in a piece so complicated they often take decades to make, and yet it is the desire to create something so technically magnificent and beautifully crafted, with a margin for error so infinitesimal, that drives their makers. Among the most famous

these both, in very different ways celebrate that oh-so human quality – the pursuit of absolute excellence in all things. Perhaps in today’s age of instant gratification, the wheels, gears, springs and levers of the complication are somewhat irrelevant, but it is the beauty of the mechanical world and the chain reaction to a wonderful end that makes the pursuit of the ultimate timepiece a wondrous thing. The most stunning Ultra-Complicated watches are worth millions of dollars – small objects of total quality, yet totally superfluous in their construction. Many of the Complications included in these mega watches are utterly useless on a daily basis, but then that is not the point. Men went to the moon to see if it was possible to get there, they climbed Everest to do the same – that is what the design and construction of these epic wonders of time

and a Retrograde Hand in a wristwatch? It is the definitive act of engineering. And yet

pieces are the Calibre 89 from Patek Philippe, and the Marie Antoinette from Breguet and

measurement are, a journey into possibility – which is something worth pursuing.

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Lustre of light The decorative art of enamelling can turn the small and most insignificant object into a sublime and lustrous gem. Centuries old process – its versatility and detail make it an important and valuable technique for jewellers, watchmakers and their like. Enamelling is a vitally important element of decorative arts and has a number of different applications. Vitreous enamel is made using glass powders crushed by hand by the craftsman several times to obtain a fine sand-like texture. The enamel powder is then applied to the surface of the object. The most beautiful and artistic pieces are always created by hand and the application of the enamel takes place using a fine brush or needle and often a microscope. Once the enamel is applied, it is then heated through a firing process. This firing occurs at approximately 750 and 850 degrees Celsius. The powder melts and hardens into a smooth and durable finish. The colour of the glass powder will of course impact the finished result, and artists and craftspeople can

variety of surfaces but is most commonly used in metal or ceramics. This process is referred to as Le Grand Feu. It requires skill and artistry that is only mastered by a select few and is found most frequently in watchmaking. There are a number of additional techniques that can be employed when creating this intricate enamel work and these techniques will achieve various results. Plique à jour is the same technique used by the French enamellists Lalique and Feuillâtre in the 1900s and is a French term that translated means “glimpse of day.” This accurately describes the play of light that shines through the rich, lustrous enamel colour. Each piece that adopts this kind of fine enamel work is delicate and translucent – suspended between silver wires without

Another technique is champlevé. Meaning raised field, the champlevé artist uses silver to create beautiful objects with depressions or wells by either cutting, hammering or stamping. These recesses are then filled with enamel and built up in layers until it reaches the same height as the remaining silver. After cooling the piece is sanded down creating a matte finish and is fired again to re-glaze the enamel. Basse taille is French for “low cut”. In this technique a pattern is created in the surface before enamelling begins – often through hand engraving or the intricate guilloche technique. These patterns are often exceptionally intricate and eye catching. Given the natural translucence of the glass, these patterns show through when the

manipulate the surfaces to achieve creative finishes. The process can be applied to a

a backing, creating the effect of a stained glass window.

enamel is laid over. Basse Taille adds texture and life to any design.

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The vessels

The extreme temperature that is required to execute fine enamelling requires an array of specifically chosen tools.

Enamelling is a process that requires absolute stability and purity in its fabrication and composition. This

its melting. The enamel creation itself must be kept clean to preserve the colour and clarity of the enamels. Once the raw enamel

finished products. The grinding process is especially important, as the enamel colours must maintain quality and consistency

can only be achieved by using specifically created and carefully chosen tools, which will leave the enamel pure and clean. The firing technique requires the use of a clay vessel which has been specifically prepared to withstand the torturously high temperatures required to achieve the perfect finish. This simple clay pot once fired is dried

has been fired and melted until it forms a clear crystal like substance, various oxides are subsequently added to the mix, which give the enamels their colour. Copper makes greens and turquoise, cobalt makes blues, magnesium produces browns and platinum produces greys. Other colours require careful mixing of oxides – especially black

without introducing impurity through the crushing process. This requires the use of pestle and mortar made from agate – an ornamental stone consisting of a hard variety of chalcedony or quartz, which is typically banded in appearance and often used to create fine objects and jewellery. The agate is used because it is harder than

in exacting conditions of 30 degrees Celsius for seven months. Once this is complete, the mortar must prove in the kiln for eight consecutive days to a temperature of 1400 degrees. This ensures that the enamel is safe once it enters the cauldron and will not be compromised or lost in the process of

which needs a mix of copper oxides, cobalt and magnesium. Ladled on a cast iron table the enamel will stay clear, put into a mould it will go a little opaque. Once hardened the individual colours must then harden and be re-crushed into fine powder so that the enamellers can carefully paint their intricate

enamel and will not impart any imperfections to the process. Once crushed the artists can begin to use the powders to illustrate their designs. Many enamellers choose to create their own powders because it is harder to guarantee the quality of storebought enamels.

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French evolution

The central French region of Limoges has played host to the history of fine enamelling from its earliest days to its 20 th century revival.

Limoges in central France has an incredible enamel heritage established in the Middle Ages. It is regarded as a centre for early enamelwork – particularly when applied to metal and has, over centuries, become an area of important historical and cultural relevance in this regard. From the 12th through 15th century, enamel painters from Limoges became famed for their use of the champlevé and cloisonné methods, and by the end of the 15th and beginning of the 16th century the artisans that lived within its limits came to master the techniques developed that permitted painters to apply enamels more freely to copper surfaces, without obvious demarcations between areas of colour, in a manner that approached the painting of oil

at this time was mirrored in its love for the enamels produced here and was also heavily influenced by religious art. While religious themes dominated Limoges enamels in the Middle Ages and continued to cover the surfaces of Limoges plaques particularly in the first half of the 16th century, images of Greek and Roman subjects, readily available to painters through engravings and woodcuts, predominated from the 1530s. By the 17th and 18th centuries most of the area’s enamel production was led by two families: The Laudins and the Nouaillers. The Grisaille technique, French term meaning “in grey” was still used by Jacques Laudin and Pierre Nouailher and then disappeared. By the end of the 18th century, the last enamellers disappeared while deposits of kaolin were

discovery offered new perspectives for artists in the porcelain field. However, by the middle of the 19th century, interest in the art of enamelling began to return and Rene Ernest Ruben, a famed Limousin goldsmith championed the art’s revival. The repertoire of the Limousin enamellers began to shift away from religious or mythical representation to a more personal form with portraits of private individuals and urban scenes beginning to appear. Going from strength to strength, by the turn of the 20th century, Limoges’ enamelling pedigree was re-established thanks to the emergence of Art Nouveau and the Arts and Crafts movement. The success of Limoges enamel was renewed and vases, cups, boxes and other jewels produced within the town

on canvas. The French appreciation for antiquities

discovered in Saint Yrieix la Perche attracting them to move to greener pastures as its

decorated the halls of grand buildings, and mantels across Europe.

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SignĂŠ Selection

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U LT R A S O N I C

ULTRA SONIC Style and substance in a single item is often a rare combination and particularly hard to come by, especially in audio equipment, but Ultrasone’s Edition 5 headset is more than up to the challenge

Headphones are as much items of fashion today as pieces of technical equipment. Most audio equipment brands have caught on to this and are producing beautifully designed yet highly practical pieces of gear – perhaps none more so than Ultrasone. With decades of specialisation in high-tech and high-end headphones, their latest creation – the Edition 5, meets all possible audio and artistic requirements for a modern set of headphones. A strictly limited edition item, only 555 pieces are to be sold worldwide. These closed-back headphones utilise Ultrasone’s S-Logic technology, making its world debut in this anniversary masterpiece.

a listening experience that is practically indistinguishable from that of studio monitors and, unlike speakers, it is not dependent upon room acoustics. The titanium-coated sound transducers are an innovation specially adapted to this acoustic task. In terms of style and materials, each Edition 5 earcup is handmade from bog oak – hundreds of years old and unrivalled in terms of grain and colour and are protected by seven layers of varnish, further enhancing the natural beauty of the material. With its cool sophisticated look, the black anodised aluminium headband emphasises the elegance of the bog oak earcups making it an

This innovation is based on a funnel-shaped arrangement for the sound transducer, oriented downwards to the front, which results in

extraordinary collector’s item as much as a piece of exceptionally high quality audio equipment.

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DIRECT FROM THE BAR…

Direct from the bar… THE RAT PACK RIDES AGAIN WITH THIS BEAUTIFUL COLLECTOR’S ITEM FROM REEL ART PRESS

Featuring images from a select group of photographers who travelled with and snapped the group, including Sid Avery and Bob Willoughby, many of the photographs used in this book have previously been kept in storage, or even gone undeveloped – in

The booze, the broads, the banter – when it came to cool, the Rat Pack ruled the roost. It was the glory days of swing, of Vegas, and of voices that would come to leave indelible marks on the history of music and performance. The 1950s and 1960s saw the touring club acts set the bar literally and figuratively. Among this group of

occasional overindulgence, but the shtick was always golden. This is what made the Pack legends in their own lifetimes and why – even today, their legacy endures from stage to shining stage. It is that legacy which inspired Tony Nourmand and Shawn Levy in association with Reel Art Press, to lovingly collate a seriously beautiful limited

fact over eighty percent of images have never been seen or published before. However, Nourmand and Levy secured access to them and have produced this stunning collectors item – the ultimate documentation of the era and the men whose voices and characters came to define it. With in-depth text by Levy who happens to be a leading knowledge on the Rat Pack, this magnificent volume is the

drinking, smoking and singing troubadours were the likes of Dean Martin, Sammy Davis Jnr and of course the leader of the pack, Frank Sinatra. The mere mention of their names today inspires thoughts of sharp suits, perfectly coiffed hair and enough one-liners to fill a joke compendium. The gang took the world by storm with their charisma and ready smiles. Their highly polished appearance alone would have been enough to make them icons of style, but as it turns out, they were terrific musicians who rewrote the rules on singing and performing with their relaxed and fun-loving effortlessness. The ramshackle boys club that the Rat

edition photographic almanac documenting the period in crystal clear celluloid – a book simply called: THE RAT PACK.

first collectable photographic book on the men whose appeal transcends generations and who remain the epitome of cool.

Pack was, may have been fuelled by the

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The kings of swing are often imitated but never duplicated. The music of the Rat Pack defined a generation. This age of Vegas is captured beautifully within the pages of this stunning photographic book.

WORKING HARD OR HARDLY WORKING?

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A R T I N M I N I AT U R E

Art in miniature Aliel is a brand for those with an eye for the finest things in life. Its Iznik cufflink range beautifully illustrates their dedication to tradition, mixed carefully with its cutting edge perspective.

Italian craftsmanship is internationally celebrated at Aliel and this dedication to jewellery craft is ever present in the stunning and elaborate jewels they manufacture. Crafted especially for Aliel, their ranges are striking and designed for connoisseurs of fine jewellery, be they men or women. By utilising the impressive skill and artisanal practices of their creative team, their cutting edge pieces have an exciting

in everything that is produced and clients who crave individuality on a grand, or small scale can find a spiritual home within its showrooms. While large pieces of jewellery for women make up a large portion of their output, its discreet yet infinitely stylish men’s collections are not to be overlooked – particularly the Iznik cufflink range. Each cufflink is a work of art – handmade using traditional cloisonné enamelling techniques

Made with great care and attention to detail – no one cufflink is the same. In fact, Aliel encourages the mix and matching of their cufflinks, provided they are the same shape. The blend of quirky application and absolute commitment to tradition is a calling card of Aliel, and is beautifully represented here. While some take more quirky shapes of pots or vases, others take more traditional shapes and are encircled with diamonds

and timeless quality to them that is instantly appealing and always desirable. There is uniqueness and individuality

on porcelain and is hand painted in the traditional method of artisans from Iznik in Turkey from which the range takes its name.

to give them an additional flair. It is again the combination of styles and fabrication elements that gives the range its allure.

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HAND AND GLOVE

Hand and glove A heritage pursuit is given a high-class accessory, thanks to Montblanc’s exceedingly skilled leather artisans.

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Montblanc has celebrated the relationship between man and bird by creating an exclusive falconry glove worthy of the white star. Otherwise known as gauntlets, these pieces of kit are essential for a falconer as it turns the arm into a suitable perching surface

Falconry gloves vary in size depending on the size of the bird, and can cover both the hand and wrist, and on occasion extend up to the elbow and even to the shoulder in order to accommodate the largest raptors and protect their handlers. However, this piece takes what is essentially a mere

This glove is one of the smaller varieties and is made from the most premium materials available, including the finest calf and alligator skin. Fabricated by Montblancâ&#x20AC;&#x2122;s highly skilled artisans at its leather factory in Florence, this beautifully crafted glove carries the distinctive Montblanc logo and has been created as a set

while simultaneously protecting it from the fearsomely sharp talons of the bird.

object of utility and elevates it to an article imbued with absolute style.

together with a complementary handcrafted calfskin falcon hood.

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WITH A TWIST

With a twist The resurgence of gentleman’s cocktail culture means it’s time to get your house and home bar in order. The Twisted Spitfire cocktail shaker from Thomas Lyte will help you do just that but with a dash of style and a soupçon of panache. Many a gentleman has, on occasion, partaken of a cocktail at the end of a tough day and while it may have gone out of fashion somewhat in the last decade in favour of straight up liquor or an ice cold beer, the gentleman’s cocktail has come back into vogue of late which means it is time to stock up on home bar accessories, from measuring cup to muddler. Perfect for the at home mixologist

strikingly designed piece is from the company’s Twisted Spitfire silver collection. Lyte’s team of expert silversmiths have crafted this piece in their workshop from a single piece of metal which has been intricately twisted into its distinctive shape and makes for a beautiful sculpture as much as a lovely practical item. The shaker

is this wonderfully made silver cocktail shaker from Thomas Lyte. Quite literally a new twist on an old classic, this beautifully and

makes for a unique gift idea or a perfect accessory to the home bar of any cocktail enthusiast.

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W R I T T E N I N T H E S TA R S

Written in the stars A writing instrument of absolute craftsmanship and elegance, the Caelograph from Caran d’Ache is at the pinnacle of haute écriture.

The Caran d’Ache philosophy has been effortlessly and perfectly encapsulated in their Caelograph writing instrument – an implement that reflects the finest traditions of fine pen making. Made from traditionally applied, midnight blue Chinese lacquer, 18 carat gold and diamond, the piece is immediately arresting with massive aesthetic appeal. In addition to fine fabrication, the Caelograph reflects man’s fascination with the stars. Literally translated to “writing the sky” the Caelograph has been created in tandem with astronomers to give its user an accurate representation of the constellations at any given time, on any date. Apart from the natural requirement for accuracy, reproducing a flat map on the curved surface presented a serious technical challenge to Caran d’Ache. For the first time, the projection process known as Mercator has been applied to a writing instrument in order to meet this challenge. In a second technical feat, Caran d’Ache has managed to represent,

to indicate the position of the stars at any chosen time. This astonishing capability is made possible by a highly ingenious mechanism that can be adjusted and set to the precise time and date required. Several other elements form part of the decor. The cap and the nib carry the hour lines typically found on sundials, making a light contrast with the dark Chinese lacquer. A compass rose is mounted on the tip and another is engraved on the nib. The clip is shaped like a compass needle, evoking the ageless link between navigation and astronomy. Depending on the model, the brightest stars are represented by diamonds, including Sirius in the constellation of Canis Major, also known as the Great Dog. The Caelograph is produced in three versions. The Alpha edition is coated in platinum and limited to 120 fountain pens and 120 roller pens, a reference to the 12 constellations of the zodiac and the 12 months of the year. The Sirius edition is gold plated and set with a diamond as a tribute to the brightest star in the heavens – limited to 52 pieces for the 52 weeks of the year and the Zenith of which only

on a surface as small as the pen body, the 51 constellations and 353 stars visible from the northern hemisphere. The sky chart is mobile in order

one piece has been produced in solid rose gold decorated with 22 diamonds symbolising the 22 brightest stars in the sky.

