Signe - Edition 5 by Signé

S I G N Ã&#x2030;

CHASING SHADOWS

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CONTENTS

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034

032 THE NEOREALIST Vittorio De Sica’s career saw him go from screen star to cinematic trailblazer

034 VISUAL NARRATIVES A sit-down with Berluti’s creative director Alessandro Sartori uncovers deeply rooted ideals that define a unique take on gentlemanly style

037 OBJECTS OF DESIRE S.T. Dupont CEO Alain Crevet reveals what makes this regal stationer so successful and where the future lies for this brand of exquisite heritage

040 CELLULAR REGENERATION Massimiliano Pogliani, CEO of Vertu, talks to us about the new trajectory of the premium cellular technology provider

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Tim Jefferies by Bryan Adams – île Saint-Louis, Paris

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CONTENTS

S AV O I R FA I R E 055

046 IN IT TO WIN IT

062 THE STORYTELLERS

070 SWING TIME

All you need to know about entering Mille Miglia, and what is required to win

Montblanc’s new campaign brings together the talents of actor Hugh Jackman and director Martin Campbell

How to complete 18 like a professional – golf’s playing a uncovered

052 STRATUM A gem to build a nation on: a look into the lustrous world of pearls

055 A MEASURED APPROACH

066 PASSION PLAYS Coutts’ wealth management offers alternative options for avid investors

Hermès takes its show on the road, giving Signé a behind-the-scenes look at its bespoke service

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076 SCENTS APPEAL The art of picking a fragrance is demystified thanks to fragrance master Michael Edwards

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S IGN E S E L EC TION 080 SPREZZATURA A selection of summer staples to set your wardrobe apart for the hotter months

087 LOTUS POSITION The Lotus C-01 elevates motorcycle style to enigmatic and stunning heights

102

090 CRAFT-WORKS Maker of bespoke leather goods Pemberton Milner aims to re-energise the British tanning industry through its wonderful range of handmade games

091 EDITOR’S PICKS FOR HER Fit for the summer, a range of high class accesories to make her smile

094 FINE APPRECIATION Cigars by Vahé Gérard is the connoiseurs’ guide to cigar smoking

096 STILL WATERS The Patravi ScubaTec by Carl F. Bucherer – a diving watch with safety and style at its heart

098 FRUITFUL PARTNERSHIPS The 2014 edition of Salone del Mobile sees Armani Casa and Maserati produce beautiful furniture of the highest order

102 OF THE ESSENCE Timeless styles of constant elegance never lose their sense of gentlemanly appreciation

114 THE SEASONED PROFESSIONAL Tumi’s Alpha 2 range of luggage combines expertise in durable design with an elegant finishing

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CONTENTS

PHIL ANTHROPY

118 SOLAR FLAIRS

121 CONCEPTUAL CONVENTIONS

Solar flight takes one step closer to reality thanks to the intrepid team behind Solar Impulse and the technical brilliance of Omega

Most famous for its jewellery, Cartier has has led the way in the arts community through the Fondation Cartier pour l’art contemporain for the last 30 years

118

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CONTENTS

OBSESSION 128

128 CHASING SHADOWS

148 FAMILY BUSINESS

152 A NEW VISION

Power and glory come to vivid life in the intoxicating shape of the stunning Rolls-Royce Wraith

Ahmed Seddiqi & Sons celebrates 63 years at the forefront of horological appreciation with a unique exhibition of timepieces

BMW offers up a new take on the future of refined luxury in cerebral, elegant and showstopping style

145 ON THE FRONT LINES Amel Makkawi, owner and founder of Art Sawa, reveals her personal inspirations

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CONTENTS

H E R I TA G E

166

160 THE INNOVATORS

166 LANDED GENTRY

The story of two motoring men who pushed for the best and accepted nothing less

A brand of distinction and rugged appeal, Land Rover has been at the vanguard of 4x4 production for over 60 years

164 THE FUTURE, REBORN One philosophical manifesto turned the outlook of global art to a more futuristic aspect at the turn of the 20 th century

173 CHANGING THE CHANNEL France’s masculine sartorial heritage was usurped by its cross channel rival some 350 years ago, but in the 21 st century, Paris is striking back

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L A D O L C E V I TA 202

178 THE SOCIALITES

188 FLYING OLD SCHOOL

Travel and destination stories from around the UAE

The Goodwood estate offers the chance to become a top gun from the 1940s with its vintage flying experiences

181 HOW TO TRAVEL IN LUXURY The Monogram collection from Saint Laurent is the elegant traveller’s dream

184 CULTURE QUEST

192 SPORTING GETAWAYS As the sporting season winds up to a frenzy this summer, we pick a few destinations that offer terrific sports and opulent accomodation

As the 2013/14 season at the Metropolitan Opera in New York City draws to a close, it offers the perfect excuse for a summer visit to the Big Apple

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198 THE OLD WORLD AND THE NEW Two hotels, two distinct styles, one family business: the Straf and the Grand Hotel et de Milan

202 SPLENDOUR AND SERENITY Beautiful cars in a stunning setting, there is no finer concourse for vintage vehicles than this annual extravaganza at the beautiful Villa d’Este

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THE NEOREALIST

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The Neorealist A man of exceptional style, striking good looks and a natural

appetite for illustrating truth, Vittorio De Sica was an exceptionally important actor and director whose storytelling style has impacted cinema the world over.

There is a specific and tangible visual style that has come to typify Italian cinema – a grasp of reality that is on one hand dreamlike, and yet simultaneously stark in its gritty representation of real life. One director who came to be a seminal figure in establishing this style of what is known as neorealism was actor-director Vittorio De Sica. Born in Sora, Italy in 1901 and raised in

“I love humanity, I trust humanity, but humanity has a way of disillusioning me.” VIT TORIO DE SICA

in a very anti-Hollywood style and filmed using everyday people on the streets of Rome. He would often describe himself as a disillusioned optimist. “I love humanity, I trust humanity, but humanity has a way of disillusioning me,” he once said. The patiently observant visual style he adopted was born out of a willingness to explore the truth, but also because funding for cinema was in short

Naples, De Sica began working as an office clerk at a young age in order to support his family. Conditions for the working class in Italy at that time were tough, but he was not destined to stay in the regular working world for long. While still a young man, the stage began to catch his imagination. At the age of 16, he made his cinematic debut in the 1918 silent film, The Clemenceau Affair. Not long thereafter, De Sica joined Tatiana Pavlova’s famed stage company in 1923 and quickly became a dashing matinee idol – no doubt thanks to the combination of his striking good looks and impressive talent. The burgeoning ‘talkie’ era saw De Sica take up his first speaking part in 1932’s La Vecchia Signora. This laid the groundwork for his future cinematic career and he began appearing on screen more regularly, particualrly in romantic comedies throughout the 1930s. Acting, however, was not De Sica’s sole focus. In 1939, he took a turn in the director’s chair. His first film was Rose Scarlatte, followed by Maddalena... Zero In Condotta, Teresa Venerdì and Un Garibaldino Al Convento. While these pieces were warmly received, they failed to garner De Sica much critical acclaim. It would be his exploration of realism within a more humanistic approach that would earn him critical distinction. He, along with Roberto Rossellini and Luchino Visconti, began to make films that documented the struggles of the everyman in post-war Italy – a theme he was well versed in given his modest upbringing. It was a period of great difficulty for the everyday Italian family, and the harsh reality of life on street level offered great inspiration to these directors.

supply at that time. The result was a movie that changed the spectrum of Italian cinema. After the Second World War came to a close, De Sica quickly returned to the director’s chair with the highly-regarded 1946 film Sciuscià, which was to be followed by what is considered De Sica’s magnum opus – Ladri Di Biciclette – in 1948. This film was a paradigm of neorealism and showed examples of all the key tenets of the medium – a freewheeling, improvisational style with a lean, emotional narrative. The stark production even included documentary-style footage to add to the sense of realism. It was an exceptional achievement within the genre and even won a special Academy Award – this was the era before the Best Foreign Language Film category was introduced. While further neorealist films such as Miracolo a Milano were critical successes, they sadly flopped at the box office. Unable to generate funding for his cinematic idealism, De Sica stepped back in front of the camera as a leading man again, where he was once again a star. His role in 1957’s A Farewell to Arms earned him an Oscar nomination. He would finish his acting career having featured in roughly 150 films. Upon returning to the director’s chair, he led Sophia Loren to an Oscar win in La Ciocara in 1960 and won Best Foreign Film for Ieri, Oggi, Domani in 1963, but his reign as a leading light of directing had come to an end. Cinema had moved on. His subsequent films were lighter, and much less gritty and gripping than his previous work. De Sica’s talent shone brightly over Italian cinema. Behind the

The first example of this was in 1942’s I Bambini Ci Guardano, a sincere representation of working-class life that was portrayed

camera, he was a trailblazer, in front of it, a star. Few other men of his time can boast such a claim.

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V I S UA L N A R R AT I V E S

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VISUAL NARRATIVES Berluti is fast becoming recognised for its specific, tailored approach to menswear. Its unique method of design, which caters to men of connoisseurship and elegance, is at the pinnacle of bespoke cordwainery and fashion. Under the stewardship of Alessandro Sartori, the brand continues to grow into its vibrant new identity. Signé sat down with the maestro at an exclusive preview of his Spring/Summer 2014 collection in Dubai to discuss precisely what makes the man behind the modes tick.

Fashion is a broadly accurate word – a popularisation in the manner of wearing clothes, behaving and dressing. But the particular dress code that a Berluti customer adopts is niche, unique and highly stylised – one perhaps deserving of its own particular definition beyond a mere generality. However, rather than come up with a pithy phraseology to more accurately describe the Berluti method, artistic director Alessandro Sartori is simply giving his clothing a clear and eloquent visual identity – easy to understand, even easier to fall in love with. On a recent visit to Dubai, the Biella native gave Signé a behind the scenes look at Berluti’s Spring/Summer menswear line – an elegant, clean and deftly executed melange of retrospection and currency that pays homage to tailoring heritage in a way that cleverly delineates Berluti from its competitors. “French workers of the 1940s and ‘50s inspire the collection,” explains Sartori. “It was the first period of a certain type of elegance, while being the last period of totally tailormade clothes – there was no off-the-rack before

collection essentially goes back to the root of the modern classic tailoring that the 40s and 50s represent. The era was a big and strong moment in masculine sartorial history.” In a way, this collection perfectly represents Sartori’s approach on the whole. From shoe to hat, he creates strong moments using bold and varied inspirations. Sartori himself has a proven track record in menswear, becoming artistic director of Ermenegildo Zegna in 2003 and subsequently joining Berluti as artistic director in 2011. With a long and well-established history in menswear of the highest calibre, it’s easy to understand where his thorough understanding of what men desire from their wardrobes comes from. Since his directorship of the brand commenced, he has worked tirelessly to establish Berluti as a leader in fine gentlemanly customs – more than simply a high-end cobbler. But this isn’t to say that Berluti has forgone its cordwaining pedigree; in fact shoes remain at the heart of the brand’s identity and design process. “We start the silhouette at the bottom of the pant and work upward,” he says. “If the pant looks good with

a strange starting point, but certainly seems to be working. Combined with the classicism of execution and modernity of approach, Berluti, under Sartori, is a singular force. But the key to the rejuvenated brand’s success is perhaps that Sartori understands precisely who he is designing for. ‘The Berluti man’ as he calls it is a true characterisation of someone for whom there is no such thing as too much refinement. “For me, the Berluti man is someone with an artistic soul – open in good taste and passionate about style. He is an eclectic man who invests in his life in all aspects. He is a connoisseur of the finest things, but I also think that he is curious and investigative.” While chatting with Sartori and discussing precisely who the target customer for Berluti is, it quickly becomes clear that ‘the Berluti man’ in his head is not a mere fiction drawn from his rich imagination, but seemingly a reflection of himself – his inspirations and his passions. When nudged a little, Sartori confessed: “I actually think my own personal style is why they chose me to take the job.” So to understand Berluti, you

this. I consider those two decades essential in understanding today’s wardrobe. The

the shoe, we then know we have a winning combination for a collection.” It may seem like

must understand the man in charge. To know Sartori is to know Berluti.