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CELESTIAL BODY The Caelograph’s wonderfully crafted appearance in tandem with its superb functionality makes it a timeless item for the pen aficionado.

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WORLD OF DIFFERENCE

World

difference BASELWORLD IS BACK AND BETTER THAN EVER WITH A RANGE OF QUITE SPECTACULAR TIMEPIECES FIT FOR THE MODERN GENTLEMAN.

The city of Basel in Switzerland sits at the crux of three nations, France, Germany and Switzerland and plays host to the annual watch and fine jewellery celebration that is Baselworld. A watch lover’s dream, the trade show can at least be described as the biggest and brightest event in the horological calendar. Manufacturers and devotees of fine watches and jewels flock in there in tens of thousands each year to participate and admire the beauty on show, and this year was undoubtedly no different. The statistics speak for themselves – last year there were 1,460 exhibitors from forty countries presenting their new models and collections with more than 6,000,000 business cards exchanged during the event and 122,000 visitors from over 100 countries in attendance. This year, over 7,000 lorry loads of goods were delivered over a six-week period to make ready the venue, which is the size of a town. It is an important event by anyone’s standards. To celebrate this event and its significance to the world of horology, here are a few highlights from the gentlemen’s collections that stood out not only in design but in concept.

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ULYSSES NARDIN - PERPETUAL MANUFACTURE CALIBER UN-32 Crafted in celebration of infinity, the new Perpetual Manufacture is powered by the incredible Calibre UN-32, a movement that features the most advanced Perpetual Calendar in the history of watchmaking. Allowing the date to be adjusted both forward and backward it has a dial stamped with the symbol “∞” – the symbolic representation of infinity. As well as the day, date, month and year indications, which can be adjusted easily by turning the crown in either direction, the Caliber UN-32 in this exceptional watch also offers a second time zone. The hour hand can be advanced or moved back by one or more positions simply by using the dedicated “+” and “-” pushpieces at four and eight o’clock. The sophisticated mechanism also has calendar functions that synchronise automatically when the hour hand is changed. Just 250 watches in rose gold and 250 in platinum will be made.

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WORLD OF DIFFERENCE

BLANCPAIN VILLERET COLLECTION, 8 JOURS Blancpain is releasing their latest watches under the Villeret collection moniker. Named after Blancpain’s birthplace, the watch is a physical representation of the company’s deep-seated principles of putting authenticity at the very front of its designs in respect of their grand tradition. This remarkably sober yet refined timepiece features a stunning Grand Feu enamel dial, which gives it an undeniable, eye-catching radiance. To create this gorgeous feature, the enamel is baked, layer after layer, at temperatures exceeding 1,000°C. Between firings, the dial is meticulously retouched by hand, then finished using time-honoured techniques, which reaffirms Blancpain’s dedication to the maintenance and promotion of watchmaking heritage.

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CORUM ADMIRAL’S CUP AC-ONE 45 DOUBLE TOURBILLON Inside the iconic twelve-sided case of the Admiral’s Cup watch beats a gem of precision timekeeping: the CO 1008 calibre with two parallel-mounted Tourbillons. A horological tour-deforce, this intricate mechanism also makes room for a retrograde date and a particularly innovative timeadjustment system. By pressing the crown pusher, the wearer can instantly bring the minute hand to the twelfth hour-marker to set the exact time, and this up to five minutes before and after a full hour. The dial swept over by luminescent hands and hourmarkers comes replete with a unique design specially developed for Corum: the split pomegranate motif. Forming small diagonally incised squares, this composition creates an elegant depth effect accentuated by the inner bezel ring stamped with the emblematic nautical pennants of the Admiral’s Cup collection.

ARMIN STROM TOURBILLON GRAVITY FIRE Armin Strom is an independent manufacturer of high-end timepieces based in Bern, Switzerland and founded in 2006. The brand is a lesser known on the international stage, but has built up a remarkable pedigree and following in a very short space of time. The piece they showed at Baselworld is called the ‘Tourbillon Gravity Fire’ and showcases its mastery of gravity in both winding and regulation. While the Tourbillon mechanism enhances the precision of regulation by reducing the effects of gravity on the running of the movement, the integrated micro-rotor harnesses this same force to supply energy to the gear train. It is thus by exploiting both the positive and negative impacts of gravitation that the hands display the time along an offset axis. The watch is to be made available in limited numbers of 50.

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EDITOR’S PICKS

HOT TO TROT FOUET AND CENTAURE COLLECTION FROM HAUTE BIJOALLERIE BY H E R M È S

Enough to get the most ardent of equestrians into a lather, the Haute Bijoallerie collection from the Hermès couture jewellery division, designed by Pierre Hardy – moonlighting away from his day job as a show designer, is a revelation of diamonds and design. The collection reveals rings and necklaces in varying degrees of abstraction. With diamond set whips and inverted glossy black hooves, the collection oozes sex appeal and are strong statement pieces to be carried off only by those who can both appreciate and accommodate their artistic flair. There is a definite power and masculinity to the collection, which is emblematic of Hermès’ strong and confident philosophy emphasised by the confidently outsized proportions of the pieces. Supremely elegant, the “Fouet” platinum whip is sinewy deliciousness – power and delicacy combined. The piece curls elegantly and yet threateningly around the neck, again playing with the contradictions of masculine and feminine, brute force and soft encouragement. Shimming with over 3500 diamonds the piece is the absolute definition of couture jewellery. The hoof-like pieces from the Centaure collection are bold and angular again commanding respect and attention and yet representing a charming homage to the Hermès brand.

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BIRDS OF A FEATHER BALLON BLEU DE CARTIER WRISTWATCH BY CAR T I E R

Since Cartier opened its Haute Horlogerie division in 2005, it has successfully pushed the boundaries of what is possible and expected in a timepiece. Previously, watches from this avant-garde wing of the legendary jeweller have included veneers of wood and unusual materials like straw to decorate the faces of their couture timepieces. With the Ballon Bleu de Cartier Parrott watch, the limits of what was thought to be possible have yet again been pushed. A simple glance at this stunning timepiece and it is clear that Cartier is responsible, by its shape and the quality of its finish, however the vibrancy of this watch has been created not because it has been skilfully painted, but because each plume of feathers in stunning blue or sizzling yellow has been made from individually cut flower petals, which have been applied using marquetry techniques. This gives the colour a unique vibrancy and authenticity. Wholly sourced from nature, the hues sing and make the parrot motif come alive. The 42 mm case of this piece is made from rhodium-plated 18-carat white gold and has been set with 124 round diamonds totalling 1.80 carats. An onyx beak and emerald eye give the motif added appeal, as does the beautifully reserved bracelet in white semi-matt alligator skin. The watch is a feat of absolute creativity and engineering, certainly worthy of the Cartier name.

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EDITOR’S PICKS

PIECE BY PIECE - NADA ROMA B Y N A D A L E C AVA L I E R

Beauty is often found in the smallest details and this is no truer than when it comes to jewellery. The intricate pieces in the Nada Roma collection from Lebanese jewellery designer Nada Le Cavalier are a testament to this fact. The designer first started creating jewellery in 1979 combining archaeological relics with delicate gold work and coloured gemstones, reviving ancient artisanal techniques and reimagining artefacts into contemporary ladies’ accessories. Since its creation in 2006, the Nada Roma collection has consisted of fabulous necklaces, earrings and brooches. To create the jewels for this line, old glass paste, Italian micro mosaics are sourced and reinvented into new and attractive decorative jewels by resetting them with gold, diamonds, sapphires and rubies. Each piece produced is most unusual and definitely unique with each jewel representing a small slice of history in their design. There is a wonderfully mismatched quality to the collection, especially when pairs are concerned. Where aesthetically you will see that each of a pair of Nada Roma earrings is similar, closer inspection will show that they are not natural partners with differing pattern and shape. This is part of the Nada Roma collection’s charm – each individual item carries its own small story.

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ABSOLUTE PERFECTION A stylish case fit for the finest gentleman’s accessories, the Collector’s Chest from Spanish firm Bretón is the perfect option for the avid investor.

High-end accessories are precious things that should be protected as much as cherished. For the enthusiastic collector it is important to have a presentation case worthy of the finest timepieces, cufflinks, tiepins and buttonholes. Bretón is a company of fine leather trunk and case makers based in the Cadiz region of Spain whose attention to fine detail and beautiful production means that their presentation cases offer a perfect technical solution to storage of fine objects while simultaneously possessing its own highly desirable aesthetic. Typically made from wood and top-grade leathers, the cases can be selected from Bretón’s extensive range or can be made to order to meet any individual specification and personal taste. All of the limited edition pieces are handmade using traditional artisan techniques and customers are able to oversee the creation of an individual piece from the very start, should they choose. The Collector’s Chest featured here is a beautiful piece of luxury craftsmanship and includes three rotors for automatic watch winding and four velvetlined drawers. Two of the drawers are fitted with flexible cushions, which can house up to twentyfour watches. In addition, another drawer holds thirteen separate fountain pens with individual trimmed slots. The final drawer has been specifically made to house cufflinks, jewels and other small accouterments. There is also intriguingly an additional secret compartment with a cushion for a small hideaway – perfect for the cautious gentleman. Added extras include a flexible travel case for the watch rotor unit, as well as a travellers’ jewel case and a roll-up watchcase for ease of safety of transportation.

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Philanthropy

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Passing the torch A. Lange & Söhne’s dedication to the future of the watchmaking profession can be seen in its annual watchmaking award that acknowledges and rewards the most promising craftsmen and women of the future.

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The eight aspiring watchmakers attend workshops which teach them about A. Lange & S öhne’s specific methodology as well as increasing their knowledge of the incredible skill needed to design, engineer and craft these wonderfully intricate timepieces

To be a true craftsman, and to be able to appreciate the skill and devotion necessary to put together the finest and most coveted objects, there is a prerequisite knowledge and passion that must undoubtedly accompany talent. This dedication to the process, to the craft and the perpetuation of traditions of artisanship require investment in people and in learning – if an expertise of specificity is not to be lost to modernity and mass production, customers and companies must learn to, and actively encourage, the cherishing and

A. Lange & Söhne is one company doing their bit for the future of the watchmaking industry by incentivising and promoting the horological tradition through their academy training programs and the F. A. Lange Watchmaking Excellence Award. The award is named in honour of Ferdinand Adolph Lange, the founder of the company and a man who toiled in his craft to establish the firm and make it one of the greatest watchmakers currently in production, and aims to pass the torch to the next generation. In an attempt to both honour

watchmakers of tomorrow – encouraged by the tempting €10,000 stipend awarded to the winner and the plaudits that no doubt follow. The young talents chosen to attend A. Lange & Söhne’s Saxony workshops are given specific instruction in the brand’s specific etiquette and in a weeklong summer workshop, the aspiring watchmakers are trained in the specific ideologies, philosophies and stylistic qualities of A. Lange & Söhne. The award has been running for four years now and during the learning process involves visits to the manufactory

nurturing the next generation in order that they may stand on the shoulders of giants.

the past and inspire the future, each year the company lays down the gauntlet to eight

in Glashütte, Saxony as well as tours of the workshops where the candidates are

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themselves able to get hands on and attempt the complicated procedures and intricacies involved in precision watchmaking. This will include the attempted assembly of a threequarter plate movement – an 18th century mechanism typified by a thin movement and a cut way back plate, and the hand engraving of a balance cock – a process and feature that is a traditional signature of an A. Lange & Söhne timepiece. The average Lange watch receives a floral engraving applied to a small piece of metal smaller than a human fingernail.

to tackle this procedure by hand – a process that makes every single Lange timepiece utterly and intrinsically unique. Further tours of the Glashütte Watch Museum and the Mathematics and Physics Salon in Dresden, sponsored by A. Lange & Söhne, round off the programme before the challenge is set. After attending the workshops the eight – already highly skilled individuals – are given a unique horological challenge to create a singularly unique timepiece that meets specific criteria. The scholars must then create something that approaches

A five-member jury of experts then reviews the entries awarding marks for originality and innovation. But technical functionality, quality of craftsmanship and the aesthetic qualities of the execution were also important criteria. Last year’s task was a five-month long project requiring the aspiring craftsman to create a timepiece with a second time zone display based on an ETA 6498 mechanical movement. The winner was a 23-yearold Austrian called Paul Wudy from the Technical School of Karlstein. His timepiece

At A. Lange & Söhne, there are only a handful of engravers with the requisite skill

the problem in a stylistically accurate yet innovative way.

(pictured above) was adjudged to have met the criteria to greatest affect.

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Cultivating the Arts Cuadro art gallery has been established to support and encourage the region’s art community and does so in a dynamic and innovative fashion that prioritises artist’s education as much as audience enhancement.

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The social importance of the arts and creative movements can often be underestimated in modern and fast developing countries, particularly in the Middle East where the constant march towards progress – turning cities from desert outposts to international powerhouses, has continued unabated for the last twenty or so years. It is not that there has been no appreciation for creative media, but there has been something of a deficiency in the understanding of its value. Indeed it can be argued that the pursuit of the impressive growth seen in places like the Emirates, Bahrain and Qatar has created something of a creative vacuum where, in developed nations, the arts would normally be found. The reflection of cultural shifts and informative understanding of the past, present and future through artistic interpretation is something which requires cultivation and support – something which Cuadro, an art gallery based in DIFC, is attempting to provide. The man behind Cuadro is Bashar Al Shroogi, and the gallery is the result of a collaborative effort from the Al Shroogi family and the Emirates arts community. The objective is simple – to create a lasting artistic legacy within the region. The Al Shroogi family’s involvement in the arts is a longstanding one as Bashar explains. “I grew up in a family of art collectors and art lovers. My mother supported a lot of young artists in Bahrain offering advice and spaces to work while trying to help them with exhibitions, but this was all done in a very ad-hoc way. When she retired, she wanted to see a more formal process implemented to support the arts, focusing on artists’ residencies and education. At the time she was dreaming this up, I was living in Spain having just completed a business degree and an ethics degree. She called me and offered me the chance to come in to help set up and structure the program.” Bashar’s initial response was extremely positive; however, he became aware that the finances that the family had set aside to fund the project would not last, indeed they would dry up within five to six years according to his calculations. The family began looking into different ways to fund the program, considering sponsorship and endowments,

decided that we would run a residency program and set up education courses for aspiring artists. The products generated at the end of the residency would be shown in a commercial space. At that point the art is sold and the artist gets their share, we would then pay the fees for staffing and other expenses while the remainder would be fed back into the program in a closed loop.” This is how Cuadro came to be self sustaining while also being a 100 per cent not for profit social enterprise. The unusual nature of the business model gives Cuadro the opportunity to do what few others in the region have – focus purely on the art, and not the profit margins. “The benchmarks we have placed for ourselves are very different, which allows us

The residency program itself came out of the region’s lack of support for the artistic community. “There are some universities and arts schools developing a fine art program now, but when we founded Cuadro there was very little art for art’s sake education. At universities there were visual communication courses but no fine art options, and photography degrees were heavily commercially biased rather than focusing on artistic merit. What has been required in this region is the nurturing of the entire spectrum, and this is something we are trying to achieve through our residency. It’s almost like a crash MBA. We are trying to empower artists and give them the tools to say, “I am a full-time artist, this is my vocation and this is how I’m going to put my

however it quickly became clear that the program should be self-sustaining. “We

to curate the space in a very different way,” explains Bashar.

kids through college.” The residency is an intimate program

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Bashar Al Shroogi - Owner and Director, Cuadro gallery

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Cuadro gallery, DIFC Dubai

that lasts three months and the gallery cherry picks artists to participate. During the process, aspiring artists are encouraged to make art their profession and are assigned writing and communication modules in order that they be able to effectively communicate their messages, write appropriate artist’s statements and file applications for grants. They are also given legal modules which teaches about the art market – how it moves, how to assess where art work should be priced, and how to read a contract, consignment agreements and their like. Once all these housekeeping modules are complete the artists can set about creating, with the support of the gallery. “During this process we are involved in a number of studio visits, and help to critique the work.

– critique is often taken as criticism. It is an important distinction to make because critique is constructive and consequently serves to make artist’s works better.” Another mandate for the gallery is to develop and encourage audience growth and Bashar has been made aware just how fast the audiences have come in the space of a mere six years. “When I first came here and began working in the arts in 2005, reactions to exhibitions would be purely congratulatory. Very quickly, by about 2008, audiences had become more exposed to the arts, the same people that were coming to new openings began to develop objective opinions. Instead of simply getting a “well done,” we were beginning to hear “I like it” or “I don’t like it”. Again two years after that,

Critical thinking had become part of the artistic landscape.” The residency program has produced a number of success stories, but particularly noteworthy is the story of Manal Aldowayan. Before becoming a full-time artist, Manal worked for a Saudi Oil company and with the help of Cuadro and the residency, got the confidence to become a full-time artist. “Manal has gone on to do wonderful things, and when you see listings of international artists today, her name will regularly appear. Her work is being collected by international museums such as Mathaf Museum of Modern Arab Art in Doha as well as the British and LA county museums. Another sign of her success is how well her work performs at auction, which indicates

The concept of critique in this region is interesting, because it doesn’t really exist

that same audiences were able to articulate why they liked, or did not like the work.

that there is a strong secondary market for her work.”

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FIRST IN CLASS

FIRST IN CLASS Piaggio Aero’s take on the modern private aircraft is an innovative and visually striking plane that prioritises practicality and comfort without compromising style and economy.

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Private air travel remains at the very height of luxury. Having the means to command a plane and avoid the oftendifficult and tedious processes that go along with flying commercial is a luxury few can enjoy, but many swear by. The purchase of a private jet is, of course, a highly personal choice and depends on exactly what it is intended for. Many are flying offices with large conference tables for the occasional highpowered meeting at 35,000 ft. while some are fitted with large seats in which to sink comfortably for long haul journeys. Others are simply ideal modes of getting from Point A to Point B with the least amount of fuss and the most amount of comfort. Factors like size, headroom, luggage capacity, staffing contributes massively to the design of the private jet and the options available are surprisingly varied. But what if there are other considerations than simple comfort – what about style and

answered many of the pressing needs of international air travel with a single solution – eschew the jet, and pick up a turbo-prop. The Piaggio Aero P.180 Avanti II is not an average propeller plane. It is an innovative and solutions based design that places the needs of its passengers first, and yet is a little more forgiving on the owner’s wallet. The idea behind the plane is, in fact, remarkably simple despite its slightly off the wall looks. Essentially the thinking is that the Avanti II is a jet plane in every way that counts – except in the choice of engine. It is an unusual niche, which it occupies by itself. In fact, it is a niche that Piaggio Aero has both created and perfected. The Avanti II has many of the benefits of jet aviation while doing away with some of its shortfalls. It is a sleek and dramatic looking thing – a plane that looks retro and futuristic in the same breath – an unusual blend of styles that results in an effortlessly chic

The nature of its structure means that it has a great deal more cabin room than its jet-engined counterparts. The positioning of the engines, set far back on the plane mean that the engine noise is behind the plane and gives the cabin a dramatically improved sound quality. Alongside the wing position which is also set further back there is a unique interior cabin configuration that makes the Avanti II not only best in its class in terms of size, but also a breath away from being in the midsize range. Another key feature is the plane’s use of 3LSC (3 Lifting Surface Configuration). By adding a small forward wing – Piaggio Aero is keen to stress this is not a canard – the plane is given crucial lift and stability while also offering a great short field capability. This means that the Avanti II can access small airfields that other planes of this size would struggle with. The cabin isn’t totally symmetrical

even economy? Italian aviation specialist Piaggio Aero has designed a plane that has

appeal – not words you would necessarily associate with commercial aviation design.

and it is somewhat cozier in the rear but the main cabin height of 175 cm means

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PERFORMANCE Maximum Cruise Speed 737 km/hr at 8538 m Take-off Distance S.L. - 869 m Landing Distance S.L. - 872 m Rate of Climb S.L. - 899m/min

that many passengers would find they are able to stand completely upright – no neck breaking, ducking and diving required here. It is also very accommodating in its width too at a healthy 185 cm, which allows for great shoulder room, and easy entry through the air stair door. The plane itself has been around for over twenty years, but has undergone radical renovation in the last few years to bring it up to spec for the 21st century. New models feature improved interiors for added comfort and also a higher takeoff weight capacity, which is ideal for those who are kitchen sink packers. It has also seen tremendous technological upgrades too with a Rockwell Collins Pro Line 21 Electronic Flight Instrument System, a satellite based FMS 3000 flight management system and AHS 3000 attitude heading reference system for the single pilot’s use. And yet the Avanti II is an economical

cent less fuel requirements than most business jets it has a much smaller carbon footprint. But despite its economy, it has a tremendous range of 1,500 nautical miles again supported by its innovative design. P180 design evolved

reduction in total wing area over conventional designs, thereby reducing weight and drag. Its non-cylindrical, low-drag fuselage shape has been carefully developed through extensive wind tunnel testing. The Pratt & Whitney, Canada PT6-66B engines, rated at 1630 thermodynamic HP, are de-rated to 850 SHP. They are part of the world’s most trusted family of turboprop engines. They power the Avanti II to a certified altitude of 41,000 feet and speed of 398 knots at 30,000 feet with a maximum operating Mach 0.7. That’s significantly faster than any other turboprop and faster than many of the Avanti II’s jet competitors. The Avanti II is often called the “Ferrari of the Sky,” thanks to its technological innovation and dedication to customer service and care. It is a fitting comparison as the Italian brand has supplied their planes to the Ferrari Formula 1 team in order to get from race to race and proudly displays the prancing horse

plane – another benefit of turbo-props over conventional jet engines. With nearly 40 per

to include the following: Piaggios’s patented 3LSC system also creates a 34 per cent

symbol on its tail – and let’s face it, if it’s good enough for Ferrari…

CEILING 12,500 m EXTERNAL DIMENSIONS Wing Span 14.03 m Length 14.41 m Height 3.98 m WEIGHTS Maximum Take-Off Weight 5,466 Kg Standard Equipped Empty Weight 3,538 Kg Useful Load (Incl. Crew) 1,950 Kg Maximum Payload 907 Kg SEATING CAPACITY Maximum Seating Capacity 9 + 2 crew Typical Executive Payload 6 + 1 crew

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T H E YO U N G M A N A N D T H E S E A

The young man and the sea They say once a sailor, always a sailor and the history of men and the sea is written in lore. The ocean has an allure and many a mariner has fallen under its spell.

Louis Vuitton and sailing have a longstanding history together, setting a tone of high fashion in this fascinating sport. For over 150 years, seasoned travellers have been preparing to set sail by gearing up in Vuitton’s timeless collections that combine style, performance and luxury. Such is the undisputed indispensability of Vuitton in the world of sailing, then and now. The formation of the Louis Vuitton cup in 1983 has only taken the glamour and sophistication several notches higher. Year after year, the fashion bar is raised slightly by its latest creations de rigeur that effortlessly manages to match the sport’s mystique and glamour.

Windbreaker vest Navy double neck knit with removable collar Navy Pants Sunglasses in carbon ber and titanium

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White sleeveless printed tee shirt Deep blue short with waterproof pocket Tambour LV Cup automatic countdown watch Alligator strap White sneaker in calf leather

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White double neck knit with removable collar Rubber technical binoculars

Dry suit parka with removable pants Deep blue short with waterproof pocket Gym bag Damier Challenge LV Cup Sunglasses in carbon ber and titanium Orange sneaker boot in canvas

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Dry suit parka with removable pants Tambour LV Cup automatic countdown watch Alligator strap

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Ecru Dry suit Navy Double neck Knit with removable collar Practical Damier Aventure LV CUP

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White double neck knit with removable collar Deep blue short with waterproof pocket Tambour LV Cup Automatic Countdown watch Alligator strap Orange sneaker boot in canvas

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Ecru Dry suit

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Navy Loafer in nubuck calf leather White Sneaker in calf leather Orange Sneaker boot in canvas

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V I N TA G E V O C A B U L A R Y

Vintage vocabulary PHOTOS: S I LV I A P E N N A C C H I O

For a fix of the finer things in life there is one place which is a must visit – Max Bernadini’s luxury vintage showroom in Milan Italy. With generations of expertise in all things luxurious and timelessly stylish behind him, Max is a foremost authority on fine collectibles and his shop offers precisely what the modern gentleman of style both needs and desires.

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Max Bernadini is a man who resolutely understands and believes that the passage of time has no impact on true style. He is a connoisseur of the finest things in life, and his passion for vintage accessories, furnishing and fashion has lead him to establish one of the finest luxury vintage shop in the world – the Bernadini name is synonymous with timeless style and tailor-made elegance. Such a deep knowledge of the intricacies of vintage brands can only come with genuine passion and a great education. For Max, this understanding has come from his family for whom the interest of collecting fine objects like art, furniture and desirable accessories has been ever-present – even if it came about almost incidentally. “My grandfather was a collector, and in the Italian nobility it is normal to hand down pieces of art, furniture and decoration from generation to generation, so my grandfather’s archive was full of things, and was a collector without even knowing it!” says Mr Bernadini. But it was Max’s father whose passion for fine living was taken to its natural conclusion when he turned his love for both vintage and rare jewellery into a profession upon leaving his career in banking. The passion his father and grandfather had and the knowledge that the love for vintage objects could become a lucrative business clearly rubbed off on Max. At 16 he became enamoured with fine vintage watches and his hobby quickly became a passion that led him into the world of vintage collecting. The touch paper had been well and truly lit. He began studying the types of people that would purchase the sort of objects he was amassing – the lifestyles, tastes and appreciations of the customers that were originally intended to purchase these grand and refined pieces. He studied the mind-set of those who would wear a Patek Philippe in the 1930s or perhaps travel with LV trunks and Hermès beauty cases and determined that in those days, the customer truly was king – things were made for them specifically and not mass produced. But there was another factor that Mr Bernadini believes really set the market apart at the turn of the last century. “Wealthy people in those days had the most precious asset of all: time. Time to dedicate to seeking the best of the best, unlike today where my best clients spend their time managing their wealth. Products therefore reflected knowledge of quality, choice of materials, craftsmanship and details. I wanted to recreate the atmosphere of those days, and I did it with the store.” Consequently, the objects on sale at his Milan store are from a different era, but are not anachronistic and appeal specifically to those for whom pleasure, time and pride are assets as important as the

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and heritage at their hearts. Only authentic luxury vintage pieces that combine design, craftsmanship, choice of prime materials and impeccable execution find a home in the Max Bernadini showroom.

“My clients understand the essence of luxury and are attracted to that which is unique.” MAX BERNADINI

“Sourcing is the most delicate and sensitive part of my concept. And it’s made possible by over 20 years of global networking, partnerships and a solid reputation in this business. We source internationally from auctions, private collections, general sales and we often buy back items we have sold in the past. Given the limited nature and numbers of the items we trade and the constant increase in demand, our inventory is consistently increasing in value.“ But it is not the trading in vintage that appeals to Max, it is the owning and cherishing of fine vintage goods that he enjoys most. “Frankly, as I am a collector myself, I enjoy more the buying and the possessing of rare objects, rather than the selling. When they are sold I know that I will never find the same object again, this is due to the unique nature of luxury vintage objects, you can never find the same piece twice – they are all unique, regardless of the value. But building someone’s collection of unique pieces always gives enormous satisfaction.” The attitude Max espouses is now shifting towards the norm of what defines the luxury market and with it Max is expanding his philosophy – taking it to new territories. Max Bernadini is taking luxury vintage to China by way of Hong Kong – a territory with which the “vintage” appeal is growing slowly and very surely. China’s love for

object itself. They are pieces of timeless quality and a walk into the store clearly demonstrates not only the passion for restoring older objects to their former glory, but also Max’s deeply held knowledge and passion for the subject of luxury vintage. A beautiful space, the Max Bernadini store encapsulates the spirit of the articles he displays – restrained and timeless elegance. “The environment is designed to be like a time machine that transports our clientele back to the days where luxury was a lifestyle and not a means of being ostentatious. It was just the way these people lived.” But what really defines the Max Bernadini philosophy is the objects he trades. Every item oozes with all the qualities one could hope for from a luxury vintage piece. There is a large amount of research that goes into selecting and restoring and customising each item and

new and eschewing of old has been a strong marker for the luxury segment, but evolutions in attitude has allowed for a new Bernadini branch to open. “My clients understand the essence of luxury and are attracted to that which is unique. Often in fact my clients are transversal and enjoy a vintage Rolex on their wrist, a customised Goyard trunk in their homes and a Tiffany piece of silverware on their boats. They recognise real beauty and value.” Thus far the venture in Hong Kong has been incredibly satisfying for Max as clients continue to discover the Bernadini offering. His collaboration with friend and fellow vintage luxury devotee Adrienne Ma has created a timely and beautiful environment within the hubbub of the city and welcomes locals and expats to sample the fine wares amassed for its clients’ tastes. The offering is a little different in Hong Kong than in Milan, but the premise is still the same.

only the very best will do. Brands with tremendous histories feature strongly – Louis Vuitton, Rolex, Hermès – brands with legacy tradition

“The curiosity generated by our selection of timepieces, trunks and decor accessories has been strong and has encouraged us

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Walking into Max Bernadini’s Milanese store, it quickly becomes clear by the informality of approach and absolute care taken for the objects, their provenance and restoration, that Max Bernadini is a man for whom luxury vintage is not simply a profession, but a calling

to increase and deepen our offering. The customised projects have proven hugely successful – such as professional humidors in branded trunks, gaming as well as technology stations in suitcases. We give special attention to our lady customers for whom we have created unique make up vanity desks, which we call “Luxury Vintage Boudoirs”. We also have a very exclusive bespoke service: our client can choose the perfect trunk for their decoration and our creative team based in Milan will design a one-off project to satisfy any

But while expansion is great for the brand, for Max it will always come down to the pieces he loves and the passion he cherishes – discovering and promoting pieces and brands who are overlooked or forgotten, and giving them a new and improved lease on life. “I have favourite pieces from major brands of course, but I also admire the work of a number of brands and artisans that no longer exist, swept away by the Second World War,

need or desire, the customisation is then done in Italy by our skilled craftsmen,” states Mr Bernadini.

but produced breath-taking items: Keller, Auricoste, Etats Unis, among others.”