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V I S UA L N A R R AT I V E S

As it turns out, there is a commitment to propriety, poise, presentation and making elegant sense of contrasting cultural paradigms that underlines and defines his aesthetic. Ask him what catches his eye in shoemaking, and you’ll get an assertive answer about quality in fabrication and cleanliness of line and silhouette. He prefers the supple comfort of Goodyear welt construction to its Norwegian counterparts because of its comfortable and robust qualities. His appreciation of tailoring is similarly biased with A. Caraceni of Milan and its intimate understanding of form and function – the line of a sleeve, the weight of the construction, all of which appeal to his expert taste for elegant restraint. Perhaps through his years behind the scenes of menswear design – even going back as far as his childhood spent at his mother’s knee who herself was an accomplished tailoress – has given him what he calls his “crazy passion for fabrics and quality and finished products”. He appreciates that what goes on underneath the surface is as important to the garment as its external appeal, something clearly displayed in spades in each Berluti offering. What’s clear is that through each collection, Sartori is attempting to decode the world for his clients. He draws inspiration from across the globe, finding narrative allegory between the brand and the sights and sounds that he comes into contact with, intelligently interpreting it for future collections. His favourite city is São Paolo, a place of such variation and juxtaposition that craves an intellectual mind to make sense of it all and make a declarative statement on its behalf. “I love that city,” he enthuses. “It is such an inspiring place. It is a city of special contrasts – very poor and very rich at the same time. I feel that there is an energy that comes from this contrast. You can go to the most classic square and you will see young people designing in the street and doing amazing things, just around the corner there is an amazing artist and then another kilometre away, there is a Michelin-starred restaurant. There is a tangible energy in the air there, which I gravitate towards.” Seeking out ideas and new ways to understand style and approach is at the heart of Sartori’s mode.

region’s passion for fine fashion. “People here have a mature yet young taste at the same time, which is quite rare. There is a confidence of people here. Even if they don’t have a great deal of money, they buy little but buy beautiful, which is a very smart way of doing things.” The prospects for Berluti are, much like

defined targets. “We are aiming to continue what we have been working on since I came in 2011, which is to create a visually strong and entirely recognisable style. I want it so that when you see a Berluti man, it is instantly understandable whom he is wearing. It is important because we don’t like to put logos, big prints, and flashy or exaggerated

Travelling to the Middle East, even for a short spell, he is quickly aware of the

the Berluti man and Sartori himself, open to good taste and passion, but with clearly

designs on our clothes. Subtle elegance is our philosophy, and that will continue.”

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OBJECTS OF DESIRE A conversation with Alain Crevet, CEO of S.T. Dupont, reveals the dynamic present and ambitious future of a brand with a truly illustrious past.

TEXT: SAMIA QAIYUM

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OBJECTS OF DESIRE

Superlatives

abound,

Dubai is a city in which luxury offerings like opulent spa treatments, Formula One-calibre cars and even gold vending machines are considered THE NORM. Yet timeless luxury in the form of exquisitely crafted goods, courtesy of S.T. Dupont, continues to be highly sought-after. Tracing its roots back to 1872, the French manufacturer of lighters, pens, leather goods and accessories has built its impeccable reputation by combining knowhow, traditional techniques and understated style – garnering quite the following along the way. It’s not unusual to hear a cigar connoisseur wax lyrical about the famous ‘cling’ sound of opening a Ligne 2 lighter, or

“Since the very beginning, S.T. Dupont has combined tradition and modernity, heritage and innovation.” ALAIN CREVET

watch a seasoned pen-collector marvel at a Line D fountain pen’s palladium trim breaking up the expanse of authentic Chinese lacquer. Alain Crevet, CEO of S.T. Dupont, delves deeper into such products’ longstanding appeal: “Since the very beginning, S.T. Dupont has combined tradition and modernity, heritage and innovation. The essences of its unequalled quality are the use of finest leathers, the shaping of rare and precious metals, and the mastery of Chinese lacquer application – all requiring experience, precision, patience and passion that only our master craftsmen can achieve. One must keep in mind that all items are 100 percent handcrafted in France which, in our days, is a rarity.” Speaking of rarity, it’s interesting to note the market for fine writing instruments is still exceptionally strong despite the high-speed, technology-driven age we live in. Crevet credits this to two key factors: “Firstly, a nice pen is an indispensable accessory that everybody should have in their pocket. It is considered part of the outfit, just as a good pair of shoes. Secondly, handwriting letters is a much more personal expression. It takes time and therefore is a sign of respect for the recipient.” This is perhaps why the company’s pens are so immensely popular in the local market. “I’m happy to see they benefit from great renown in the UAE,” Crevet enthuses. It is a renown that is driving national and

last year, followed by one in Abu Dhabi’s Galleria Mall, and is set to grow further in the GCC in the future. “We sense a huge potential in the Gulf and especially in the UAE, and are enthusiastic about the future. Over the last three years, sales have been growing double digit,” Crevet adds. On a global scale, the Dupont CEO says there are two exceptionally growing categories today in terms of development: leather goods and the Haute Creation collections. “In recent years, we’ve strongly enriched our leather goods offer. The brand proposes a large range of the most elegant luggage for business travellers in classic or contemporary style, like the Line D and Defi collections. We can also observe that

of our Haute Creation department, we’re able to respond to any special customer request from exotic, handmade leather bags to absolutely unique pieces.” Innovation may be paving the way for new supporters, but it’s the brand’s signature items that remain its pièce de résistance. “The leading smoking accessory is undoubtedly the lighter,” says Crevet. “I’d even say it’s not just a lighter – it’s a reference. Famous for its ‘cling’, it’s the only lighter one can even recognise in the dark. They’re perfect in design and quality, featuring authentic Chinese lacquer or the finest guilloche work. Our lighters, humidors and cigar cutters are made for connoisseurs.”

regional expansion. The company opened its first flagship boutique at The Dubai Mall

clients increasingly are looking for very exclusive products. Thanks to the opening

In keeping with this bona fide passion for smoking accessories, the company

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Bearing the initial “D” - a powerful emblem of the Dupont name, the Blazon range pictured above, further underscores the brand’s commitment to exceptional skill in traditional artisanal manufacture while continually producing items of consummate elegance and sophistication.

has this year established its inaugural International Lighter Design Competition that calls on design, art and architecture graduates to design a new original lighter worthy of the Dupont name. S.T. Dupont takes immense pride in the fact that its first smoking accessory was designed in 1936 for the Maharaja of Patiala, a king who ordered 100 minaudière clutch bags for his consorts, each containing a solid gold lighter. The company’s craftsmen knew no lighter currently produced was fine enough to belong in an S.T. Dupont nécessaire bound for royalty, so they fashioned their own. “The company’s lighter has since become an icon of luxury and design. My ambition is to invent the 21st century

Humanity will forever need fire and Dupont will represent the Art of Fire for centuries to come. I look forward to discovering a new shape and powerful design, bonding Dupont’s history to the future!” Looking to the future, conversation turns to the latest collection – Blazon, symbolised by a coat of arms and fashioned with the famous ‘D’. “The initial D is a powerful emblem of Dupont, which evokes the brand’s essential heritage: excellence in its work, nobility of the materials, pride of its unique know-how, and loyalty to our heritage and clients. It symbolises S.T. Dupont’s commitment to luxury,” says Crevet. With a visionary at the helm of this institution steeped in history, S.T. Dupont

to accept, adapt or to resist. It’s to create! S.T. Dupont has always invented new products or materials. One of the earliest examples is the famous Diamond leather, the only leather in the world tanned with real diamond powder that gives a unique resistance and aesthetic shine. The ancient tanning process has been kept an in-house secret and further developed.” So what does creating the future of fine accessories entail? “This year, a new collection of outstanding soft leather, Line D soft Diamond, will be edited. Innovation is always part of the project when conceiving our collections. We’ll soon launch a revolutionary new material created together with a new pen line; you can discover them in

Dupont lighter design,” Crevet explains. “This is why I launched this competition.

addresses burgeoning modernity in a rather refreshing way. “Modernity is not

September. I want Dupont to be the guardian of French savoir-faire and know how.”

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C E L L U L A R R E G E N E R AT I O N

CELLULAR REGENERATION Massimiliano Pogliani’s innovative approach to brand positioning and

product offering has created a new and exciting chapter for vanguard luxury telecom provider Vertu.

A few years back, Vertu was a name often snickered at by those who believed that handmade cell phones with bespoke finishes were a thoroughly ostentatious overreach in the luxury market (akin to Swarovskiencrusted wheels on your car or thousand dollar bottles of water – very exclusive but hardly tasteful). In recent times, however, Vertu has begun to turn the tide of public perception by becoming a highly prized and technically advanced operator and hardware merchant. The reimagining of the brand has come at the hands of an improved offering, with attention to detail

Pogliani has a distinguished track record in real terms, having turned Nespresso from a kitchen gadget to a singular brand synonymous with its product – like Dyson for vacuums or Cuisinart for food processors. With Nespresso having its own international network of standalone stores and increasing market share of the booming coffee industry, his understanding of market trends and ability to anticipate the needs of the public is renowned. In 2012, he joined Vertu as its Chief Marketing Officer, assuming the role of CEO in June 2013.

as well as strong leadership from its CEO Massimiliano Pogliani.

believe he/she wants, and is looking for in a cell phone product?