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Flight of fancy MB&F’s affinity to the Sci-fi genre is well-known, and it is taking its aesthetic philosophy outside of its normal scope with this exciting and rarified music box.

MB&F has set itself up at the forefront of horological innovation, thanks to their often strange but always compelling design philosophy. There is an almost steampunk quality to MB&F machines as they harken back to traditional watchmaking while also showcasing a definite futurism. Overblown dials and bold faces are typical in its wristwatches and subsequently they are striking creations for watch enthusiasts with a penchant for the unusual and unique. It is this offbeat

– a fantastic “big boys toy” music box. This is a piece of craftsmanship for craftsmanship’s sake and its micro-engineered mechanisms make it a wonderful working sculpture as much as a functioning object. Created and designed in conjunction with Reuge, one of the world’s most outstanding and historical music box makers, the MusicMachine is the perfect reflection of MB&F’s unique aspect. Music boxes have been produced since the 19th century as tabletop or even table-sized curiosities for the exceptionally

and somewhat unconventional approach to design that is reflected in their MusicMachine

wealthy, but in actuality they were initially imagined as musical snuffboxes – small

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A music box from the future, the MusicMachine from MB&F is enormously innovative and wonderfully offbeat

enough to be carried in a gentleman’s pocket. These were called Carillons à Musique. As the mechanisms evolved, the music boxes that were produced became more and more grand, turning into an automated home orchestra in their most ostentatious incarnations, replete with organ, drum and horn accompaniment to the traditional barrel mechanism movement with comb chimes. At the turn of the 20th century however, the introduction of gramophones and the

dramatically declined in popularity yet their ingenuity and craftsmanship has appealed to a select few throughout the years. MB&F has paid beautiful tribute to this by designing a beautiful almost Deco style musical sculpture. The ultramodern spaceship design proposed by MB&F whose founder, Maximilian Büsser, is a keen fan of all the great Sci-fi film and TV series, has been captured by ECAL design graduate Xin Wang, and incorporates all the

mechanisms, mainspring barrels, regulators and acoustically-optimised case – while still managing to make it look like a streamlined, hypersonic spaceship. The melodies the machine plays are also in keeping with its design with the left cylinder, playing the theme tunes from Star Trek, Star Wars as well as ‘The Imperial March’ from ‘The Empire Strikes Back’. The right cylinder is equally iconoclastic playing the rock classics ‘Imagine’ by John Lennon, ‘Smoke on The Water’ by Deep Purple and

wireless changed how people brought music into the home and music boxes

essential music box features – musicallytuned combs, pinned cylinders, winding

Pink Floyd’s memorable social commentary tune ‘Another Brick in the Wall’.

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THE HIGHEST BID BONHAMS AUCTION HOUSE BASED OUT OF LONDON BUT OPERATING INTERNATIONALLY,

HAS SEEN THE AUCTIONEERING GAME CHANGE DRAMATICALLY IN THE LAST FEW YEARS, NOT LEAST WITHIN ITS FINE WATCH SALES. TEXT: ELIZIA VOLKMANN

Time is a most precious commodity which man can never possess, all we can do is spend it well and mark its

and has resulted into some of the most beautiful jewellery men can own. Bonhams auction house is one of the surviving great

bookseller Walter Bonham, it eventually began to expand rapidly in the 1850s into vastly differing areas as the Victorians gained

passing. So it is little wonder that the art of the watchmaker holds a continual fascination

Georgian auction houses. Founded in 1793 by antique dealer Thomas Dodd and a

a taste for collecting, trading in items such as porcelain, jewellery, and even armoury.

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THE HIGHEST BID

Watch sales too gained a boost as mass production of pocket watches began in 1800s with the industrial revolution changing forever how we make and consume everyday items. With the advent of more mass produced timepieces, the watch became an egalitarian item that every man could aspire to own, however the handcrafted watches and fine handmade English watches that were produced in the artisanal houses of Europe at that time were still out of reach for most but became ever more desirable and collectible. In the 221 years since it began trading, Bonhams is the leading auction house for sales of vintage and antique timepieces, with separate departments for watches and clocks and today its London Knightsbridge office is home to their specialist watch sales department. Along the way, the company has acquired a number of other big names in auctioneering, including Philips in 2002 and conduct some 700 sales per year with nine permanent offices worldwide including Hong Kong and Dubai. Watch sales cover a truly global market, and span a huge range of prices. It is an area of collecting that can be as much about personal taste as it is about history and knowledge. It is possible to buy a charming piece at auction for a mere AED 3,000, but for rare and exquisite watches serious collectors are willing to pay millions for pieces that enhance collections. These collectors demand perfection and documented provenance, and the guidance of an expert valuer at a reliable auction house is a vital part of ensuring a watch’s lineage. Kate Lacey, the Head of the watch department at Bonhams is quick to point out the changing scene of watch sales. “Bonhams has always sold clocks and watches since it first opened its doors, but I suppose the specialist clock and watch only sales emerged only in the last twenty to thirty years. It’s interesting to note however that Bonhams’ auctions dominates 51 per cent of the watch market in the UK, which shows how quickly the watch market has moved forward and developed.” Kate, a

modern watches within the second hand market. The market can change from sale to sale – it’s so fast paced.” Working with Bonhams for the last eight years has been a hugely rewarding experience for Lacey as she has been part of many a sale of historic and distinguished watches. “We sold a great single owner collection of vintage Heuer watches in 2010, a single

collection of modern watches in 2010…all very varied in their style and interests.” Last June saw the sale of a fascinating collection of antique and early watches, which for aficionados have their place in history. “We were fortunate to have sold a fantastic collection of 16th to 18th century clocks and watches, including a particular favourite, a silver cased double wheel duplex pocket

very experienced Horology specialist, notes: “The main change would be the interest in

owner collection of 18th century watches only last December, another single owner

watch by James Foggo. Working on this collection was fascinating and educational.

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preparation of an auction, particularly in the watch segment. What the public sees is the sale itself and the catalogue, but a lot goes on behind the scenes to prepare the event. “The detail is important and we have to look after both buyers and vendors we have to highlight the best qualities of each watch in every way we can via the catalogue, viewing days, exhibitions and such, but we also have to be transparent about the condition of each piece so that both sides are happy.” The evolution of the auction industry continues to rapidly change. Gone are the days when everyone sought the ‘drama’ of auction house, the action centred on the auctioneer, and the spectacle particularly in the more heated world of fine art sales. Today many prefer the sales to be a quieter, more dignified affair, particularly as online bidding has become popularised – favoured because of the anonymity it provides. “That’s the reason that a lot of people choose to bid online – not just to remain anonymous but also to remain detached I think. It’s very easy to get swept up in the excitement in the room but savvy and experienced buyers will

Another important part of my job after all is advising people on an interesting and sound purchase for the future.” The role of an experienced horology specialist in an esteemed auction house is not solely about participating in big sales, but about personal advice as well. “The best part of my job is always delivering the good news like this – that a watch that someone

Kate’s journey, like many, evolved out of a love for the subject through hands-on experience: “I had an interest in clocks before I worked at Bonhams as I used to restore furniture and some clock cases – it was a fairly natural progression. As with many valuers, the best training is through experience but I have also continued to undertake

often choose to bid online on the phone. The remote online/phone bidding has opened up the sale platform to ever more International bidders. Buyers can see images of the lots in detail online so they are far more accessible to overseas buyers.” Online and telephone bidding is improving increasingly popular, as shown in the sales figures Bonhams has racked up since it began offering the service. “Within two years of offering live online bidding Bonhams have in the past year (2013), received a total of almost £300m in online bids. Of these, successful bids represent almost £40m, with £260m being from underbidders. This represents 18,462 successful live bids with total live bids numbering 58,094. This means that a quarter of all bidding at Bonhams is now coming via the online source. It is almost inconceivable that this new technology has caught on so rapidly. The answer may lie in the fact that the bidder is in effect ‘there’ in the room, eyeball to eyeball with the auctioneer via a camera that shows the auctioneer’s every

bought in the 60s for £100 is worth upwards £25,000 or more at auction!”

horological courses when time allows.” A great deal of work goes into the

move, who in turn notes the bids coming from his unseen bidder,” explained Lacey.

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GAME OF THRONES

Game of thrones AS GENTEEL A PASTIME AS CROQUET MAY SEEM, IT IS A RUTHLESS FIGHT TO THE FINISH IF YOU WANT TO WIN.

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GAME OF THRONES

“So they left the subject and played croquet, which is a very good game for people who are annoyed with one another, giving many opportunities for venting rancor.” R O S E M A C A U L AY (1 8 8 1 - 1 9 5 8 , E N G L I S H W R I T E R )

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The sight of the thin white hoops that demark the croquet pitch conjures up images of gentle afternoons outdoors making the most of the fine weather, freshly mown lawns and the opportunity to partake of some scones and cucumber sandwiches with a tall glass of something fruity in hand – all very civilised and genteel. But the illusion of civility ends there. When playing the game, it quickly becomes a ruthless, fiercely competitive, often cruel game of strategy, cunning and skill in which there can be only one victor. The game itself is of French extraction and was called Paille-Maille, which means ball-mallet, and in it dates back to the 1300s. Invented to be a variation on lawn bowls that can be played indoors in times of bad weather, its popularity outgrew its confines and the indoor game was taken outdoors for the summer. The game was imported to Britain via Scotland – always a historically strong ally and partner of France. Golfers took up the game with the notion that its likeness to golf made it good practice for the great game. It travelled south rapidly through the upper classes and has been associated with this social sphere ever since. King Charles II

croquet were turned into tennis courts. There are a couple of different variations of the game currently played around the

the “croquet stroke” from which the game takes its name. After the croquet stroke, the player

enjoyed the game mightily and played it often in St. James Park. A nearby road was named for the game, “Pall Mall” – an Anglicisation of the French name for the game. This boulevard was, and still is frequented by strollers daily. Soon after any road or boulevard that was similar to this type of walking path became known as a mall, a term adopted by modern retailers who now call any conglomeration of stores with a covered walkway the same. As Paille-Maille grew in popularity, back in France a doctor changed the rules of the game a little and began recommending it to his patients. He called the new game, “Croquet” after the crooked stick used to hit the balls through the wickets. It then migrated to Ireland where it was called “Crooky”. From there it came back to England where it supplanted “Pall Mall”. It went on to gain tremendous popularity and in 1868, the rules were officially formalised and an association was formed at Wimbledon’s famed All England Lawn Tennis and Croquet Club. Many fields were dedicated to Croquet, but this was to be

world, but it is association croquet, which is played internationally and is the most recognised version of the game. It is essentially a race around a circuit of hoops and the first person or team to shepherd their ball around the course and hit the peg with the ball wins. The game is played in pairs who hit their balls around the course of hoops. The game’s distinguishing feature is the “croquet” shot: when certain balls hit other balls, extra shots are allowed. The six hoops are arranged three at each end of the court with a centre peg, which is hit by the ball to complete the round. In association croquet, one side takes the black and blue balls, the other takes red and yellow. At each turn, players can choose to play with either of their balls for that turn. If at the start of a turn, the player plays a stroke and either hits the ball through the correct hoop (“runs” the hoop), or hits an opponent’s ball (a “roquet”), the turn continues. Following a roquet, the player picks up his or her own ball and puts it down

plays a “continuation” stroke, during which the player may again attempt to make a roquet or run a hoop. Each of the other three balls may be roqueted once in a turn before a hoop is run, after which they become available to be roqueted again. The winner of the game is the team who completes the set circuit of six hoops (and then back again the other way), with both balls, and then strikes the centre peg (making a total of 13 points per ball = 26). The World Championships are organised by the World Croquet Federation (WCF) and usually take place every two or three years. Unlike most sports, men and women compete and are ranked together. As of 2013, the Association Croquet World Champion is Robert Fletcher of Australia. Croquet has survived as a sport and is even gaining in popularity today as a rather high-class sport on the level of badminton. On any given day in the summer, people can be found in their back gardens or at the local park with the thwacking sound of mallet and ball ringing in the air. This is a game or sport that

short-lived. As the game of tennis grew in popularity, most of the fields set aside for

next to the ball that it hit. The next shot is played with the two balls touching: this is

will continue to be played for fun or sport by all age groups.

Heritage Heritage

MILESTONES

American Giorgio The release of American Gigolo in the early 1980s changed the face of menswear forever.

The release of Paul Schrader’s 1980s classic ‘American Gigolo’

powerful than merely a depiction of that era. When the film’s protagonist, played by

fabric choices and bold colours, they came to define the decade. Giorgio Armani was at

signalled a shift in American cinematography, scriptwriting and acting. The quiet undertones and scathing critique of 1980s America was, and still is startling – and yet many critics would argue that despite the movie’s successes, its greatest triumph was that it introduced America, and the world to the genius of Giorgio Armani. This was the first movie in history where the fashions were not so much a carefully chosen costumes, but rather characters themselves, and the beautiful cut and styling of the Armani designs illustrated the vapid yet

Richard Gere, is being fitted by his tailor and later, carefully and covetously lays out his suits on the bed while dabbling in recreational pharmaceuticals and singing along to Smokey Robinson, menswear as it was known, changed forever. It triggered a sea change in established men’s tailoring even taking stuff and traditional Savile Row by storm, and inspired a generation of men to adopt silk, linen and Italian cotton suiting. Italian designers were at that time the vanguard of reinterpreting tailoring, reinventing the suit by removing hitherto

the forefront of this revolution, certainly in terms of bringing it to the masses. Moreover, his clothes were just as popular with both sexes, the GA logo coming to symbolise luxurious excess disguised as simple class. Having trained with Nino Cerruti prior to setting up his own brand, Armani’s 70s menswear was designed to emphasise masculinity and muscularity, but in the 80s he changed tack and began producing long, zoot style jackets and heavy trouser pleating. This look was showcased to perfection in the movie and to this day represents one of the

crisp fashion of the time with an effervescence that lifted the film into something far more

essential padding for a lightweight, almost floppy silhouette. Combined with unusual

most successful cross brand promotions of all time.

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TIME & TIDE

Time can be a cruel mistress and many brands dedicated to the pursuit of its measurement, brands worthy of the greatest respect and admiration have fallen by the wayside – victims of circumstances, economy and fortune, drifting into obscurity with its relentless march onward. However, a few brands of sublime skill and creativity have not simply survived but flourished, becoming the founding fathers of horology and the keepers of the watchmaking tradition. Their stories are important lessons in why the craft is not only continuing, but is thriving in the 21 st century.

Breguet – The old master Swiss by birth, Abraham Louis Breguet learned and perfected his watchmaking craft in Paris in the 18th century. A voracious appetite for the scholarly application of watchmaking typified Breguet’s early career and no aspect of the craft escaped his attention and study. Consequently, his works were characterised by their variety and complexity and also their

take the step of opening his own workshop on Quai de L’Horloge. A series of breakthroughs marked Breguet as a master early in his career. His development of the successful selfwinding perpétuelle watches, as well as the introduction of the gongs for repeating watches and the first shock-protection for balance pivots broke the mould and garnered him attention from the highest

enthusiasts of Breguet’s watchmaking talent and commissioned him in 1782 to create a new Grande Complication to be named for the queen. The piece would become a legend in the world of timekeeping, and like all Breguet pieces it was a demonstration of originality and craftsmanship showcasing an almost unsurpassed understanding of watch movements. Hallmarks of a Breguet movement tended to be the fitting of the piece

fundamental pursuit of precision. The year 1775 saw Breguet at the tender age of 28,

echelons of French society. Louis XVI and his Queen, Marie-Antoinette, were early

with a lever or ruby-cylinder escapement – a feature he perfected.

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TIME AND TIDE

Portraits of the men who shaped an industry: Abraham Louis Breguet (left), Antoni Patek (centre) and Jules Louis Audemars and Edward Auguste Piguet (right)

While the French revolution laid waste to the French class system, Breguet returned to Switzerland filled with new ideas. Subsequent developments included the Breguet balance spring, the sympathique clock and its dependent watch, the tact watch, and finally

& Cie. However, it would not remain so for long. Patek had met a young engineer in Paris in 1844 by the name of Jean Adrien Philippe. Originally from Versailles, Philippe was a talented watchmaker and had invented a unique keyless winding and setting

the Tourbillon, patented in 1801. The practical applications of Breguet’s timepieces made him indispensible to the scientific, academic, military, financial and diplomatic elite, and the courts of Europe celebrated his artistry. He was subsequently accepted into the Academy of Sciences and received the Legion of Honour from the hands of Louis XVIII. When he died in 1823, the world mourned the architect of the greatest revolution in the science and art of time keeping. The inventions that Breguet created still resonate in today’s tradition and embody his pursuit of excellence. His legacy is felt in every invention and Complication, be it a Breguet hairspring, the first travel clock, the à tact watch or the Tourbillon. Today, the brand that bares the Breguet name still holds to the tenants of his personal touch – accuracy, simplicity and mastery of the horological world. Today, more than ever, his capacity to innovate reflects a brand’s vitality. The firm remained a family business for two centuries before being bought by Chaumet in 1970 and

The origins of Patek Philippe are to be found in Switzerland, but begin in Poland. Antoni Patek, a businessman by trade and a Polish immigrant joined forces with a fellow Pole and watchmaker François Czapek in 1839 opening a small workshop in Geneva. As business grew, fractures began to appear in the partnership, which saw it break down seven years after its founding. Czapek left

mechanism. Impressed with his skill, Patek brought Philippe on-board to fill the void left by Czapek’s departure and by 1851 had his name above the door alongside Patek’s. At this stage of the game and at this particular moment in history, watchmaking was at its most competitive and creative. To stand out from the crowd, the entrepreneurs had to do something uncommonly good – which they did when they presented their first in-house movement. As their reputation grew, so did its following and admirers from all across the world and came to purchase and marvel at Patek Philippe’s unique brand of the craft. At the 1851 Great exhibition in London’s Crystal Palace, Queen Victoria became enamoured with the pocket watches on display and was particularly impressed with the first keyless pocket watch. With this newfound fandom, the brand’s reputation was thoroughly consolidated as a premier maker. But 1868 would see the maker take a huge stride for the industry as a whole when in 1868, a watch was made for Countess Koscowicz of Hungary that could be worn not on a chain

the firm and, his name was removed from the business that became simply Patek

like a pocket watch, but on the wrist. Patek Philippe produced the first wristwatch over

then becoming a part of the Swatch Group in 1999.

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Queen Marie-Antoinette of France

Patek Philippe – The ambitious and driven

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Brands from left to right: Breguet, Patek Philippe, Audemars Piguet, Jaeger LeCoultre, Vacheron Constantin. The pocket watches shown here are masterpieces and embody the character of the makers they represent

Audemars Piguet – The family affair

thirty years before Rolex even existed. While the developkment of smallscale watches was a milestone, Grandes Complications became the forte of the maker. Patek died in 1877 and Philippe continued to operate the company with the help of

The year 1875 saw the young Jules Louis Audemars and Edward Auguste Piguet begin their journeys to horological immortality. At

his son. When Philippe died in 1894, it was a further thirty-eight years before Jean and Charles Stern purchased the company. The pair continued the Patek Philippe legacy of innovation in engineering and style, a legacy that continues to this day. To celebrate the brand’s commitment to the pinnacle of watch design and to highlight the talents and skills of its timekeepers, Patek Philippe SA, as it is today known, designed and created the Calibre 89 to mark the brand’s 150th anniversary in 1989. The watch is a spectacle of design and execution and is comprised of 1728 individual parts and performs 39 separate Complications that measure the temperature, sunrise, inform when Easter Sunday has arrived and also charts the stars. It is regarded as one of the most expensive and beautiful timepieces ever made and it took a total of nine years to produce. Four pieces were made: one in white gold, one in yellow gold, one in rose gold and one in

that time aged 24 and 22 respectively; the young men began making complication watches at their respective parents’ homes in Le Barassus in Switzerland. Six years of amateur craftsmanship later, the pair sought to start their own watchmaking firm “Audemars, Piguet & Cie.” Almost from the beginning, Audemars was in charge of production and the technical side, while his partner Piguet focused on sales and management. The years of intense practice quickly paid off, and by 1888 the company had agents representing them worldwide. A year later, they were the third largest employers in the region. Between the year of the company’s founding and 1912, the company had become a world-class maker of wristwatches and delivered thirtyfive complications to Glasshüte, the German watchmaking capital. As with most brands of exceptional heritage, the Great War took its toll on business, but the company restarted once peace had returned to Europe. Audemars and Piguet both passed within a couple of years of

platinum. It is a design that has staggered the world for over twenty years.

one another and in 1918 and 1919, their sons took the business on.

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The sons of the founders had become young masters themselves, and with their inherited knowledge, took the brand to greater

LeCoultre’s design for the gold Chronometer won him a gold medal as well as the distinction of adding Queen Victoria to his

heights and renown. The name Audemars Piguet became synonymous with Grandes Complications – the very pinnacle of the profession. The 1929 Wall Street Crash was a major blow to the business; however, the firm relaunched as a maker of skeleton watches and chronographs. It was one hit after the next during this half of the 20th century, and

growing list of customers. Prestige and distinction quickly followed. As with many watchmakers it wouldn’t be long before the second generation began to take an interest in the business and in 1858, young Elie LeCoultre, then aged a mere 16 years, joined Antoine in the family firm. Elie would, in time, change the fate of Jaeger LeCoultre –

the advent of the Second World War changed strategy yet again for the maker. It became a game of survival and one that the brand had become very adept at playing. By the 1970s, Audemars Piguet had not only survived the most tumultuous seven decades in human history, but had done so while remaining at the top of its profession. 1972 saw the

turning the boutique enterprise into the very first manufacturer in the Joux valley which would in time eclipse all other manufacturers of that era. What followed was a period of tremendous growth for LeCoultre & Cie. Between 1860 and 1900, LeCoultre developed some 350 calibres and supplied

launch of the “Royal Oak,” the first top-ofthe-range sports watch and a timepiece which would come to signify everything that makes the brand so sought after and special. It was and remains instantly recognisable, thanks to its guilloce dial, its octagonal bezel secured with eight hexagonal screws, and its integrated bracelet. Audemars Piguet is the oldest watch

Edmond Jaeger

manufacturer still owned by the founding family. A member of the Audemars or Piguet families has always sat at the board of directors since the company’s birth in 1882 and, thus, directly contributed to the destiny of the company.

many other watchmakers with movements and continued to innovate themselves producing calibres and complications in small scale – an industry-wide first. While LeCoultre was thriving however, it would be a fateful meeting in 1903 between Elie LeCoultre’s son and heir Jacques-David and Parisian watchmaker Edmond Jaeger, who specialised in speedometers and chronographs that

Unlike other brands whose heritage is founded on the pursuit of watchmaking perfection, Jaeger LeCoultre got its start in a much more specific way very much outside of the watchmaking tradition and resulted in the union of two very different but equally special brands. Antoine LeCoultre was an engineer for whom the pursuit of accuracy was paramount and when he created the Millionomètre in 1844 – a device of such supreme accuracy that they became the definitive measuring devices for over half a century, his name was written into scientific lore. In creating this tool, he became the first person to consistently

ingenuity and skill for precision tool design to the measurement of time. Precision and ingenuity became calling cards of LeCoultre’s instruments; his approach was intelligent and his problem-solving technique led him to create user-friendly streamlined and delicate pieces. His 1847 invention of the keyless watch did away with key for rewinding and setting watches – the ingenious push button solution was a major trendsetter. This pursuit of user-friendliness remains a key element of

would change the business forever. At that time, Jaeger was attempting to produce ultra-thin watches. Jacques-David LeCoultre, who had been head of the Le Sentier Manufacture since 1900, took up the challenge. What followed was not only the slimmest pocket watch in the world, fitted with the LeCoultre 145 Calibre (1.38 mm thick), but also a lasting partnership. The invention of the now famous Reverso watch followed – the movement of which was made by LeCoultre, the case by Jaeger. It was a watch capable of sliding within its frame and turning completely over on itself and became exceptionally popular. Not long after the launch of the Reverso, the partnership between the two houses was made permanent in 1937. Jaeger LeCoultre’s proclivity for making parts for other manufacturers often renders them somewhat below other brands in terms of prestige. However, to simply relegate it to a mere movement manufacturer, is to do them a genuine disservice. The ingenuity and precision of the brand has made it the

and accurately measure a single micron. He quickly shifted tack after this by applying his

Jaeger LeCoultre designs to this day. At the Universal exhibition of 1851

most trusted name in horology and worthy of genuine plaudits.

Jaeger LeCoultre – The story of science and art Antoine LeCoultre

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Vacheron Constantin’s pursuits of artistic and scientific mastery has made Jean Marc Vacheron (left) and master engineer Georges-Auguste Leschot (right)

Vacheron Constantin – The purists

in order to develop export markets for Vacheron watches. It was on one such

technical masterpieces began to spring out of their studios. The 1824 Jumping

Vacheron Constantin – the oldest of the watchmakers featured here was founded in Geneva in 1755 under the name Vacheron à Genève. Founder Jean-Marc Vacheron, a man of culture as well as a master watchmaker was at that time only 24 years old. Little could he imagine at that stage that some 250 years hence, his little firm from the Saint Gervais quarter would continue to produce the finest watches around. By 1785, Jean-Marc Vacheron’s son, Abraham had taken over the workshops. He managed to keep the enterprise going despite the troubles following the French Revolution and the occupation of Geneva by the troops of the French Directory. Following the lead given by his father, he taught the watchmaker’s trade to his son, JacquesBarthélémy Vacheron – the man who would change the fortunes of the watchmaking enterprise forever. By 1790, Vacheron à Genève had begun to produce complications, signalling the prowess of the makers.

travel where he met Francois Constantin and formed a firm partnership in 1819. From then on, all watches produced would bear both signatures. With the two men behind the brand pursuing ever-greater heights of sophistication and ingenuity, Vacheron Constantin became a premier name of their time. Famously, Constantin once sent a letter to Vacheron, which included what was to become the firm’s motto: “Do better if possible and that is always possible.” Encouraged by its success, the brand continued its expansion achieving worldwide presence across Europe, Asia and America. In 1839, Georges-Auguste Leschot revolutionised watchmaking methods by designing new tools, including a pantograph to centre and drill holes in the baseplates and bridges of the movement. This made possible the manufacture of interchangeable parts, which enabled the company to raise the quality of its watches. At the turn of the 20 th century, the brand began to capitalise on its

Hours watch became a touchstone of technical mastery in the same year that the famed Blue Enamel Watch with a carefully decorated map of Italy on the case elevated watchmaking into stratospheric heights of artfulness. The company became especially adept thereafter in the creation of technical exquisite pieces as well exceptionally precise ones. Between 1869 and the turn of the 20 th century, Vacheron continued to excel itself in both beauty and engineering. The 1889 ladies’ wristwatch is a sublime item set in diamonds and had no equal at that time. The 20 th century was littered with piece after piece from Vacheron Constantin worthy of the pantheons of watch-craft. Creations like the 1907 Royal chronometer, the 1918 Corps of Engineers pocket chronograph, and the 1923 Les Bergers d’Arcadie pocket-watch (a magnificent item decorated with a miniature in enamels of Nicolas Poussin’s pastoral painting, Et in Arcadia Ego.) To this day, the Maltese cross of Vacheron

Jacques-Barthélémy took over the business in 1810. He travelled extensively

success. In the years after the founding of the Vacheron and Constantin alliance,

Constantin is the very pinnacle of art and time combined.

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HARMONY AND SYMBIOSIS

Harmony and symbiosis Man’s fascination with the majestic power and grace of birds of prey has existed over millennia – so much so in fact that the practice is still widely performed today in the far flung corners of the world.