Who is the Vertu customer? What do you

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“Luxury is something very personal. It means different things to different people and it is emotionallydriven rather than rationally so. Luxury is something that you do not need but that at the same time, if appreciated, you cannot live without.” MASSIMILIANO POGLIANI

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C E L L U L A R R E G E N E R AT I O N

I see our customers as a diverse collection of individuals, with many different ages, backgrounds and geographic locations. They’re looking for a more tactile, more luxurious and more sensory experience from their mobile device – they want something out of the ordinary, not just for their phone,

the development process of a new product, which is a huge benefit – especially as we are all under one roof.

the expectations of our discerning and demanding customers who require a special bespoke product.

Vertu offers a unique customisation service. Can you tell us about the most outlandish request you have received?

Tell us about the design elements that set the latest products included in the Vertu line, the Ti and Constellation, apart from

but in all aspects of their lives.

I’m afraid we have a policy of keeping our customer requests private. What I can say for sure is that thanks to the fact that we make our phones by hand in our workshops, we can match and sometimes even exceed

other high-end phones in the market. Each Vertu collection has a different aesthetic. For example, the Constellation is contemporary and sleek whereas the Ti has a masculine, architectural look. Our original product, Signature, is elegant and timeless – and has developed something of a cult following due to its unique style.However, underneath the styling, each phone shares

What does Vertu offer to its customers in its phones that simply cannot be found elsewhere? For me, what makes Vertu so unique is a finely tuned combination of design, materials and British craftsmanship, with exclusive services and technology. It creates a truly special product.

in Vertu’s ethos of being handmade in England from the world’s finest materials, which are chosen not only for their beauty, but also their function. For example, solid sapphire crystal is used for every Vertu screen because it is virtually scratchproof, and titanium is selected for many handset chassis due to its strength and durability yet lightweight nature. Everything is carefully curated to make a better phone, not just a more expensive one.

Vertu, much like a high-end watchmaker, creates its products by hand. What are the benefits of making a cell phone this way? Some things are always going to be better when done by hand. Our manufacturing process balances the artisan world of the luxury industry with the fast-paced world of mobile technology. At the heart of this is our dedicated team of skilled craftsmen who individually sign each phone they create. We see this as an indication of the passion, pride and commitment that goes into each product. Technically speaking, there are certain elements of our phones that are virtually impossible to put together with a machine, and as such they require the eye, the hand and the expertise of our skilled team that works in assembly, programming, lasering, polishing, final product auditing and quality inspection – everything is approached as a craft. They also work closely with the design team during the concept stage, with the mechanical

How has adopting smartphone technology affected growth? It’s not an easy thing to successfully combine the luxury and technology sectors. They are opposing forces in terms of the way they operate. The luxury industry moves at a much more considered and steady pace, and is often based on timeless products that have evolved over many years. Conversely, the pace of change in the technology market gets quicker every year. That said, I believe the technological race within the smartphone market has slowed recently

engineers and material scientists, to ensure that manufacturing capability is built into

and the ability to differentiate has become of increasing importance for customers.

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Handmade in the United Kingdom, Vertu’s uniquely elegant design paired with premium service offerings have elevated the brand to a place of discerning character – the sophisticated, safe and luxurious cellular option.

Vertu is continuing to innovate with our materials and services, and combining these elements with stylish, contemporary design and modern technology. Freed from being a small business in a large corporate environment, the growth prospects for Vertu in its self-standing business are brighter than ever.

unbeatable WiFi connectivity across the globe with access to iPass, the world’s leading commercial Wi-Fi network.

Symphony Orchestra. We intend to build on this platform and provide our enhancements to our customers.

Vertu provides several additional services in its offering including the Certainty programme. What is the benefit of such a programme? Vertu Certainty provides security for our customers’ data and phones – no matter where they are in the world – delivering reassurance and true peace of mind. Features include Kaspersky anti-virus, anti-theft protection, Vertu’s 24/7 remote access technical support and encrypted communications from Silent Circle, which keeps a customers’ phone calls, texts and

In addition to increased security, Vertu is offering additional lifestyle assistance. What can you tell us about Vertu Life? Vertu Life is a Vertu customer’s aide, especially when they’re travelling around the world. It’s their key to accessing some of the world’s most exclusive private members’ clubs, closed door shopping experiences and must-see theatre premiers or sporting events. Each privilege available on our devices has been handpicked to ensure that every city experience is an extraordinary one for our customers. In addition to our Life service, we also provide other digital customisations that include icons, wallpapers, the home screen and lock screen, as well as some Vertu-specific full-screen widgets and apps. Furthermore,

What is the next step for Vertu? The most successful luxury companies over the last decade have been those that have become much better at creating a strong emotional attachment between themselves and their consumers. That said, we have seen luxury buyers becoming much more discerning in their purchases as they look for products that have real value and substance, rather than just those being sold at a premium. Going forward, it is likely that our digital environment will be as key to our customers as our physical retail spaces. Our job will be to join these up seamlessly so that the customer enjoys one single, effortless journey with us. Ultimately, we have put the customers and their experience at the heart of what we are doing. And we have done

video calls secure over any network. One of the benefits I find extremely useful is

we have our own exclusive set of ringing and alert tones performed by the London

this all together as a team – that’s the real secret behind any revolutionary project.

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Savoir Faire

S AV O I R FA I R E

IN IT TO WIN IT

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In it to win it A competition of exceptional heritage, the modern day Mille Miglia is a celebration of all things motorsports as well as the event’s legendary history.

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

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Only cars made during the Mille Miglia speed period between 1927 and 1957 are permitted to enter the race, and even then, entrance is only granted subject to a stringent vetting procedure.

It is a race of the utmost pedigree, an annual classic car rally that not only reveres its participants but also revels in their mechanical magnificence as kinetic art. It is not an event that simply marvels at design in situ, but celebrates the technical origins of the car where it belongs – on the road. This is the Mille Miglia, the most prized

speed and endurance race continues to draw enthusiasts in droves to the Italian north – spectators line the roads to watch examples of early vehicular beauty pootle elegantly through the countryside. However, in the old days, pootling was far from the norm. The race today is a far cry from its initial incarnation.

During its high-speed era, it was a harumscarum contest through winding backwaters – a breakneck endurance marathon on the open roads. The race began in 1927 and took place 24 times, with a brief interlude during the Second World War. Established by Aymo Maggi, Franco Mazzotti, Giovanni Canestrini and Renzo Castagneto, the

and anticipated event in motoring. The irresistible appeal of the once feted

The origins of the Mille Miglia as a fullthrottle road race are well documented.

course ran between Brescia and Rome before heading back to Brescia in a rough

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Spectators from across the world visit Brescia to witness these wonderful pieces of automotive heritage take to the starting ramp for their whirlwind tour of the Italian countryside. With private entrants competing against automotive museums and established brands, the delights on show are breathtaking.

figure-eight that was approximately 1000 miles long – hence the name Mille Miglia, or thousand miles. While the cars and their pilots were internationally celebrated for their technical excellence and daring feats, it was a famously dangerous affair for drivers and spectators alike. Accidents regularly had

lost. However, it was two dreadful crashes in 1957 that caused the Mille Miglia in this format to be suspended indefinitely. The first accident took the lives of Spanish driver Alfonso de Portago, his co-driver/navigator Edmund Nelson and nine spectators in truly gruesome fashion in the village of Guidizzolo. The second killed driver Joseph

to 1961, the event resumed as a hybrid of running at legal speeds with a few special stages driven at full speed, but this was also discontinued. Since 1977, the Mille Miglia has remained in a much more genteel format – a parade of sorts, with vehicles rallying at legal speeds in a gala of vintage automotive

catastrophic consequences and between 1927 and 1957, the lives of 56 people were

Göttgens in Brescia. The race continued thereafter but in revised formats. From 1958

revelry that is admired the world over. And despite no longer having speed as its

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IN IT TO WIN IT

key motivator, many still dream of one day

Fédération

Véhicules

coefficients – essentially handicaps. Every

taking to the starting line. However, there are certain prerequisites that must be adhered to, should a driver wish to be part of this storied event. Participation in the event is strictly governed; simply owning a vintage car is not enough to line up at the start. Only cars made during the Mille Miglia speed period between 1927 and 1957 are permitted to enter the race, and even then, entrance is only granted subject to a stringent vetting procedure. Precedence is given to vehicles that have a proven track record in racing or have previously taken part in the Mille Miglia – cars such as the illustrious Mercedes-Benz 300 SLR, a car that won the 1955 race and is liberated from its Stuttgart museum home by Mercedes every year in order to participate. One absolute prerequisite for the vehicles is that they must all be utterly original in its parts; there can be no modern additions, no replica parts – whole or partial. Such additions would disqualify the car’s entry. This is something the organisers take incredibly seriously – so much so that

Anciens, otherwise known as FIVA, is the body that certifies all entrants and only cars that possess a ‘passaporto Fiva’ are permitted to take to the famed Viale Venezia ramp in Brescia. To obtain such a document is another matter entirely. Officials of an affiliated national club who ascertain the authenticity and roadworthiness of a vehicle carry out these verification tests, which are then forwarded to FIVA for final say. Should the driver be fortunate enough to have the appropriate vehicle, the relevant documentation and the permission of the organising committee to participate, it is then a question of winning the race. It may not be the death-defying, brake-torturing, powerfest it once was, but the Mille Miglia does crown a winner. There is, however, the small question of fairness. How does the organising committee maintain an even playing field given that there is a near 25year gap between potential entrants? The developments in engines and vehicle design are such that earlier models would be rendered obsolete to the race entirely.

vehicle that enters Mille Miglia is given a ‘penalty coefficient’ that compensates for the variations in design and vehicular purpose (sports car vs. grand tourer). There are a number of factors that impact the coefficient, but a rule of thumb is that the more modern the vehicle, the greater the penalty. The event is won by the team with the highest number of points when multiplied by its penalty coefficient. To make things even harder for the competitors in the 2014 edition was the return of the regularity stages, which have not been added to the schedule for 10 years. With 74 timed stages, the vast majority of the controls were based on crossing a known timing line at precisely the right 100th of a second – an incredibly difficult task that requires the drivers to pay sharp attention to their progress. Nobody ever said that the Mille Miglia was easy. But for those who cross the finish line, a piece of automotive history is at hand. It takes genuine driving talent, massive concentration, a respect for the vehicles and an iron will to take the title

an independent authority is consulted in all matters concerning authenticity. The

Rather smartly, the organisers have implemented what they refer to as

– in this instance, however, taking part is just as much reward as winning.

Internationale

des

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S T R AT UM

Drops in the ocean Intrinsically beautiful with elemental lustre, pearls have fascinated man for thousands of years. Even today, the finest of them fetch handsome prices and are used in the finest of decorative arts.