Man’s collaboration with the animal kingdom has taken many guises and has been documented across the breadth of human civilisation. From the pursuit and mastery of agricultural farming, to the taming of horses for transport and haulage or the companionship and hunting prowess of a dog

and conquests on the continent, frequently bringing it in and out of favour. In Britain, the pastime has had a practically uninterrupted history with only a small interval during the time of the period of the Cromwellian commonwealth – the aristocratic associations of falconry went against the

guns and artillery were given after the birds they had replaced. For example, a musket is the name of a male sparrowhawk and the term saker and falcon were also adopted for names of canons. Today keeping and flying raptors is more of a passion and hobby for European falconers,

or cat, the attributes of certain animals have successfully been exploited for man’s personal gain for millennia. The sport of falconry came out of this desire for man to master the sky as well as the land, but its origins are something of an enigma. At a symposium on the subject of falconry heritage held in Abu Dhabi in 2005, experts hypothesised that falconry is perhaps much

Republican ideologies of the time. The association of falconry with the ruling classes was no doubt thanks to the mandate of the king set out in the 1600s

but that pastime still carries genuine cultural significance in the Middle East where it is a cherished icon of the region’s ethnic heritage. Across the Arabian Peninsula, falconry is still widely held as one of the more noble pastimes possible to undertake and has never carried the same degree of class distinction as it has in Europe – it remains an egalitarian pursuit that any man can partake of – however,

BIRDS BY RANK – EUROPEAN FALCONRY An Emperor - Golden Eagle, Vulture King - Gyr Falcon (male & female) Prince - Peregrine Falcon Duke - Rock Falcon Earl - Peregrine falcon (tiercel) Baron - Bustarde Hawk Knight - Saker Falcon Squire - Lanner Falcon Lady - Female Merlin Page - Hobby Yeoman - Goshawk (female) Poorman - Goshawk (male) Priest – Sparrowhawk Knave – Kestrel

older than the historical record suggests. Despite the documentary evidence of falconry dating back as far as the ancient Egyptians, the falconry depicted in the hieroglyphs is in the form of a skill already mastered – a learning process that the experts surmised would have taken hundreds of years to perfect. It is also unclear where geographically falconry originated precisely and the generally accepted view is that there was a parallel evolution of the skill in different parts of the world practically simultaneously. What can be ascertained however, is that by 2000 BC, falconry had become well-established in cultures as vast and disparate as Mongolia, Korea and China, Japan, India, the Middle East, Europe and Russia. It is the documentation of European birding culture that has become the richest source of information on the subject because by the 6th century the popularity of falconry, or hawking as it was also known, had surged across Europe and continued to be a major cultural paradigm for centuries. It was popular throughout Europe in Italy, Germany, France and the Netherlands

that implemented a class system for birds of prey, which permitted men of differing social standings to own only certain types of birds. The bigger birds were capable of hunting larger game, most of which was the express privilege of the gentry and as a result became their exclusive right. These laws of ownership dictated the hierarchy as follows: the king could fly a gyrfalcon; a duke, a rock falcon; an earl, a peregrine; a yeoman, a goshawk; and a servant, a kestrel. By the 1800s falconry was declining with the introduction of more accurate weaponry and firearms for hunting, however

as in all market economies, wealth and the status that comes with it will attain you the finest specimens. The origins of the union between man and bird in this region date back to the Al Rafidein region of what is modern day Iraq, and there are indications of its practice dating back 3500 years BC. Famed Arab poets from this time composed a number of epic poems lauding the falcon for its skill and grace. Falconry practiced in the region has developed a distinctive style, which can be seen in modern day ancestors of the ancient Bedouin, and the pastime is still revered for its ability to teach the virtues of patience, endurance and self-reliance and bravery. Today, falconry in the UAE at least, is heavily regulated to ensure proper treatment of the birds. Here it is believed that keeping birds solely in captivity goes against the spirit of the custom and therefore, under the direction of the Environmental Research and Wildlife Development Agency (ERWDA), the Sheikh Zayed Falcon Release Project is responsible for returning falcons to the wild at the end of the annual hunting season in

in particular, but has waxed and waned in popularity and practice with the advent of wars

the impact the birds of prey had were not forgotten and the names of some early

order that the finest specimens be able to repopulate the species.

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Design traditions Even in today’s modern glass clad world, Islamic architecture has a great deal of pertinence and relevance. Its beautifully decorative and fantastically crafted buildings resonate with cultural and religious bearing that is still seen and felt worldwide to this day.

Looking upon the towering cityscape of glass-clad odes to modern ingenuity which surround us – a confusion of glass and steel in arrangements of dizzying complexity and dazzling shape, each clamouring for a piece of the urban imagination, it is often easy to forget the architectural heritage of the region in which these vast towers have sprung up. It is a legacy that has impacted not only the Middle East, but also the world as a whole. There are hints of inspiration here and there in the monolithic designs that stand watch over

FEATURES OF ISLAMIC DESIGN Minaret or tower Mihrab prayer niche Iwan - a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open Pishtaq - the formal gateway to the Iwan, usually the main prayer hall of a mosque Geometric patterns and arabesques Mocárabe and muqarnas, otherwise known as honeycomb and stalactite work Horseshoe arches Vaulted spaces Circular domes Ornamental architecture Tapered brick pillars Large arcades Axial symmetry Central fountains

the cultures of the conqueror and conquered began to assimilate. A key example of this grand Islamic design that adopts this M.O is the Dome of the Rock or the Qubbat al-Sakhrah in Jerusalem. Built between 685 and 691 C.E. this shrine is believed to be the first piece of Islamic architecture sponsored by a Muslim ruler, created with architecture in mind – a functioning, living, breathing work of art. Built to transcend its function by the quality of its forms and expression, the Dome is still standing in much of its original

the coastline and even the occasional warmhearted pastiche of the small communities and souks that once held the heart of the city, but little is left of the UAE’s authentic architectural past. Sadly and all-too often advancement comes at a cost. The last relics of the “real” UAE are the old quarter of Bastikiyah in Bur Dubai, the Al Badiyah in Fujairah and perhaps Qasr al Hosn in Abu Dhabi but little else is freely seen. Thankfully, however, more is currently being done to stand up against the march of progress and to protect the unique architectural heritage of this region. These last remnants of the previous era are vitally important touchstones for the advancement and continuation of Islamic custom and culture and are now not only being treasured but also promoted and preserved – the quality of buildings as living heritage has come to be better understood. While the majority of the traditional architecture seen in this corner of the Arabian Gulf is of a more rustic quality – reflecting beautifully the humble origins of this now extravagant country, across the Islamic world architecture has a history of much grander and much decoratively spectacular designs. The essence of Islamic architecture is the laser focus on a simple yet elegant design philosophy that looks to practicality, utility and symmetry. It springs from the earliest days of the faith and consequently has developed a distinct and unmistakable vocabulary. What classifies today as Islamic Architecture owes some of its origins to the Roman, Byzantine and Persian empires – which were conquered

shape and with a good portion of its original decoration. Even at this early stage, the importance of both beauty and pragmatism was appreciated as being fundamental to the building’s construction. Its wooden gilt dome, which is approximately 20 meters in diameter, rises to a height of some 30 meters above the surrounding stone-paved platform. Inside, 1,280 square meters of elaborate mosaics cover the walls that enshrine the mystical rock under the dome. The intricate patterns and geometric shapes of the mosaics replace figurative art since, according to Muslim belief, it would be impossible to represent Allah in any figurative form. It is a prime and perfectly preserved slice of ancient Islamic design on a grand scale, but on a day to day level, smaller and more practical innovation and design – even in the most rustic form typifies the architecture from this region. Islamic architecture can be seen as far as southern Europe and it has permeated again through cultural intervention. The Moorish and Turkish style structures that can be seen throughout the south of the continent still hold the basic tenants of Islamic designs at the core, but perhaps in a hybrid form. This type of design effortlessly blends traditional European construction with that which typifies that seen in the Middle East. As a variation on Islamic architecture, motifs, or repeated patterns, arches, calligraphy, vegetative design, and decorative tiling typify Moorish design. In their quality they are often imposing, in their detail strikingly

by Muslim forces in the 7th and 8th centuries. Certain architectural tropes such as domes and columns began to be seen in Islamic designs as

delicate in design and deft in execution, be they made of stone or of the very earth.

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Ageless beauty CARTIER IS A BRAND THAT IS FAMED FOR PRODUCING GEMS AND JEWELS THAT WILL NEVER DATE AND NEVER GO OUT OF STYLE. THIS IS A REPUTATION THAT HAS BEEN ESTABLISHED SINCE ITS INFANCY AND IS THE CROWN JEWELLER TO THE WORLD’S ELITE.

1847

Louis-Francois Cartier goes from the apprentice, to chief craftsman upon taking over the workshop of his master Adolphe Picard on the Rue Montorgueil in Paris. Success quickly follows and by 1856, Cartier has become a jeweller to the royal court of France with Princess Mathilde – the niece of Napoleon I and cousin of Emperor Napoleon III making her first purchase from the store. Cartier moves to new location some three years later and that same year the Empress Eugenie becomes a customer.

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1874

Louis-Francois Cartier’s son Alfred takes over the business and expands it to include watches. Innovation and style becomes a Cartier calling card and in 1888, the first bracelet watches for ladies appear in store. In 1899 the Maison Cartier moves for the last time to 13 rue de la Paix, the store’s present day address. The future of the Maison at this stage falls upon the three Cartier brothers: Louis, Pierre and Jacques. Intrepid travellers, the brothers travel the world, from India to Russia, from the Persian Gulf to the United States. Their experiences begin to influence the designs produced.

1900

Maison Cartier continues to flourish and the neoclassical designs available find homes in the finest houses of Europe. By 1902, Paris alone would not suffice and a new store in London is acquired at 4, New Burlington Street. By 1904 Cartier received a coveted Royal Warrant as official purveyor to King Edward VII of England who previously proclaimed Cartier the “Jeweller of Kings and King of Jewellers.” Queen Alexandra of England also purchases a necklace in the Indian style and is the first jewellery prefiguring the Art D e c o a e s t h e t i c , re c o g n i s a b l e b y i t s abstract and geometric forms. The shop is also appointed as official purveyor to King Alfonso XIII of Spain and a year later in 1905 is appointed official supplier to King Carlos I of Portugal.

1906

Riding on a wave of staggering success, Cartier forges a path onward into exciting fields particularly in watchmaking, and in 1906 the first Cartier Tonneau watch is created. In 1907, Cartier signs a deal with Edward Jaeger to produce all Cartier wristwatch movements. Cartier meanwhile opens a New York flagship and Pierre Cartier moves to the United States to run the new venture in 1909. Here he cultivates a close relationship with wealthy industrialists and socialites. One of the largest and most important sales in Cartier history occurs in 1910 with the sale and purchase of the blue Hope Diamond to Evelyn Walsh McLean. The same year, the Maison Cartier opens a shop in Moscow on the back of the 1907 exhibition and sale in St Petersburg and appointment to Tsar Nicholas II. A store is also opened in the Persian Gulf in this year and in India in 1911. Other advancements follow soon after. The Cartier Santos watch, made in 1904 for Louis Cartier’s friend and aviator SantosDumont has become well-known and revered. This success is capitalised on and in 1911, the watch is launched on general sale. By 1912, Cartier is producing imperial eggs for the Russian court, is making the first of its mystery clocks, is producing another watch – the Tortue, and is including baguette cut diamonds in their design motifs for the first time.

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1913

1920

In 1913 the royal tradition continues when Cartier is appointed jeweller to the Serbian court. A year later, a design appears that leaves an indelible mark on the brand to this day. The bezel on a newly designed lady’s wristwatch is paved in diamonds and onyx, recreating a panther fur motif. The panther would go on to be a Cartier trademark. In 1917, the New York store moves to 653, Fifth Avenue. The same year, the first drawing of the Tank Watch comes to life – inspired by the First World War machines.

The Art Deco style that would come to typify the 1920s is now a major part of the Cartier design philosophy. In all aspects of jewellery and watch design it is now visible. By 1921, the continued support for the brand from the British aristocracy is renewed with a warrant from the Prince of Wales – the future King Edward VIII. Watches and clocks continue to play a big part of the Cartier philosophy with the creation of the Tank Cintrée, the Tank Louis Cartier, and the Tank Chinoise over the two year period of 1921 and 1922. The

By 1919, the Tank Watch is on sale and becomes an instant Cartier classic.

following year, the house creates the first of its portico mystery clocks.

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1932 1940 1924 Jewellery again takes the fore in 24’ with the design and release of the three-band ring and bracelet combining gold in three colours, known in the United States as Trinity. The simple combination gave Cartier a more reserved and precise appeal and the style became exceptionally popular among Cartier devotees. In 1925, Cartier makes a splash at the International Exhibition of Modern Industrial and Decorative Arts in Paris, but the year would be blackened by the death of Alfred Cartier. His sons continue in Alfred’s absence to push Cartier onward, and its Hollywood and Broadway connections from the New York branch would begin to give it access to a whole new audience.

By 1932 Cartier adds the Tortue single pushpiece chronograph, the Tank à Guichets watch, the mystery pocket watch and the Tank Basculante to its ever-growing range. The inspirational Jeanne Toussaint – adviser and designer for the Cartier brothers for years, is promoted to Head of Cartier’s Fine Jewellery division in 1933. The same year the brand files a patent for the “invisible mount” stone setting technique that highlights the stones without obscuring them with large clasps or mounts. This allows the design and the jewels to take centre stage. Hot on the heels of this development is the opening of the brand’s newest and most fashionable stores in Monte Carlo (1936) and Cannes (1938). Cartier is also commissioned to create the Halo Diadem for Princess Elizabeth of York in 1936.

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Cartier feels the bite of the German occupation of France and steadfastly supports the French resistance. Jacques Cartier offers his services to General de Gaulle and the Free France movement. In honour of their homeland, the Cartier brothers commission the now famous caged-bird brooch as a symbol of France’s oppression. By 1944 the release of the freed bird motif closes this dark chapter for the brand and the world. Sadly, shortly after the end of the Second World War, Louis and Jacques Cartier pass away, leaving Pierre to run the family business.

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1961

Cartier continues to serve both the new social elite and the old guard for another

With Pierre running the Paris showroom and the sons of Jacques and Louis running London and New York respectively, Cartier begins to move with the times. The stores across the world remain at the service of the world’s elite collectors of fine jewellery, and as the brand celebrates its 1947 centenary, Cartier continues to produce extraordinary p i e c e s . T h e 1 9 4 9 P a n t h e r b ro o c h , commissioned by the Duke and Duchess of Windsor, is one of the most memorable pieces ever to come out of the Paris Maison. Made from platinum, diamonds and onyx, the panther stands atop a 152.35 carat unheated Kashmiri Sapphire, cut en cabochon. The Duchess subsequently orders a second

Cartier becomes aspirational as it appears more and more in cinema. Legendary actress Gloria Swanson appears in Sunset Boulevard wearing Cartier diamonds in 1950 and in 1953, Marilyn Monroe sings “Cartier!” in the film version of ‘Gentlemen Prefer Blondes’. But while young Hollywood gets in on the game, old society still dominates and in 1955, Jean Cocteau, famed poet, novelist, dramatist, designer, playwright, artist and filmmaker, designs and commissions a sword to commemorate his election to the Académie Française. The piece is highly

eight years with Pierre at the helm. The last of the Cartier brothers dies in 1964 bringing to an end the greatest chapter of the brand’s history and ends the family’s ownership of the brand. The 60s inspire grand and intricate pieces of design as well as new watches. The 1967 London Crashwatch is made, and a year later, the Maxi Oval watch arrives. Also in 1968, famed Mexican actress María Félix commissions Cartier to make a diamond necklace in the form of a serpent – large bulky and marvellously detailed, the piece remains a Cartier masterpiece. Big diamonds remain big business too, and Cartier acquires and sells a 69.42 carat pear-shaped diamond to Richard Burton which he gives to Elizabeth Taylor. The Taylor-Burton diamond enters Hollywood lore. The 70s bring a more sculptural look to the jewels and the creation of the Love bracelet is a key example. Cartier expands into new territories with a shop in Hong Kong and Munich joining the ranks. Cartier’s success attracts investment and in 1972

Panther brooch and a bracelet to complete her dazzling collection.

unusual, but typically Cocteau and is a treasured gem from the Cartier catalogue.

Cartier Paris is taken over by an investment group led by Joseph Kanoui.

1947 1950

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1973 So synonymous is Cartier with Art Deco, that the firm is requested by director Jack Clayton in 1974 to provide access to its collection for use in the film version of ‘The Great Gatsby’ from which it loans significant pieces. At this time, the Bordeaux-red leather collection launches and signals a diversification from the brand. 1975 sees the first major retrospective for Cartier which marks the hundredth year since Louis Cartier’s birth and is entitled, “Louis Cartier: Art Deco Masterpieces”. A year later, another retrospective is held in New York. By 1979, the New York, Paris and London stores are reunited under a single brand identity, signalling the beginning of a new chapter.

1981

Diversification continues with the launch of a perfume and scarves range in 1981. Gold and stones again come to the fore of the designs, and the Collection Ancienne is established in 1983 to demonstrate the evolution of the brand. The same year sees the launch of Cartier’s most important ladies’ watch in its history – the Panther, which many regard to be the finest and most feminine watch ever made. The Panther is then placed at the forefront of the Cartier women’s jewellery design for the coming few years. By 1985, Cartier’s watches are again astounding with its Pasha range. With a unique device for making a watch water resistant, the piece is originally designed for the Sultan of Pasha’s exclusive use in his swimming pool. Further

1988

The Tank gets another addition with the Tank Américaine wristwatch in 1989 while the Jewellery receives a further showcase in Paris at the Petit Palais. A further exhibition is held in the Hermitage museum in St Petersburg in 1992, further emphasising the links between Cartier and the royal houses of Europe. The mid 90s extends the Tank watch range still further to include the Tank Francaise to world acclaim. The French Tank combines elegance and function and Cartier design this watch to suit both men and women.

diversification into home ware in 1987 gives Cartier further market presence.

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1997

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2008

With 150 years of history to its credit, Cartier continues in its quest to be the finest and best precious gem and fine jewellery purveyor. To mark the milestone Cartier celebrates with exceptional fine jewellery creations, including a necklace in the form of a serpent paved with diamonds and set with two pear-shaped emeralds of 205 and 206 carats. A year later, the launch of the Collection Privée Cartier Paris Fine Watch collection further emphasises Cartier’s dedication to watch-craft. By the turn of the second millennium, Cartier launches itself forward large commissions from the Maharajah of Patiala in 2001 and further fine timepieces. New collections grace the range with the 2005 launch of the Caresse d’Orchidées par Cartier Fine Jewellery

In 2008 the 9452 MC calibre is the first Cartier watch produced bearing the Geneva Seal. It signals Cartier’s commitment to fine watchmaking. The following year sees the creation of the Santos 100 Squelette watch and a new instalment to the Tank series, the Tank Anglaise. 2013 sees Cartier participate and organise the largest and most complete retrospective in its history at the Salon d’Honneur at the Grand Palais in Paris, called ‘Cartier: the style and the history’. The exhibition features 600 jewels as well as

collection and the 2007 launch of the Inde Mystérieuse Fine Jewellery collection.

sketches, paintings and clothes – the majority from Cartier’s own archives.

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& CARTIER

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T H E R O U T E L E S S T R AV E L L E D

The route less travelled The coast of Africa is home to some of the most pristine island experiences anywhere in the world. Travellers can, with the assistance of British luxury travel agent Journeys by Design, avail themselves of an exquisite ocean-going holiday experience of the highest order.

There is magic in blue waters. They have the power to heal the soul and revitalise the spirit – perhaps this is why the allure of the sea is so strong and why the crystalline waters of the African coast continuously attract visitors to enjoy its restorative qualities. The ocean-going trade routes off the east coast of Africa are home to some

specialises in travel to Africa, is at your service tailoring a one of a kind travel experiences to the islands that dot the coast of Mozambique. Their aim is to fit your personal needs with the ambition of providing a level of service considered industry-wide as being extraordinary, which they most certainly are, not least their journey through the trade

breath-takingly beautiful sights and wonderfully unique experiences, and Journeys by Design, a world class bespoke travel service that

routes of Mozambique. Designed to offer the best coastal and cultural experiences available, this is a Safari unlike any other.

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IBO ISLAND The journey begins in earnest once the flying is complete.Travelling on planes of ever decreasing size, passengers arrive in Dar es Salaam, Tanzania where they board a flight to Pemba in Mozambique. From Pemba, a small private plane delivers them in maximum comfort to Ibo Island. Located off the northern Mozambique coast, in the Quirimbas Archipelago, the island is an unusual yet fascinating place. Alongside Ilha da Mozambique, Ibo is a key example of the cultural hegemony achieved throughout the use of the coastal trade routes. Influences as divergent as African, Arabic and Portuguese can all be seen here and the history of these places is utterly fascinating. Beautifully maintained, it is a destination that has as much to do with the island’s people as it does the sun and the sea, and as such Ibo Island Lodge is one of the most unusual places on the whole East African coast. Set along the entrance to the harbour from the main sea, the Ibo island hotel is made up of a number of colonial buildings over a hundred years old. Each property, including the former gover nor’s residence, has been most carefully restored and has thick walls and high ceilings and large verandas typical of architecture from the island’s colonial period. The Ibo Island Lodge consists of a main house and nine sleeping rooms, two with a sea view, and the rest facing onto a closed courtyard with a small plunge pool. The design of the rooms is very much in keeping with the local aesthetic and are characterised by white walls, stone floors, handwoven rugs, antique side-tables and old storage chests. The style is Moroccan, and veers towards the kinds of designs one might find in Zanzibar. This is not a classic beach resort in the moder n sense and many of the rooms come with outdoor showers, however it is an off the beaten track coastal experience set within stunning surroundings.

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OCEAN RESPITE The Quirimbas Archipelago itself is a key attraction and the exploration of the islands on-board a traditional dhow is an unforgettable experience. Two nights on-board will give an unprecedented experience among the pristine beaches and impeccably clear waters. Island hopping can be tailored to individual interests. If snorkelling is a preference, equipment can be provided and if kayaking is more your thing a paddle can be arranged to access each island, which individually offers something exceptionally unique and a solitude unlike anywhere else. These are private islands ripe for exploration, and while guests enjoy the scenery a private chef is busy preparing the evening meal. The sailing adventures are led by a professional guide, experienced in the surrounding waters with Mozambican skipper, crew and chef on board, at guests’ service to whip up seafood extravaganzas around the campfire. The mobile camps are set up on various tropical islands and special spots. Weather conditions permitting, there should be ample kayaking in calm, clear and turquoise water and traditional dhow sailing to break up the endless view of the horizon.

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MEDJUMBE ISLAND From the ocean, visitors travel back to land and the beautiful and unsurpassed beauty of Medjumbe Island – a private retreat fit for a king or queen. Medjumbe Island is the ultimate in intimate island accommodation, the ideal Mozambique island getaway for those who wish to experience exclusivity and privacy in a remote tropical location. This tiny pristine strip of sand with its breath-taking coral reefs and ocean views is world-renowned for delicious seafood, gracious hospitality and exceptional diving. A ‘can-do’ attitude and slow pace makes Medjumbe both remarkable and memorable. Outside each chalet, a private plunge pool with stunning Indian Ocean views provide relief from the tropical Mozambique heat and a hammock ensures ultimate relaxation, the Quirimbas way. Ensconced in a private beach haven, this is as close as it gets to having a private heaven on earth. The thirteen palm-thatched beach chalets on Medjumbe are the ultimate in sophisticated simplicity, just steps away from the warm Indian Ocean. Nestling on the white sands, they offer privacy and seclusion, yet are situated conveniently close to our guest areas. Each chalet is furnished in crisp blues and whites, offering a full en-suite bathroom with indoor and outdoor shower, and is refreshingly air-conditioned.

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VAMIZI ISLAND The third and final island destination on this sensational trip through the Indian Ocean is Vamizi Island with sensational beachfront villas with access to sultry sand beaches and glassy blue water. Vamizi Island offers world-class accommodation for the intrepid traveller and is the flagship of the Quirimbas Archipelago. A highly ambitious conservation project is underway here, with a 33,000-hectare wildlife safari area called the Messalo wildlife area which is funded by the small lodge on the northern tip of the island. With four kilometres of completely undisturbed white sand beach encircled by rich and lush tropical forest behind and coral reefs in front, the chalets are a revelation. Huge, with their own sitting area and large marble showers they are oases of comfort. The light and airy rooms offer a cool respite from the more ferocious temperatures that can creep up during the middle of the day. While visiting the region it is also possible to avail yourself of some even more exclusive and exciting possibilities. Humpback whales travel through the area between July and September, and scuba enthusiasts can also go diving in the beautiful waters, exploring the ocean that remains relatively untouched here.

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Rocks of ages Turkey’s Anatoli region has a spectacular combination of impressive history and beautiful scenery, all of which can be enjoyed from the beautiful Museum Hotel in the heart of Cappadocia.

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“A sort of Tolkienian fantasy of rippling strata and undulating hillocks, Cappadocia is undoubtedly unique...”

Situated between Europe and Asia, Turkey is a country that has become comfortable with dualities: East and West, religious and secular, ancient and modern. For over 4000 years, Cappadocia, a small corner of Central Anatoli has been at the epicentre of passing waves of cultural dichotomy. Civilisations set on plunder and pillage have brought contrasting and divergent cultures to its central reaches. To this day, the region’s chequered past has given it an aura of striking and defiant beauty. Found among some of the world’s most captivating vistas – scenes that appear like a strange fabrication of imagination – a sort of Tolkienian fantasy of rippling strata and undulating hillocks, Cappadocia is undoubtedly unique and yet made more so by its smattering of stalagmite shaped “fairy chimneys.” Hewn out of rock the colour of wheat and peach by wind and plenty of time, these unusual pointed rock formations, which are technically and rather comically called hoodoos, punctuate the gorges and valleys like the stiff peaks of a meringue and

The spires and caves that the region has become so famed for is an unusual side effect of volcanic activity from the nearby Mount Erciyes. Some 70 million years ago, a massive eruption covered the area with tuff – a soft crumbly volcanic rock material made of consolidated volcanic ash which after subsequent eruptions been sealed under a layer of harder basalt. Tuff is a very pliable and easily excavated substance that hardens when in contact with air and inspired the locals to create a subterranean world for themselves in order to protect themselves from the aforementioned invaders keen to occupy and exploit Cappadocia’s exceptional natural resources. Raiders from all the major civilisations of the last 2000

Ottomans – the volcanic proximity makes the soil exceptionally fertile and a prime piece of real estate that any marauding party would be foolish to overlook. The continual onslaught of invading parties saw the locals take to a subterranean lifestyle hidden from view. The creation of this underworld is sometimes referred to as the miracle of Cappadocia. The historical archaeological and cultural legacies left behind by the various empires that have come and gone from the area are apparent in the unusual East meets West attitude and culture of the region. However, in recent times the pursuit of modernity has seen the cave dwellings eschewed in favour of more usable and practical dwellings. While transformative nature of time and technology have pulled the locals back up to the surface, the old ways are not being forgotten and many of the better preserved rock formations, hoodoos and abandoned villages have been restored and retrofitted to become spectacular luxury hotels where visitors can explore the delights of the region from their warren-like comfort. One

have for thousands of years been used as the most unique of dwellings.

years have passed through the region from the Persians, Romans, Byzantines and

such offering that arguably offers the most authentically Cappadocian experience

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The underground suites are luxurious burrows - snug and protected from the outside world

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“Opened in 2001 and carved into a hilltop, the hotel may be underground but offer spectacular views over the valley below the rich and soft blush shades making a sumptuous view. ”

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is the Museum Hotel, a guesthouse made from the remnants of an old dwelling complex that not only takes its visitors underground, but

must-try activity. A geology lesson no doubt awaits as the guides and pilots offer up the story of the region and its strange rock formations.

also showcases the culture and antiquities of the region. It is a wholehearted, luxury approach to living history. To step inside the hotel is an experience unto itself. Opened in 2001 and carved into a hilltop, the hotel may be underground but offer spectacular views over the valley below the rich and soft blush shades making a sumptuous view. The rooms themselves have been restored and yet are cosily furnished counterbalancing the severity of the rock walls. There are thick woven rugs and ornate wall hangings, which give the rooms a generosity of spirit and a homey feeling. The bathrooms are also beautifully decorated. Each suite is unique, thanks to the use of the already existing structure. But it is the contents of the hotel, not simply the furnishings that are carefully chosen for the pleasure of its guests. Explore the various rooms and guests can find that the hotel lives up to its name with an array of museum-certified pieces that include tapestries, furniture and object d’arts of

and insightful look at the region’s rich history. The hotel is also replete with award winning facilities such as their fine-dining restaurant that specialises in regional cuisine. The Museum Hotel is currently the only Relais & Chateaux recognised hotel in Turkey and it lives up to its affiliates in all aspects of the menu. The surprise is that this region of Turkey has a strong winegrowing tradition. And the hotel makes a distinct point of having locally cultivated grape alongside more famous labels on its lists. The heritage of working the vine goes back some 7,000 years – this despite statistics showing that Turks themselves only consuming it in extreme moderation. The best-regarded whites are the Narince and Emir and reds Bogazkere, Öküzgözü and Kalecik Karası. Outside the walls of the hotel it would be remiss not to partake of the region’s hot air

Walking the valleys is another grand option which will give the chance to get up close and personal with the fairy chimneys which dot the landscape as well as explore some of the still abandoned caves that litter the surrounding area. In their raw form it is easy to see the free-form approach to the construction of the caves – rat-run like tunnels and shafts with escape hatches – it’s like the home of the lost boys. A good tour guide will be able to show the incredible array of abandoned chapels – an eerie yet calming experience. The Museum Hotel in Cappadocia is an authentic Turkish hotel experience that not only prioritises the comfort and relaxation of its patrons, but also proffers up a perfect slice of the Cappadocian lifestyle. If escapism is what you crave there is nowhere more comprehensive to escape to than back in time, except at this unique destination it is possible to do so without forgoing the benefits of a whirlpool spa and fine cuisine. Off the beaten track it may be,

genuine antiquity dating from the Ottoman and Roman empires. It gives a decorative

ballooning tradition. This gentle and relaxing way of viewing the surrounding area is a

but Cappadocia is an authentic, and visually stunning place to while away a holiday.

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HOME OF TIME

Home of time Visit Switzerland and get a hands-on horological experience from manufacturers and historians alike.