A pearl is one of life’s great discoveries – the first to find them and appreciate their timeless elegance is not known, but the desire to possess and wear these wonderful gems persists. Legends have told of their value, prized by the great for their lustrous sheen and ability to captivate and surprise. Clearly the pearl was adored and mythologised even in ancient Egypt; Cleopatra was fabled to have dissolved a single pearl in her drink at a

such if it falls within two percent of spherical perfection. When this occurs in a natural pearl, it is considered to be the most exceptional, rare and prized form. Semi-round pearls also have a spherical appearance, but on closer inspection, fall between two and five percent of a perfect sphere. Beyond the typical ball shape, pearls can also naturally occur in a tear- or pearshaped, an oval or even a button formation. These are dubbed semi-baroque pearls. The

using the naked eye. Imperfections such as dimples, bumps, curls, stripes, swellings, grooves or milky discolouration all play a part in the overall assessment. The lustre and sheen – the pearl’s iridescence and ability to reflect light – are also important factors when determining quality. Category A pearls have, at most, one imperfection or a small group of slight imperfections concentrated in no more than

banquet with Mark Antony in order to win a bet, an act that cost a small fortune. In historical volumes and documents from such disparate geographies as Asia and Europe, the pearl has echoed through time. Today, they are marketed and sold at different values depending on their source and quality. They hold various classifications according to their appearance, much like diamonds. The idea that all pearls are perfectly spherical is of course a fallacy, and

diameter can vary under this classification, however, the pearls must be symmetrical and are often mounted as pendants rather than strings. Baroque pearls are abstract is composition and can form irregular, asymmetrical shapes. Ringed pearls, much like the name suggests, are made up of concentric rings. Once these categories have been ascertained, the surface of a pearl is analysed. Two aspects of its external appearance come into play – the perfection of the surface

10 percent of its surface, with a superb and reflective lustre. Category B pearls are permitted to have imperfections on 30 percent of the surface, while the lustre is good to middling. Category C and D pearls are not the most sought-after, however, with a good jeweller presenting pieces that would mask the flaws, these can still be made very desirable. As for colour, pearls that come from different regions and different beds can pick up a variety of colouration – from beautiful

consequently they can be distinguished based on their shape. A round pearl is only called

and the sheen. This is not something that requires close study, but can be appreciated

creamy white, silver and pink to green and even black.

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RICH HARVEST

For all our efforts, a way to artificially create these strange and wonderful gems has yet to be found. Whether naturally harvested or cultivated, without mollusks, there could be no pearls.

The rarity and subsequent value of pearls has historically come from the fact that their source is always underwater. Be they fresh or saltwater pearls, their finding, harvesting and cultivating has carried tremendous risks that have driven their value to untold heights. Even today, when the ‘Queen of Gems’ is naturally sourced, they are most coveted and highly prized. However, without mollusks and their naturally occurring self-defense mechanism that creates these luminous gems – artful and incidental though it may be – there could be no pearls whatsoever. In naturally occurring pearls, the host mollusk occasionally ingests a foreign body, such as sand or perhaps a parasite, which may lodge itself in the soft inner body. If the mollusk is

the intruder in order to protect itself. This calcium carbonate-based substance is called nacre. So long as the interloper remains in the body, the mollusk will continue to cover it in layer upon layer of nacre, making the pearl larger and larger. So rare and desired were pearls at the turn of the 20th century that a race to find ways to fabricate or manipulate the process in controlled surroundings was fierce. For all of man’s technical innovation, pearls still cannot be made without utilising shellfish. The first to master the process of pearl culturing were Japanese researchers Tatsuhei Mise and Tokishi Nishikawa, and Kokichi Mikimoto, the intrepid son of a noodle-maker. Mise and Nishikawa, while playing an important role in

creating perfectly round cultured pearls by inserting tissue and beads into the gonad of an Akoya mollusk in 1916. By carefully placing the irritant, he could manage the output, and pearls made in this way could effectively be produced in the millions. Today pearls are cultivated worldwide, with freshwater and saltwater pearls including South Sea, Tahitian and, of course, Mikimoto’s original Akoya. All use methods that originated in Japan and took a great deal of trial and error to master, but have allowed for rapid growth over the past 100 years. Today, the cultured pearl industry has essentially replaced the natural, thanks to the volume it can command. Due to market saturation, cultivated pearls have somewhat driven down the price. Similarly, it has increased

unable to eject the foreign body, it will secrete a smooth, hard, crystalline substance around

pearl cultivation, have since been eclipsed by Mikimoto who perfected the technique of

appreciation for the naturally occuring version, which is highly coveted.

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S T R AT UM

National origins The narrative of the pearl trade is deeply rooted in the story of the Middle East. The UAE, in particular, can boast one of the richest heritages related to the ancient practice of diving for these precious stones.

While cultivated pearls are sought-after thanks to their quality and uniformity, the heritage of pearl diving is still redolent, particularly in the UAE. Too barren for farming, fishing and pearl diving provided an asset with which to barter for the one-time desert outpost. While trade has somewhat dimished, the heritage is a strong element of cultural identity, even today. Pearl divers took risks daily; they were trained to hold their breath for minutes at a time, free diving to a depth of 40 metres in order to reach the offshore oyster beds while armed with little more than a knife to lift the pearl-

the demand for pearls increased, driving the industry locally. Enterprising bedouins began to make pearl diving their living, leaving their nomadic lives and settling on the coast. The British government, which was heavily involved in regional trade at this time, described the culture of pearl diving in Bahrain (that would’ve been practically identical to that of the UAE) as follows: “Each diver wears a clip like a clothes-peg to close his nostrils, leather sheaths protect his fingers and enable him to (wrench) the shells from the rocks underneath the sea, and each of his big toes is guarded by a similar sheath. He descends

bottom. Round his neck is slung a string bag, which he fills with shells, attached to a rope with which his comrade – the puller – draws him up again when he gives the signal. Divers remain below the surface for nearly a minute and a half and they descend about 30 times in one day, often to a depth of 14 fathoms. The shells are heaped on deck during the day and opened in the evening under the vigilant eye of the captain, who puts away the pearls in his sea chest. No diver knows whether it is his shell that contained a pearl. The shells are thrown back into the sea, the divers believing that oysters feed upon the empty shells.

laden shellfish. As India became increasingly prosperous in the 18th and 19th centuries,

on a rope that has a stone weight attached to it. This is hauled up when he reaches the

They believe too that drops of rain, which are caught by the oysters at night, form pearls.”

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A MEASURED APPROACH Hermès hits the road, bringing its bespoke service to clients in the Middle East. It is a procedure as opulent and detailed as the finished items, and one certainly worthy of a brand of such high esteem. We discover its intricacies in an exclusive fitting session.

TEXT: ROSHIN RAHMAN

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For many mere mortals, it is not everyday that one visits a high-end atelier to indulge in its coveted services – not least when it comes to the fine art of bespoke suiting. While Europe and small pockets of the United States hold the keys to the finest in personalised fashion, clients the world over very much enjoy the art of a fine suit as much as their Euro-centric or US-based counterparts. However, accessing the master craftsmen who have the time, skill and artistry to create these one-offs is not always possible; it often means flying to Paris or London to get up close and personal with the best tailors. This is why some top end houses will decamp their staff from the workshops,

desert bound and inviting VIP customers to enjoy a tailor-made fashion experience at the hands of the very best. But the legendary French fashion house is offering much more than the finest handmade service to a discerning international clientele – it is availing them of the chance to own heartmade items crafted to their exact standards while adhering to its guiding tenets. These principles are precision, caution, deftness, liberty, sensuality, happiness, elegance and tradition – all of which are reverentially observed during the process of creating a custom piece. On a recent visit to Dubai, Hermès invited Signé to come and experience the procedure, an offer very easy to take up.

all things, Hermès believes the devil is in the detail. Extra attention is afforded to customers to assure them the most streamlined and comfortable experience imaginable, and resultantly, the service is a 360-degree one. Guests are collected at their convenience by a chauffeur-driven limousine and delivered to the team of experts awaiting them at the Hermès showroom, complementing the sense of exclusivity. Clients are then escorted to a private corner of the store, which is cordoned off from prying eyes – privacy is the ultimate luxury for the Hermès customer. As discrete and timeless as its products is the one-to-one relationship of the client and the tailor.

deploying them to key locations worldwide. One such house is Hermès, sending its troops

The process of creating bespoke garments is intricate from start to finish, and as in

Véronique Nichanian, artistic director of the brand’s menswear line, says: “A bespoke

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garment is an indescribable pleasure... a unique moment in which the wearer confides his or her dreams and desires. Hermès’ pleasure lies in creating a unique garment. In the intimate privacy of our salons, the tailor listens, advises and commits to paper the garment-to-be. You can finally forget about time and concentrate on the joy of the process, imagining perfection before eventually wearing it.” In this segregated luxury zone, the accoutrements that delineate a bespoke service are made apparent – swatches of fabrics of various colours, patterns and weights, tape measures curled up in anticipation, and elegant little tubs of buttons in splendid shapes, sizes and sheens. Ad hoc and impermanent it may be, but it’s clear immediately that you are in for

Rue de Sèvres. The man in charge of my session was

the Paris atelier to handle the needs of its Middle East clients. He handles the liaisons between Paris and regional Hermès devotees, and his presence represents a limited and exclusive window of opportunity. What is ultimately prized is his specific skill in the art of customer relations, proficiency with a tape measure and innate knowledge of the specific sensibility that ought to be captured in a Hermès bespoke product. If anyone knows what exactly comprises a Hermès suit, it is he. The suit is a unique collection of garments consisting of two parts – jacket and trousers in the same fabric. Sounds simple, but the intricacies of making even one of these is renowned. Exquisitely complicated and infinitely elegant, a wellcut suit is a tour de force of craftsmanship

a sumptuously exclusive experience, one as close as possible to actually being at 17

Jocelyn Persod, an expert in the measuring process who was sent for a few days by

and skill. The construction of a modern suit must

TAILORING 101 A tailor’s skill is based on vocational craftsmanship; he is the guarantor of excellence in our finished product. The term implies a mastery of all the techniques needed to complete a garment, from taking the first measurements to handing a finished article to the client. Having drawn up the garment’s pattern, the Hermès tailor cuts out the different elements from the fabric, being sure to align any pattern or weave in the fabric. He then bastes the garment together, carries out the successive fittings and proceeds to the final adjustments, so that the article meets the client’s expectations and high standards of quality at Hermès.

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be practical – no more heavy, armour-like padding for the modern man. Lightweight assembly is a key beginning for the internal structure of the jacket. This comprises several key elements – the fabric, wool canvas, lining and canvas front. Both canvases are vital to the jacket shape, and yet, will be likely go unseen. These are often made from horsehair and cotton, offering something of a skeletal foundation on which the rest of the suit hangs. The chevronshaped pad stitches that hold the canvases together are always created by hand in order to achieve the perfect degree of curve and ensure a lifetime of wear. According to Persod, a suit made in this tradition is about striking a balance between style and comfort – without wearability, the magic of a handmade suit is easily lost. It

Hermès man is anyone who appreciates quality in every element of his life – from his profession to the watch or clothes he wears. Hermès men are successful, sophisticated

Once the obligatory meet-and-greet is out of the way and the staff has done its utmost to relax a client within the ambience of the bespoke service, the process of measuring begins. Given the stakes, this element must be absolutely precise as there is no room for error. Once these initial measurements are taken, the experts are on hand to guide through the exact needs of the customer, proffering advice that can only be divulged by those with years of expertise in the field. Hermès has its own exclusive line of fabrics available, however, they tend to be more for shirting purposes. Other fabrics are sourced from prestigious mills including Scabal, Dormeuil and Eurotex for optimum results. It would be easy to feel overwhelmed by the bounty of fabrics on offer, but

is this marriage of elegance and ease that typifies the Parisian brand’s aesthetic. “A

men with an elegant approach to their lifestyle,” he says.