Unless you have been living under a rock for the last 200 years, you will understand that Switzerland remains the beating heart of the world’s fine watch making industry. With SIHH and Baselworld being the two largest watch and jewellery expos on the international calendar, it is clear to see that the clock and watch has found a willing and receptive home and the legacy of the Swiss horological tradition is felt in every hand, face dial and spring of top

have been accrued through a dedication to the absolute craft of precision timekeeping. If you are one such devotee and keen to learn more about watches how they are made and where they have come from while taking a break, there is no finer option than to visit Jura & Trois Lacs also known as Drie-Seen-Land and the city of La Chaux-de-Fonds. It is located in the Jura Mountains, a few kilometres south of the French border and is a town that is still,

because it was built specifically for that purpose in the 16 th century. So important is the town to modern culture that in 2009, La Chaux-de-Fonds was awarded UNESCO World Heritage status for its exceptional universal value. There are many brands of high renown that were founded in La Chaux-de-Fonds – household names like TAG Heuer, GirardPerregaux, Rolex, and Omega who still reside and produce their famed timepieces here.

drawer watchmaking. The brands that call Switzerland home have legions of fans that

as Karl Marx described it a century and a half ago, “one giant watch factory” – likely

They work alongside smaller but no less prestigious makers that provide individual

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The buildings on the long, straight avenues that typify La Chaux-de-Fonds were designed specifically for the watchmaking community. The workshops held within made best use of the natural light available thanks to the south facing aspect and large gardens

expertise in engraving and case making to each. The region’s most famous makers are immortalised in street names – Rue Daniel JeanRichard in honour of the man credited with bringing watchmaking to Jura. He was born near La Chaux-de-Fonds in 1665. There is also Rue Jaquet-Droz, named after the famed 18th century maker of automatons. Abraham-Louis Breguet, born in Neuchâtel, is also honoured. With its roots so deeply entrenched in

which to partake. There are watch tours and factory visits available to most of the areas makers, but it is the International Clock making museum that will really set the heart of the watch and clock devotee racing. Worldfamous, the Musée International d’Horlogerie, as it is known locally, the very heart of the timekeeping world - a very modern-looking house of time that very precisely looks at the history of watch production. There are 3,000 watches and clocks on display that

of the most rare beautiful watches and clocks ever made. If you prefer a more hands-on approach to learning, there are opportunities throughout the area to sit with expert makers and study how to assemble your very own working timepiece. Le Carrousel des Montres in the town offers one such experience where professionals from the local area, pass on their know-how and skills. It is a unique way to appreciate the artisanship of skilled

the science and art of fine watchmaking, the area is rich with watch-related activities from

would take the serious aficionado a lifetime to appreciate. The museum is home to some

watchmakers and to come away with a unique memento of your stay.

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`O sole mio

The Amalfi coast is known worldwide as being the premier Italian coastal destination. Among all its pretty towns and villages, Ravello looms large as does the stunningly authentic Hotel Caruso Belvedere.

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Stretching approximately 50 km along the southern side of the Sorrentine Peninsula, the Amalfi Coast (Costiera Amalfitana) is one of Europe’s most breath-taking destinations. Even the oftexaggerated stereotype of what constitutes a “typical” Mediterranean coastal retreat falls short of the reality of the Amalfi, with small towns that have barely changed in hundreds of years dotting the coastline. Rustic yet beautiful buildings dramatically fall away into the coves of soft, sandy beaches and the impossibly sparkling sea below – the scented lemon groves that surround them perfuming the air. The sight of these precariously placed villas painted in warm earthy hues, of ochre, blush, sienna and white, clinging to the cliffs in defiance of gravity (and perhaps sanity), somehow encapsulate the indefatigable Italian spirit. The horizon is a blur of blue – the cobalt sky and azure sea readily osmosing into each another – vast blue horizon

Ravello is among the top places to stay when visiting the Amalfi coast thanks to its natural beauty and stunning aspect. A gem of the Neapolitan Riviera, its lofty perch atop the hill, a heady 1,000 ft. above sea level, gives the place the impression of some strangely modern Babylonian hanging garden dropped into the 21st century – floating somewhere between sea and sky. The town has also attracted a glut of fine hotels that attract visitors in search of their quintessential Mediterranean experience. Arguably one of the finest in town is the Hotel Caruso Belvedere. The hotel comes with a colourful history and was originally a grand palace, built by the D’Afflitto family from Rome. The family settled in Ravello after their ship which was bound for Constantinople wrecked off the coast in the 11th century. Over time, the original palazzo was destroyed, rebuilt and subsequently neglected. In 1893, a hotelier named Pantaleone Caruso and his

position and what was left of the original décor. Its 17th century colonnade and other architectural details survive, and today it is as beautiful a building as one could hope for in a setting such as Ravello. It is traditional in its beauty though with marble porticos and intricate plaster coving alluding to its custom. One step inside, and you are immediately aware that you are walking into one of Europe’s great hotels. Rooms are large and traditionally furnished, and nearly all have sea views. They are suites decorated with frescoes, majolica, marble and antiques in keeping with the hotel’s refined and unfussy aesthetic. Its gardens are a real highlight with rose arbours among tall palms. The hotel is famed for its swimming pool – a dramatic infinity pool which blends seamlessly (as all infinity pools should) with the waters of the Gulf of Sorrento. There is drama at every turn – each view is photograph worthy. The hotel also

bleeding into vast blue horizon. It’s enough to make anyone a poet.

wife rented five rooms and opened them as a guesthouse taking advantage of its unique

has plenty of restaurants and bars to enjoy the scenery and sample some of the region’s

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famous cuisine, and there is also a beautiful and highly equipped spa for those who need

a catastrophic volcanic event in the 79 AD. Today the town is home to ancient relics and

to decompress from a hard day’s relaxation. Step outside the hotel to explore the surrounding area and you will find small villages and larger towns full of local delights. Inside Ravello town there is the Villa Rufolo with its gobsmacking coastal views and the Villa Cimbrone’s beautiful gardens with its rather dramatically named “Terrace of Infinity.” Both are walking distance from the hotel and definitely not to be missed. While the natural beauty of the region is something of a calling card, there are plenty of culturally interesting things to do in the surrounding towns which may be able to tear you away from the views. The nearby towns of Sorrento and Amalfi offer tourist friendly days out – each town being full of historical sites varying from 13th century cathedrals to paper museums, not to mention restaurants serving Italian carbohydrates at their most vibrant and delicious. The region’s seafood is simply the finest you will get anywhere and is impossibly fresh. The island of Capri is also a stone’s throw away and with all its stylish and beautiful attractions

museums that mark the site of the ancient city, and is definitely worth a visit. However, one of the most popular things to do when visiting the Amalfi coast is to simply take a walk. The Path of the Gods, a 10 km hiking trail named for the Roman temples that once stood along the coastline, stretches from Praiano to Positano and takes a little over three hours to complete. Blazing through mesmerising panoramas and blissful silence, it is possibly the best way to see the sights and really breathe in all that the Amalfi coast has to offer. There are two different trails, one ascending to the terraces and the other descending along a mule track, but neither is difficult and both are suitable for less expert hikers. It gives a unique insight into the daily lives of the full-time residents of the region – and you may even feel the temptation to give up the humdrum of daily life and buy up a smallholding and retire to the mountains when having a picnic on the cliff tops. It promises to be an utterly astonishing experience – proof positive

is definitely a big draw as is Pompeii – the site of an ancient Roman city destroyed by

that on rare occasion, the best things in life really are free.

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“The horizon is a blur of blue – the cobalt sky and azure sea readily osmosing into each another – vast blue horizon bleeding into vast blue horizon. It’s enough to make anyone a poet.”

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HOW TO GET THROUGH THE AIRPORT LIKE A VIP Complete customer satisfaction is the mantra of most top airline carriers and banks, which are why they now offer a new range of VIP benefits to make travelling as stress free as possible for their premier passengers.

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HOW TO GET THROUGH THE AIRPORT LIKE A VIP

Commercial flying is a luxurious experience for first and business class travellers once airborne, but there is nothing worse than fighting your way through security, customs and immigration before or after flying. There may well be a class system on board, but all bets are off when it comes to making your way through the airport. To combat this abject process of removing belt, shoes and laptop from case while being herded like cattle towards a gate or exit, an increasing number of airports and airlines are rolling out additional benefits to travellers who are willing to pay a premium for some additional benefits when on the ground. Travellers departing from London’s Heathrow Airport – a facility that is regularly appearing at the head of the list for the busiest transport hub in the world, can enjoy a chauffeur-driven arrival when flying first and business class. This service is courtesy of Heathrow by Invitation. On arrival to the airport passengers will be greeted at the Windsor Suite, a restricted-access section of the airport where passengers are met by dedicated hosts whose sole responsibility is to get all guests to their respective gates in the least amount of time and stress. The hosts and hostesses are on hand to arrange the check-in process, organise luggage drop-off and escort their charges through a private security search area while helping with customs and passport control procedures. Once clients have passed effortlessly through the terminal, they also have access to their own private lounge before the flight, which includes complimentary refreshments and catering in addition to entertainment

detail that makes this service so sought after. The service is now available to those willing to pay a fee, with up to six passengers able to enjoy the benefits with each booking. Elsewhere, airlines themselves are beginning to take on-board their first and business class passenger’s needs by offering preferential treatment on the ground as well as in the sky with offerings of VIP services and added VIP benefits. This is particularly noteworthy on Middle Eastern Airlines. The “Gold Service” with Emirates allows passengers departing from Dubai to use the services of a personal escort as they navigate the airport while Etihad’s “Gold” package provides passengers departing from Abu Dhabi with the same benefits and lounge access. Other airlines are also seeking ways to capitalise either on the reputation of their brand or the appeal of the destination they serve by providing more distinctive benefits. Lufthansa’s “Guide Service,” offered at its Frankfurt and Munich hubs provides the services of a personal escort but this time the levels of service are enhanced. In Munich, guides can provide services in 33 different languages; in Frankfurt guides speak a total of 51 languages. Even banks are getting in on the act, with MasterCard offering an Airport concierge service. Providing a substantial range of luxury concierge services to make the journey through the airport and beyond as stress free and relaxing as possible. Whether passengers want to be met at the plane door and fast-tracked through immigration, need assistance with baggage on departure, or require a chauffeured luxury

facilities and extra flourishes such as Jo Malone toiletries. A limousine then drives passengers to the plane steps – it is the absolute attention to

vehicle upon arrival, the options today for travelling like a true VIP are seemingly endless.

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PUSHING THE BOUNDARIES Asian in cuisine, but thoroughly Australian in attitude, the Japanese culinary arts get a wonderfully creative and comfortable new home in the form of Toko at Vida, Downtown Dubai.

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TITLE OF THE STORY

With so many influences from abroad Australian food culture is a fusion of inspirations taken from its proximity to South East Asia as well as its European immigré population. What this has created is a hub for foodie culture. Spoiled for choice, Australia Toko also has world-class produce grown just out back (pardon the pun) and consequently it has become a culinary centre that promotes exploration of food and pushes the boundaries of cooking. Which is why it is big news that Toko – a multi-award winning Japanese restaurant with genuine Aussie tendencies – has come to Dubai. The original Toko eatery is based in Sydney and takes that same antipodean approach to Japanese cuisine, and under the stewardship of Group Executive Chef, Ben Orpwood offers Japanese food with a definite twist. When asked what makes the food served at Toko unique, he highlighted the restaurant’s experimental brand of fare. “I think at Toko we are a little more open to using ingredients that are not typically used in Japan, like cured beef for example. Also a lot of Japanese restaurants take themselves very seriously. We like to have a little fun with the food.” While the Dubai branch is based

that simply would not sell in Sydney due to their price point, so we are really excited to be able to use lobsters, fresh truffles and such high spec Wagyu here. That said, all of the techniques and presentations are all based around what we do in Sydney.” One dish that appears on the menu at Toko you most certainly would struggle to find anywhere else is the cured beef with onsen egg, truffle and dashi foam and is also a favourite dish of Mr Orpwood. “This a really special dish to me. I don’t think it is similar in any way to the beef tataki you get everywhere. Another favourite dish of mine is the braised short rib. I think it is really hard to find any good braised meat dishes in Japanese kitchens when it is such a important part of what they eat in Japan.” The appeal of Toko is not only from the food coming from the kitchen but also the ambience, exquisitely fashioned to create an intimate yet very dynamic atmosphere. There is a sense that the restaurant is trying to push customer expectations. “The design of Toko reflects the overall concept. As a brand we like to embrace traditional aesthetics with creative flair. From the cocktails, to the lighting, to the

on the Sydney original, Ben is keen to highlight the divergences in approaches between the two kitchens. “We have a few exclusive items

use of minimalist natural wood, we like to push the boundaries beyond what is expected,” concludes Mr Orpwood.

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Al Fanar

PAST, PRESENT Emirati cuisine gets a fitting champion in the form of Al Fanar. Have you ever wondered what exactly Emirati cuisine looks like? Given the bounty of international restaurants covering every shade of the culinary rainbow, it is a surprise that Emirati food barely gets an honorable mention even in its home country. Perhaps, because of the international nature of the Emirates and the prevalence of other cuisines it is no surprise that the generic term Arabic is used more than Emirati when it comes to regional fare. Many expats who have lived in the UAE for many years will admit to never having tried Emirati food, not out of any sort of narrowmindedness, but because tracking it down has been notoriously difficult – until now. The answer to this culinary dilemma as it turns out is in plain sight, Al Fanar restaurant in Dubai Festival City. Such is the rarity of the food served here, it is practically a cultural experience despite the modernity of its glass-clad surroundings. With its traditional décor designed to educate as much as entertain, the menu at Al Fanar, (a local term for a kerosene lamp used in the good old days before electric lighting) is dedicated to the Emirati food and

recapture a slice of the Emirati cultural landscape in a nostalgic fine dining setting. The atmosphere of the restaurant aims to emulate the Emirates of the 1960s – when it was a much more rustic place to live – no shiny retail destinations, few roads and little cultural interference from the outside world. Among the many dishes on the menu there are some that have a particularly unique approach and must be tried. “The Machboos Laham is a rice dish that has quite a different flavour than other ricebased dishes that can be found here like the Biryani. But one item that simply cannot be found elsewhere is the Aysh Mohammar ma Samak Magli – a fried fish served with sweetened date rice,” suggests Danish A. Shimajiri. Marketing Manager, Al Fanar restaurant. Emirati food has long needed a champion and Al Fanar is working hard to maintain the traditions and get people interested in the local food heritage. Mr Shimajiri hopes that Al Fanar can inspire more people to try and keep the traditions alive. “We maintain our authenticity by upholding high quality standards and never deviating from our primary

features dishes that even people born and raised in the UAE may not be familiar with. It is a venue within which visitors and locals alike can

concept but the best way to promote an Emirati cuisine is for people to come and try it!”

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SAILING IN STYLE

Sailing in style International Yacht Collection has the keys to your dream yachting destinations. With vessels stationed worldwide ranging from a family cruiser to an oligarch’s floating pleasure palace, all your charter needs can be met.

When it’s time to kick back and relax, there are few greater pleasures than to hit the water and go sailing. Owning a yacht is a pleasure only afforded to a privileged few – for those who crave the pleasures of a seafaring experience without the headache of upkeep, mooring and maintenance once the anchor has been dropped, and also don’t like to share their boating experience with complete strangers on a Caribbean cruise, the charter is the way to go. International Yacht Collection is a

global clientele of yacht owners, yacht vacationers, brokerage colleagues and crew. IYC currently has a portfolio which represents a half billion dollars in central brokerage listings and more than forty super yachts available for charter worldwide. The portfolio itself is extensive in its variety with a plethora of options for the aspiring holidaymaker. Its fleet of vessels can be found from the Caribbean to the Andaman Islands and beyond. The client sets the only prerequisites: where do you want to go, how long for and how big is too big?

advice on the best locations and most exciting event happening in the world at any given time with a charter calendar. IYC is no fly-by-night operation and they focus on using only the best available vessels run by exceptionally well-trained crew. Its collection passes the discerning eye of an entire team of yachting professionals who make it their business to set the bar high and push for perfection. Professionals conduct onsite assessments of each yacht that joins the fleet guaranteeing its seaworthiness and quality. Any yacht represented by IYC must

company of seasoned specialists who confidently offer their expertise to a

International Yacht Collection can provide not only high quality charters, but offer

meet a criteria of high calibre luxury, amenity and of course, safety.

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