Persod artfully advises against heavier fabrics – particularly noteworthy given

PATTERN-MAKING 101 Seen as the starting point for a garment, pattern-making is a critical exercise. Having listened to the client’s requirements, the tailor takes his measurements and then draws the building blocks of the article according to his body shape. Next, he traces the pattern onto paper and cuts it out, before applying it to the fabric. A real identity card for the garment – and the body – this pattern bears the trace of the client’s every request as well as each alteration and readjustment carried out during the fittings, now and in the future.

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the temperature currently engulfing and suffocating the region. Spending summertime in Dubai wearing a suit is a venture far from carefree. Suggestions of lightweight cloth from the upcoming season are made – Ventilato by Eurotex is a key suggestion given its breathability. However, suit- and shirt-making is a marriage of many elements that are taken into consideration. Next came the lining, the secret weapon of any suit and a particular hallmark of Hermès. This element is often where the uniqueness of a bespoke suit can be seen, and with Hermès’ astonishing heritage in producing the finest in silks for its scarves, it is hardly surprising that customers are able to pick from a wealth of elegant and vibrant designs. Like a monogram, this detail is where the owner’s personality

first phase of the bespoke service. Measurements taken and fabrics selected, Persod will return to Paris to instigate the first round of fabrication. Once the first muslin draft is created back at base camp, it is returned to the customer for the second round of adjustments. Following this, a third and final tweak is undertaken before the customer takes delivery of their one-off item. The small details that have been specifically added to indicate a Hermès suit are final flourishes, specifically the Milanese buttonhole. The decorative buttonhole on the left lapel of the jacket is hand-stitched in silk thread and takes 20 minutes worth of work alone. This has been a signature Hermès mark for over 20 years. Further secret touches added by

beautiful objects and the house they were born in. Operating remotely like this is no mean feat and demands that ultimate care be taken with the entire procedure – there can be no ‘popping in’ to sort out a measuring discrepancy. Hermès, with its incredible attention to detail, knows precisely how to keep customers completely satisfied throughout the procedure. The feeling of the finished item should give the wearer a sense of belonging. Partaking in this traditional and refined service leaves one filled with both gratitude and admiration for a job exceptionally well done. These pieces are timeless reminders of what luxury should be – a singular representation of time and money well spent in the company of dedicated artisans

shines through. This final

the artisans tell the brand’s story and are wonderful reminders of the nature of these

in the pursuit of perfection. What could be more noble?

choice

concludes

the

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KNOW YOUR HERMÈS SUIT: INTERNAL STRUCTURE OF THE JACKET The front of a jacket comprises several elements: the fabric, wool canvas, lining, and canvas front that is made of cotton and horsehair. Hidden by the lining, the wool canvas and canvas front go unseen. CANVAS FRONT This piece, which ensures the upper part of the jacket keeps its shape, could be compared to a skeleton. Starting with this ‘foundation’ that is minutely adapted to the client’s body shape, the garment is put together. Depending on the fabric, the tailor will choose a heavier or finer horsehair canvas, and it will always be worked by hand. PAD STITCH This is the name given to the hand stitches that hold the canvas front to the wool canvas, giving it the desired shape. Shorter on the outside than the inside, these chevron-shaped stitches mould the canvas front and achieve the required degree of curve. They ensure the fabric holds its shape for a lifetime. MILANESE BUTTONHOLE The decorative buttonhole on the left lapel of the jacket is hand-stitched in silk thread and takes 20 minutes worth of work. Historically, this buttonhole harks back to when men began unbuttoning the upper part of their suit jackets. With time, it has acquired a more decorative role. For the past 20 years at Hermès, a loop (hand-sewn and placed a few centimetres below the buttonhole) allows the stem of a flower to be held in place.

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THE STORY TELLERS

The storytellers Acclaimed action director Martin Campbell and modern day matinée idol Hugh

Jackman have teamed up with Montblanc to underscore the famed penmaker’s legacy in the year of the Meisterstück’s 90 th anniversary.

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THE STORY TELLERS

Teaming up with Martin Campbell and Hugh Jackman, the campaign gravitates towards a sense of international glamour, hard work and dedication – all elements that signify Montblanc’s corporate identity and reflect the wonderful items it produces.

What does it take to be the best? Is it raw talent, intelligence, brute strength or style? In the world of Montblanc, success comes down to preparation – the will to put the work into whatever it is you are doing, the will to want perfection. This philosophy is the essence of the famed pen, watch and leather goods company’s latest campaign, undertaken with its new global brand ambassador Hugh Jackman, a man renowned for his preparation prior to taking a role on stage or screen. Telling a story of his own dedication and inspiration combined with a desire to constantly break new ground, the commercial is directed by Martin Campbell and staged in various locations around the world from Sydney to New York. Illustrating the allegory between his story and that of the iconic Meisterstück pen, the natural partnership between the actor and brand resonates seamlessly. It is typical of Campbell, something of a cinematic chameleon who can as easily turn his hand to box-office action smash as television series, to break the mould and try to create

a sense of tension (or suspense even) in the commercial’s short span of time. Nathan Crowley, the production designer on the Batman trilogy, also lends his expert cinematic eye to proceedings and gives the commercial a genuine sense of visual and narrative authenticity – the simple story of a man and his pen. Campbell’s previous works have included international blockbusters, such as Bond movies GoldenEye and Casino Royale, among a host of big budget smashes. In contrast, the tone here is far less crash, boom, bang and much more subtle – the cinematography is clever and delicate, playing on viewers’ glimpse behind the lens and candidly capturing the storyteller at work. It is Campbell’s ability to deftly choreograph action sequences that perhaps lends itself so wonderfully to the nature of this commercial, with rapid-fire flashbacks and flash-forwards impeccably stitched together with scenes of Jackman in full film star mode. The execution of the shooting style echoes his longform works with a clear delineation of spatial relationships from scene to scene, which results in a beautifully executed montage that encapsulates the theme of the commercial, the actor and the brand in an elegant and breathtaking minute.

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P A S S I O N P L AY S

PASSION PLAYS INVESTING WISELY IN COLLECTIBLES IS EXCEPTIONALLY

POPULAR, AND COUTTS WEALTH MANAGEMENT IS PERFECTLY PLACED TO OFFER SAGE ADVICE IN PASSION INVESTING.

1957 Ferrari 250 Testa Rossa

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There is an old saying that goes “money does not a wealthy man make” – a glib but pretty accurate assessment of the high net worth individual. Wealthy individuals maintain and expand their portfolios through knowledge, intelligence and perceptiveness, knowing when and where to put money in order to maintain and advance their personal liquidity. Simply put, their wealth is managed by being savvy and anticipating the next big thing. They appreciate when it might be time to cut and run or spread their bets, the latter of which has become a necessity for the last five years. Diversification is a key buzzword these days and people are looking outside of typical investment methods to guarantee strong returns. One such area that has consistently shown marked potential is investing in what is termed ‘alternative assets’. This can include anything from property to wine, jewellery, fine art and collectible cars. The car market, in particular, has become an area of keen interest with vehicles once worth tens of thousands of dollars a mere decade ago increasing exponentially in value within a relatively short span of time – perhaps appreciating ten-fold or more. To put that into perspective, a classic 1957 Ferrari 250 Testa Rossa reportedly sold to an anonymous buyer in January of this year for a hair over £24 million, making it the most expensive car ever sold publicly in Britain. What’s most intriguing, however, is that this figure is three times the price the seller bought it for.

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P A S S I O N P L AY S

The Cosmograph Daytona with the ‘Paul Newman’ dial has become one of the most sought-after watches in Rolex history. According to watch expert Nick Foulkes, it was a firm favourite even as early as the 1980s and quickly overtook new Daytona models in value. Today, they are worth upwards of £70,000.

Where expertise in all things automotive is essential is knowing precisely which make, model and year will be the most lucrative while understanding where future classics may come from. Only advice from industry experts with the nous and nose for intelligent investment will reap the most reward, and investment service provider Coutts – the wealth division of the Royal Bank of Scotland – is ready, willing and able to offer its know-how. When it comes to passion investment, Coutts has been tracking these unique and atypical markets carefully; their index suggests that over the last decade, classic car prices have risen by a quite staggering 257 percent. When asked to put his assessment on the classic car market specifically, specialist and internationally reknowned broadcaster Quentin Willson said: “If you had bought a 1970s Ferrari Daytona for £50,000 in 2003,

decade ago would now command £350,000. The question is whether the classic car market has peaked. I’ve been wondering

kept on rising and were up 27 percent in the first half of 2013.” Mohammad Kamal Syed, Head of Strategic Solutions at Coutts, says: “Since the global financial crisis, volatile markets and record-low interest rates have increased demand for more diverse investments, and driven interest in physical assets that have intrinsic value – particularly where the supply of those assets is limited. This has pushed up the prices of several alternative assets.” These assets are interesting, not only because of their intrinsic value, but because they are often objects to be enjoyed unlike blue chips, stocks or bonds. Syed explains: “For many wealthy individuals, alternatives are less about investing and more about owning and enjoying assets driven by their emotions. Profit could not be further from their mind... a key appeal of these alternative assets is that they are tangible.”

it would be worth £250,000 today. A 1960s Aston Martin DB5 bought for £60,000 a

whether the bubble will burst ever since prices started to rise in 2009. But they have

The global upward trend is also intriguing because the regulatory and revenue policies

Mohammad Kamal Syed, Head of Strategic Solutions at Coutts

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Jaguar XK120 Roadster

TOP CARS TO WATCH

adopted by tax authorities worldwide toward alternative options differ from country to country, and from segment to segment. In the UK, for example, classic cars are exempt from capital gains tax, making them exceptionally lucrative options. Naturally, a savvy brain and keen eye is absolutely necessary in these instances. While the alternative markets are liquid, the very best items change hands very rarely. This can cause unpredictable price fluctuation and make alternatives hard to value in absolute accuracy. It can also mean that owners should be prepared to be in it for the long haul and hold onto such assets for extended periods if need be – although enjoying a prized antique or driving a stunning classic car should lessen the blow. The watch market has also shown tremendous growth as a focus for passion investment. Author, historian and watch

for 30 years. “I can still remember writing an article in the 1980s, saying that the price of an old Paul Newman Rolex Daytona was

£70,000. But not all watches will burn a hole in your pocket. Rolex recently launched some particularly attractive Day-Date models with brightly coloured dials. These recalled the original Stella dialled Rolexes and are now creeping up in value, but these DayDate models can still be purchased for four figures. And I still think that vintage Cartier watches are hugely undervalued,” he says. Provided that careful investment is made and planning of estate management is carefully undertaken, the benefits of alternative investing are clear. Syed explained it best when he said: “Despite the drawbacks, alternative investments provide one thing that no index can measure – and that’s happiness. The idea of someone paying $50 million for an old car that’s uncomfortably hot, noisy, leaks water and has a turning circle that makes an average tank look agile seems insane. In many ways,

enthusiast Nick Foulkes has been looking at the value of vintage watches grow steadily

about to overtake the price of a new one. Now you’ll be lucky to find one for under

it is. But the happiness such a car can bring is immeasurable.”

Iso Grifo 1963-1974 £80-130k Maserati Ghibli I 1967-1973 £70-120k Porsche 930 Turbo 1975-1989 £30-75k Lamborghini Espada 1968-1978 £40-70k Rolls-Royce Chinese Eye Convertible 1964 £120-200k Facel Vega HK500 1954-1959 £70-120k Ferrari 308 GTB Fibreglass 1975-1977 £50-70k Aston Martin DBS 6 Cylinder 1967-1972 £30-70k Jaguar XK120 Roadster 1948-1954 £60-90k

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SWING TIME

Swing time Golf has a list of rules so extensive, that those who know them all are few and far between. However, the list of appropriate behaviours and manners when playing is equally important to the game.

IMAGES C OURTESY OF: RALPH L AUREN

Golf may seem like a simple game of thwacking a dimpled white ball into a hole in the fewest number of hits or ‘strokes’ possible, but its extensive list of rules appears to have been dreamt up by a fastidious sort to cover every conceivable eventuality – from a twig falling over the ball and impeding a swing to what happens to a player’s score should an unruly seagull fly off with a ball in its beak. Yes, it seems unlikely and yet infamously happened to Steve Lowery on the 17th hole at the Players Championship in 1998. While the rules of golf are heavy and numerous, there are several etiquettes to the game that are as essential to the gentlemanly pursuit as those that govern gameplay itself. One should dress to impress on a golf course. Individuality is absolutely encouraged in sartorial terms, but must be applied within the stringently-applied dress codes. Luckily, some of the best fashion brands have their own ranges of golf-friendly attire, including Ralph Lauren. This brand is particularly strong as the clothes are equal parts athletic to stylish, as pictured here.

so be sure to have well-polished shoes (not trainers) in your kit bag along with clean, pressed slacks (rather than jeans). While denim is acceptable to some clubs, a smart golfing gent should studiously avoid the ‘working man’ style. Look smart – shabby will get you nowhere. There are also a number of elements of pre-game ettiquette that require a little care and attention. It’s important to make sure you leave plenty of time to have a solid warm-up before taking to the first tee. This may seem arbitrary, but there is nothing worse for your playing partners than being forced to cancel a game midway through because of a strain or injury picked up due of lack of preparation. The PGA recommends that a warm-up on the driving range should allow you to work through your bag gradually. The ideal way is to start with short irons, moving on to the mid- to long-irons, and then woods. After you’ve cracked some solid drives, move back down into the wedges and putter to get some finesse into your game before starting. Once the first drive is underway, course rules will begin, but that doesn’t mean you are out there on your own.

more than simple bag carriers. They are assistants with great knowledge of the course and their input may shave a few strokes off your total score. In the instance of an unfamiliar course, caddies can impart knowledge on club selection and help to read the greens. They can also offer guidance if any specific local rules are enforced at the club. Always check at the first tee to see if this is the case. When on the course, it is very important that players keep up the pace. Slow play is much maligned in golfing circles, and it certainly won’t win you any friends if you hold up proceedings for inordinate amounts of time. Don’t amble between shots; begin to plan your next as you approach the ball to save a bit of time. When the ball is at your feet, check the lie, select your club, visualise your swing and shot – perhaps taking a single practice swing if necessary – and then play your shot. It should take a maximum of 45 seconds from the point of selecting your club to beginning the swing. Should your swing get a bit ‘choppy’, it’s important to clean up after yourself. Maintaining the course as you go is also

Dress codes often apply to the clubhouse as much as the course proper,

Should you employ the services of a caddy, remember that they are often much

a key element of gameplay. If you embark on a mining expedition and turn over any turf as

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SWING TIME

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SWING TIME

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Maintaining the course as you go is also a key element of gameplay. If you embark on a mining expedition and turn over any turf as you go, try to put the grass back and fill the divot.

you go, try to put the grass back and fill the divot. This is sometimes difficult because turf will often explode on impact. If there is no hope of repairing the damage, use the toe of your golf shoe to kick the edges of the divot in. Some courses even provide cartons of soil and seed at tees and in carts. If available, be sure to use them and repair any damage. There is a similar ‘leave it as you find it’ approach to bunker shots. Players are always encouraged to enter the bunker from the shallowest gradient possible nearest the ball, and take the rake in with them to cover their tracks after the shot has been played. It is polite to leave the rake just next to or in the bunker for the next user. The surface of the greens are manicured and mowed to a fine art, and many golf clubs and their obsessive greenkeepers require that players treat them with reverence. Players should attempt to repair any severe pitch marks or indentations made, but be careful not to tear at the grass. Simply

that the following etiquettes be observed. Stepping on a fellow player’s putting line (the imaginary line between ball and hole) is a serious faux pas that will win the ire of all playing with you. Should your ball impede the putting line, volunteer to mark your ball and remove it. Stand behind the player taking his shot so as not to distract him – silence at this point of the game is very much golden. If you are tending to the flagstick, be careful not to

Safety and common sense dictate that if you play a shot that will endanger or interfere with a party ahead, you should wait until they have played on. If a shot is wayward and may endanger someone, it is vital that a player yell “fore” to both alert and apologise to the injured party. Should you play a wayward shot, it is important that you keep your temper. Golf is, by its very nature, a frustrating game but tantrums and outbursts are not encouraged. In the case of the game being put on hold to take a refreshment, offer to buy your caddie a drink – after all, he is doing much of the heavy lifting. At the end of the game – win or lose – shake hands with your fellow players, congratulate the winners, console the losers, thank them for their company and settle any scores should any friendly wagers be indebted. The pleasure of golf is undoubtedly being in the company of old friends and making new ones. Civility, on the course and off, will ensure that the game is enjoyable

smooth it over with a club. When on the green, it is important

stand on anyone’s line. Never lie a flagstick down on the green as it will cause damage.

and you come back for another run at your best score.

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SCENTS APPEAL

Michael Edwards

Scents appeal The Fragrance Wheel developed by master perfumer

Choosing the perfect scent may seem like a complex endeavour, especially considering the numerous and greatly varied options on the market. Despite appearances, the process is actually remarkably simple. According to perfumer, olfactor expert and author of the highly-regarded Fragrances of the World Michael Edwards, it simply comes down to understanding which category your specific fragrance palate falls under. After years of studying and appreciating every facet of the perfumier’s art, he created the Fragrance Wheel in 1983. This diagram delineates fragrances into specific categories and suggests that similar to

can more easily understand their own fragrance tastes. The four standard families are Floral, Oriental, Woody and Fresh, which are further divided into three sub-groups (e.g. Floral, Soft Floral and Floral Oriental in the Floral family). These are arranged in a circle, each group being related to the next. People will generally gravitate to scents from a specific family but garner variety by picking scents from different subcategories. “When I explain the Fragrance Wheel, I point out a perfume’s analogy with tea – white, green, black or herbal, for example. If one prefers black teas, there are a number of flavours that come under this category, each with a distinct and unique flavour profile,” Edwards explains. “Think of the differences between Darjeeling, Ceylon or Earl Grey tea. Each has its own taste and personality. The same can be said of perfume. There will be a number of scents that fall under the Oriental segment; many will appeal, but others won’t. Essentially, there will be individual scents within

taste, there are different scents that will appeal to different people within certain segments. By classifying each scent into a general family, people

basic genres of scent that balance differently, but will ultimately appeal on the whole”.

Michael Edwards is expertly designed to offer an easy to understand depiction of where specific scent tastes lie.

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1. DIOR HOMME INTENSE An energising blend of fresh and rich ingredients, Dior Homme Intense is a modern scent for the modern individual. With flavours of Tuscan iris and hibiscus, Sicilian citron, bergamot and grapefruit offset by spicy notes of Nigerian ginger and Atlas cedarwood, the overall effect is complex and masculine.

Michael Edwards classification: Soft Floral Familial scent: Pour Un Homme de Caron by Caron (Floral)

2. LUNA ROSSA EXTREME Prada’s ode to sailing gets a thrilling twist thanks to the new Luna Rossa Extreme fragrance for men. With heart notes of amber mixed with spicy black pepper and zesty bergamot, there are further scents of vanilla, juniper and labdanum working in clever unison to create a unique and appealing aroma. Michael Edwards classification: Aromatic Familial scent: Acqua di Giò Pour Homme by Giorgio Armani (Water)

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S PR E Z ZAT UR A WORD: SPREZ·ZA·TU·RA PRONUNCIATION: /ˌsprɛtsəˈt(j)ʊərə / sprāt-tsä-ˈtü-rä DEFINITION: rehearsed spontaneity, studied nonchalance, and wellpracticed naturalness. To be proficient in the art of sprezzatura is to express a fashionable style without appearing overly studied. In this section, we sort through the season’s best bits to bring you the items that will define your summer wardrobe, offering subtle and defined fashion cues with beauty, craftsmanship and design at the fore.

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TOPPING UP THE TAN Alfred Dunhill Harrington zipped tote in tan leather

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COOL HEADS 1. Berluti canotier with ribbon 2. Berluti unconstructed safari jacket 3. Berluti leather ticket pocket classic chino 4. Berluti straight bottom gilet 5. Berluti button down classic shirt 6. Berluti derby in bicolore aubergine and Lila Venezia leather 7. Paul Smith Christys’ straw panama trilby hat in aran, navy, sky blue and coral

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SUMMER BLUES 8. Tod’s Braccale Stripes belt with sprung gate carabiner buckle 9. Christian Dior round Fashion Show sunglasses in blue leather 10. Paul Smith sky blue calf leather business folio 11. Paul Smith navy leather hip flask and matching thermos 12. Tod’s Mocassino Fondo light loafers with electric blue sole

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KEEP IT CASUAL 13. Christian Dior brown patina calfskin belt 14. Ermenegildo Zegna 100% cotton twill white shirt with micro-structured and bold stripes in three shades of light blue 15. Ermenegildo Zegna 100% cotton twill white shirt with a baby blue microstructure 16. Ermenegildo Zegna soft deerskin oxford shoes in dark brown with flexible leather sole

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LOTUS POSITION The new C-01 superbike collaboration between Kodewa Performance Motorcycles and Lotus creates a stunning showcase of automotive integrity and design excellence.

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LOTUS POSITION

TECHNICAL SPECIFICATIONS Construction: 2-cylinder 4-stroke engine, 75° V-style Capacity: 1,195 cubic cm Power Approx: 200 HP Transmission: 6-gear jaw-type shift Frame: Aero tech steel/Titanium/ Carbon fibre frame Fork: Upside down Cooling: Water

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Motorbike design is at the forefront of the automotive arts and the elements crafted to enhance aerodynamics, speed, performance and elegance are never more critically implemented than when applied to two wheels. With so little rubber on the road, it is vital that all the aspects harmonise seamlessly, and yet look impressive. All these carefully considered factors are clearly displayed on the new road-ready Lotus C-01 motorcycle, designed and built by Kodewa Performance Motorcycles and licensed by The Lotus Group. Following two years of careful planning and intense development, the C-01 bike prototype is the definition of cutting-edge technology, combining ample power via a V-twin engine with a distinctive body designed by Daniel Simon that integrates carbon fibre, titanium and aerospace quality steel. Commenting on the bike’s appeal, Simon

your visual senses with its timeless blend of classic appeal and modern execution, but that it is safe and ergonomically sound was critical to me. We have worked hard to create a motorcycle with very distinctive features such as a clean main body, an extremely low side profile, a bold stance, a unique air intake, logical partline solutions and clean graphics.” While Lotus was not actively involved in the bike’s production, the project was a full-scale collaboration between motorsport veterans under the leadership of Kodewa, led by Dr Colin Kolles. The result is this uniquely styled, high performance superbike. The C-01 will be available in a range of liveries, some of which pay homage to the Lotus sporting pedigree. A customisation service is also available, limited only by the imagination of the client. With an exclusive production run

noted: “The design process of the C-01 was a labour of love. There were many challenges – ensuring that the bike not only touches

of just 100 units, superbike collectors and fans of the Lotus brand will need to move fast to secure one.

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CRAFT-WORKS

Craft-works PEMBERTON & MILNER, A SMALL YET SIGNIFICANT BRITISH LEATHER GOODS OUTFIT, IS ONE OF THE BEST NAMES IN BESPOKE BOARD GAMES. THE DEDICATION TO CRAFTSMANSHIP IN ITS OPULENT TREATMENTS IS A TRIUMPH OF STYLE AND SUBSTANCE, AND A REAL CELEBRATION OF FUN.

Sometimes, there really is nothing better than getting a group together

in a span of four years, the company has made a small but profound contribution

Victoria Bedwell and includes embellishments in the form of precious metals and stones for

and kicking it old school – stowing away the gadgets and spending an evening with a good old fashioned board game. Despite there being any number of off-the-shelf options, there is ample opportunity to take the experience up a notch a little and wow your playing companions by commissioning a wonderful bespoke set by Pemberton & Milner. Based in London, this leading gifts firm was founded in 2010 and its two owners, Elizabeth Finch-Moore and Helen Swann, have extensive backgrounds in design and luxury leather. The pair came together with

to its continuation. Using its extensive ‘library’ of the finest hides, the company produces fully-customisable pieces and corporate gifts for its discerning clientele. But it is the Leather Games Compendium – a combination of classic games such as Backgammon, Chess & Draughts and more – that is the real showstopper. A variety of high-quality, unusual skins are used by the Pemberton & Milner team to give its pieces added exoticism and appeal. Skins such as lizard and crocodile of the finest quality can be purchased in a plethora

an added inimitability. For further distinction, the brand adds several personal touches including an embossed tile holder and perhaps even a message on the score and player book. These games collections are crafted in several customisable colours and are often limited editions – or even one of a kind. Each piece created by Pemberton & Milner exemplifies the company’s eye for detail and customers’ inputs are taken very seriously to help bring their ideas to life, a creative process that can take anywhere from six

the goal of encouraging resurgence in the British tanning and leather industry, and

of colours. When crafting more decadent pieces, the brand collaborates with jeweller

weeks to six months, depending on the complexity of the project.

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FOR HER

REVERSO DUETTO CLASSIQUE B Y J A E G E R L E C O U LT R E

Famed for its elegant and stunningly intricate construction of timepieces, Jaeger-LeCoultre has revealed another gorgeous feather in its cap with the Reverso Duetto Classique wristwatch for women. With instantly recognisable appeal, the piece is resplendent with diamonds in a pink gold case – timeless and chic. In keeping with the spirit of the line, the Reverso case offers the wearer ultimate versatility thanks to its alternate wearing options and contrasting aesthetic approaches. The first face, paved entirely in diamonds, casts a hypnotic spell – perhaps because of the illusion created by the various gem sizes embedded within its art deco design, their careful arrangement catching the eye. It is also fitted with baton-style hands for improved legibility. The second face is dark and contemporary in feel, contrasting beautifully with the dazzling diamonds of the former. With a clean pink gold frame, the sublime black guilloché application and dauphinetype hands are practical, attractive and timeless while the rounded curves of the Arabic numerals stand out against its rigorously geometrical setting. This new member of the Duetto range, like its sister pieces, is powered by a single movement – a manually-wound, Jaeger-LeCoultre Calibre 865.

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FOR HER

ROSE MALAKI B Y C H O PA R D

With the 2012 launch of the highly-regarded Oud Malaki (Malaki coming from the Arabic for royal), Chopard has set out once again to explore the inspirational mix of East and West by expanding its offering of refinement and classicism with the latest addition to the Malaki line – Chopard Rose Malaki. A spicy and floral fragrance, the perfume is a sensual tribute to one of the most revered ingredients from Arabian oud tradition: the rose. Using Damask rose, a flower native to the Middle East, Chopard takes the Malaki experience to a place of olfactory exploration with Oriental and Eastern profiles that create a sensual, fresh and bright scent. Beneath the floral top note, subtle hints of leathery saffron can be found along with Atlas cedar, a slightly camphorated wood that comes from trees found in the mountains of Morocco and Algeria. Presented in a heavy glass bottle, the entire package is worthy of Chopard’s refined character and classical presentation.

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ALSTROEMERIA MOTIF BY C H R I S T IAN D I O R

Christian Dior is famed for an unsurpassable attention to detail and feminine allure, both of which are captured in its latest suite of accessories. Decked out in bold floral motifs, this Lady Dior bag with a pink alstroemeria flower printed on white deerskin represents a modern interpretation of Monsieur Dior’s garden. Whether carried on the arm, hand or shoulder, its elegance is undeniable and bold. Similarly, the white leather pump with mirror effect heel brings a delicacy to the shoe’s silhouette – the silvering seen under the arch perfectly offsetting the silver trim of the bag.

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F I N E A P P R E C I AT I O N

FINE APPRECIATION

Published by Flammarion, Cigars by Vahé Gérard is a gentleman’s best friend when it comes to grasping the finer points of cigar culture.

Cigars make terrific gifts for others or even yourself. Used for celebrations, holidays or simply an opportunity to unwind, each has an appropriate time and place. Educating oneself in the finer points of cigar smoking, however, is the work of a lifetime – and let’s face it, a lifetime’s worth of smoking is not a healthy ideal. This book by Vahé Gérard is the perfect shortcut to better understanding and appreciating cigars. The author is much more than an aficionado of fine cigars; he is a trusted expert, a professional buyer whose business it is to ensure the quality of his products. He buys thousands of brands from across the world and trades them out of the Gérard Père et Fils store in Geneva. The

wealth of high-profile clients. Cigars is a two-book package. The first focuses on cigar heritage worldwide, looking at the geography, manner of cultivation and handcrafted nature of fine tobacco – including the finer points of distinguishing counterfeit Cubans. The second is more of a how-to and includes detailed tasting notes from what Gérard considers to be the best 88 cigars currently available. Each features a concise and clear table delineating its specific criteria including elements such as flavour, aroma and combustion quality. The book is also illustrated with life-size photographs to give the reader a complete picture. These stunning images, alongside stunning photography from every aspect

shop is widely considered to be tobacco’s equivalent to Tiffany and the only stop for a

of cigar-making, make this book a musthave guide.

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S T I L L WAT E R S

still waters

The appeal of Carl F. Bucherer’s Patravi ScubaTec watch lies in its lovely design, but like an ocean itself, there is more going on beneath surface than meets the eye.

To a seasoned scuba diver, a watch is much more than an accessory. It’s a trusted aide, and to the surprise of many, must be more than simply waterproof. Mechanisms and design features intrinsic to the reliability and safety of a piece are what makes it the ideal choice when one is reliant on its performance underwater – after all, when diving, time really is of the essence. The streamlined and skilfully-designed Patravi ScubaTec from Carl F. Bucherer is one such watch that has a safety first approach encapsulated by finest craftsmanship. When manufacturing a diving watch, it is important to understand how it will react under pressure. With the air inside the watch expanding and compressing as the diver

timepiece under duress. Should pressure build-up occur, the most vulnerable part of the watch is its bezel, the ring of metal that holds the face of the watch in place. In diving watches, pressure build-up can compromise the reliability of this fixing, leading to accidental manipulation that in turn may jeopardise its integrity. To ensure that this doesn’t occur, Carl F. Bucherer has ensured that the Patravi ScubaTec’s bezel can only be rotated anti-clockwise. In addition to making the bezel safer kinetically, Bucherer has also made it safer functionally. A rather clever helium valve fitted to the watch carefully controls the release of gas as pressure builds and assures its reliability. Like mechanical safety, visual safety has been addressed too, with Bucherer fitting

strontium aluminate-based non-radioactive luminescent that offers incredible brightness in the inky darkness. But beyond the obvious focus on safety, it must be noted that the Patravi ScubaTec is a watch of distinction and style. Its glowing blue markers, the marking on the first quarter of the bezel, and the notch of the same colour on the crown combine to give the watch a contemporary sensibility. As if its sub-oceanic intentions weren’t clear enough, the point is drilled home with two manta rays depicted in relief with a 3D effect on the back of the piece. The interplay of light and shadow is a prevailing theme, and the contrast between the shiny and matt steel fabrication as well as the unique use of ceramics is very beautiful. But in typically thoughtful style, Carl F. Bucherer

descends and then ascends, a watchmaker naturally must ensure the reliability of the

the watch with a generously-sized dial and coating the bezel in Super-LumiNova, a

has made the strap adjustable for wearing with suits – diving or otherwise.

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F R U I T F U L PA R T N E R S H I P S

Fruitful partnerships The Salone Internazionale del Mobile, otherwise known as the Milan Furniture Fair, showcases visionary furniture designs from across the world and is regarded as the setting for the hottest trends of the season. At this year’s exhibition, standouts were round every corner, but it was the collections from Armani/Casa and an interesting collaboration between Maserati and Zanotta that caught our attention.

The Maserati Capsule Collection There are not a lot of practical ways in which you can bring a Maserati to your living room, but there are certainly ways to incorporate the brand’s essence into your home furnishing. The Maserati by Zanotta Capsule Collection captures the innovative spirit of the automotive brand and blends it with the expertly-created furniture from famed Italian design house Zanotta. Each piece – flawless in craftsmanship – displayed exclusive elegance, exceptional innovation and, rather sensibly, was very easy on the eye. A highlight from this year was a beautiful footrest for the Grand Tour Lounge Chair, a piece that bears the signature of Ludovica+Roberto Palomba. It is an extension of the already marvellous Maserati Lounge Chair by Zanotta shown last year, the project that kicked off the collaboration. The piece has been heavily informed by the semantic

cover that is available in palettes of greys and browns. The attention to detail seen here is continued in the Corina Chair, a further piece from the collaborative range. It comprises shell upholstery of curvaceous design while its details are reminiscent of Maserati’s intricate interior finishes. The design of the metal rod that joins the steel legs allows for comfortable seating. The cover is also quilted and removable. The composition of the Maestrale Desk – a new elemental design from the collection – is in keeping with the range with its thick, flat Canaletto walnut top that rests on a steel rod frame. Regarding its design, the Palombas explain that “the mix of materials and the exclusivity of the processing refer to the idea of know-how, common ground for Zanotta and Maserati”. Overall, it is of a clean and linear volume. The legs come in chrome-plated steel or nickel-plated glossy

universe of the Italian-born American artist Harry Bertoia, and has a lovely blend of chrome on its base and quilted, removable leather

black, and Maserati’s command over and execution of a variety of materials are alluded to in the design of this piece.

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Maserati Grand Tour lounge chair and pouf by Zanotta

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F R U I T F U L PA R T N E R S H I P S

Halley lightshade, Evans console and Hugo accessories by Armani Casa

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The Armani Casa Collection Armani/Casa holds a basic design philosophy at its core, where style is expressed through the union of furnishing and decoration in which every detail displays innovation and the fusion of creativity and craftsmanship through minimalism. It’s certainly proven a fine philosophy to live by. The story continues in the 2014/2015 collection, as seen at Salone Internazionale del Mobile. Armani/Casa has become rather famous for its use of interesting, and often eco-friendly, materials in its creations. These materials are always deftly implemented in order to create the minimalist and highly contemporary designs that the Italian fashion brand is famed for. A predominant theme of the collection showcased at this year’s edition of Salone Internazionale del Mobile appeared to be the fusion of Italian furnishing and Pan-Asian aesthetics. The recurring use of motifs such as Euro-Asian palm leaf prints and geometric designs in shimmering tones constantly drew the eye in, bringing attention to the detailing. Furthermore, organic motifs were scattered throughout

The wallpapers themselves were created in collaboration with Janelli & Volpi, and use beautifully natural designs applied using modern digital printing techniques and the finest quality silk papers, woven with metallic thread for added opulence. Chief among them is the Oberon-style paper, elegant in its simplicity and a clear nod to the East with its palm leaf and shell-like fan theme. However, the other two in the series, Nabucco and Tosca, veer towards more organic patterns with delicate veining of fine marble geometric design giving great interest and reserved impact. The colour waves running throughout encompass natural hues – warm browns and beiges to cool blues and greys highlighted by light lime and leafy greens. Also on display was Armani/Casa’s range of handmade glass lamps that were made according to traditional Murano techniques. Reminiscent of the lanterns of the Far East, these feature abstract designs in shiny and gleaming tones. Moreover, the overall star-like

the collection, appearing most strongly in accessories such as wallpapers and lamps.

quality is aptly captured in their names – Halley, Hack and Hyades, all of which have celestial significance.

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OF THE ESSENCE

Of the essence ELEGANCE IS A CONSTANT - A FIXED MARK AROUND WHICH

GENTLEMEN OF STYLE GRAVITATE. TUXEDOS AND TIMEPIECES PAY HOMAGE TO CLASSIC MODES WHILE ADDING A DASH OF FRESHNESS IN APPROACH

PHOTOGRAPHER: ADAM BROWNING-HILL FA S H I O N S T Y L I S T : G U I L L A U M E N A L L E T GROOMING: MANUEL LOSADA M O D E L S : AY D I N & D A N E A S S I S TA N T P H O T O G R A P H E R : M O H A M E D R A M Z E E N

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Tuxedo: Dunhill Shirt & Bowtie: Dunhill Cufflinks: Bulgari

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OF THE ESSENCE

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Tuxedo 3 pieces: Ralph Lauren Shirt: Dunhill Bowtie: Dunhill Watch: Blancpain, Rivoli

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Tuxedo: Paul Smith Shirt & Bowtie: Brioni

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“A cigar is a sort of thing, not exactly a pleasure, but the crown and outward sign of pleasure.” L EO T O L S T OY

Tuxedo & handkerchief: Ralph Lauren Shirt & bowtie: Eton, Bloomingdale’s Watch: Breguet, Rivoli

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Dane Tuxedo: Paul Smith Shirt & Bowtie: Brioni Aydin Tuxedo: Hugo Boss, Bloomingdale’s Waistcoat: Corneliani, Bloomingdale’s Shirt: Eton, Bloomingdale’s Bowtie: Brioni

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“History will be kind to me for I intend to write it.” WINSTON CHURCHILL

Tuxedo: Brioni Tuxedo shirt: Giorgio Armani Bowtie: Louis Vuitton Watch: Blancpain, Rivoli Pen: Montblanc

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“To be noticed without striving to be noticed, this is what elegance is about.” LUCIANO BARBERA

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Tuxedo: Giorgio Armani Shirt: Eton, Bloomingdale’s Tie: Louis Vuitton Watch: Breguet, Rivoli Shoes: Billionaire

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Tuxedo: Hugo Boss, Bloomingdale’s Waistcoat: Corneliani, Bloomingdale’s Shirt: Eton, Bloomingdale’s Bowtie: Brioni Cufflinks: Bulgari Watch: Bulgari

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“Time is an illusion.” ALBERT EINSTEIN

Tuxedo: Giorgio Armani Shirt: Billionaire Bowtie: Eton at Bloomingdale’s Watch: Jacquet Droz, Rivoli Special thanks to: C Club Jumeirah Zabeel Saray The Palm & the Capital Club DIFC

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THE SEASONED PROFESSIONAL

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THE SEASONED PROFESSIONAL Tumi’s hard-earned reputation for durable and versatile travel accessories continues with the release of its new Alpha 2 range.

Resilience, safety and security are all key aspects that are important to fine luggage manufacturing – all of which are carefully considered, appreciated and implemented by luggage-maker Tumi in its latest Alpha 2 range of business and leisure travel luggage. Since it began to use highquality ballistic nylon three decades ago, the brand has been a favourite for tough and durable luggage that meets the demands of the seasoned traveller. In conjunction with impressive fabrication, the Alpha 2 range employs ingenious design with 30 revisions made to the previous model – 14 of these are patented, resulting in the Alpha 2 being the lightest and most spacious luggage to date. Key upgrades include the newly designed 360-degree wheels, which are recessed into the body of the case to offer a lower centre of gravity and improved manoeuvrability. However, durability is the main calling card of any Tumi product, and in the Alpha 2, this is no different thanks to a construction

in tandem with impact-resistant caps fitted to the corners. With unquestionable durability at the fore, Tumi has also augmented the luggage design for further practical use. The business traveller has an apt companion in a Tumi piece, thanks to the newlyintegrated suitor system that is offered in both carry-on and check-in styles. This removable suitor sleeve keeps garments protected all the way from the airline cabin to the hotel closet. Also developed to protect the regular traveller is the Tumi Tracer programme. Originally developed for the interior of travel and day bags, this feature exclusive to Tumi luggage (which was designed to reunite customers with their lost or stolen items) has been moved from the interior of the bag to its exterior. The more prominent placement of this unique 20-digit number allows the finder to trace the owner more effectively. Colourways for the Spring 2014 collection

method that simultaneously increased external capacity and reinforces the frame

include three classic neutrals: Black, Espresso and a colour-blocked Grey/Orange.

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Philanthropy

PHILANTHROPY

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Solar flairs Omega’s partnership with the Solar Impulse project aims to make sustained solar-powered flight a reality.

Travel by air will always be the most sought-after mode – its ease and reduced time when compared to landbased transportation is incomparable. But with growing pressure on us all to reduce our carbon footprint in order to minimise the very real threat of global warming, many are looking to the planet’s greatest source of energy for the future of transportation – the sun. Still in very early stages of development, the seemingly far-fetched idea of solarpowered flight is inching closer to reality thanks to projects like Solar Impulse, which

managerial presence for the project, the real motivation is Bertrand’s drive to explore the possibilities of solar-powered flight and challenge the naysayers who insist it cannot be done. Bertrand comes from a dynasty of explorers and innovators. His grandfather Auguste was the man who opened the potential for modern avionics and space exploration to the world’s eyes by inventing the principle of the pressurised cabin, a key feature of his stratospheric balloon module that he launched in 1931. Within the confines

even higher to 16,201 metres a year later. His mission at the time was to study cosmic rays. However, in doing so, he became the first man to see the Earth’s curvature with his own eyes. Auguste subsequently applied the principle of his stratospheric balloon capsule to sub-aquatic pursuits, building a revolutionary manned submarine that could travel deeper than ever before. By 1953, he became not only the man to have flown the highest but also dived the deepest, reaching 3,150 metres below sea level. Jacques,

was launched by Bertrand Piccard and André Borschberg. While André is a strong

of his capsule, Auguste’s balloon ascended to an altitude of 15,780 metres, climbing

his son who accompanied him on this underwater endeavour, continued Auguste’s

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SOLAR FLAIRS

Bertrand Piccard (left) and André Borschberg (right) congratulating test pilot Markus Scherdel

legacy by continuing to push the limits of diving. He became the first person to reach the bottom of the Challenger Deep, the deepest known point in the Earth’s seabed hydrosphere. With forebears such as these, it’s easy to see why Bertrand continues the family legacy of pushing boundaries. With aspirations of creating a new method of flight, this solar-powered project is a testament to the Piccard name and an ongoing adventure of exploration and science combined. The plane in question has been designed with one goal in mind – to circumnavigate the world using only solar energy by 2015. At a recent press conference in Payerne, Switzerland, the project revealed the latest prototype designed to tackle the monumental challenge, the Solar Impulse 2. Using photovoltaic sheets that are stretched across the wings of the plane, the craft in theory should never need to use a drop of fuel to keep it airborne. Still, the technology

Omega’s invaluable support for Solar Impulse has been realised in clever and safe instrumentation designed specifically for this project

involved in such an ambitious endeavour requires an intimate understanding of the task at hand, as well as a great deal of innovative spirit and expertise. As a main partner in the project, watchmaker and technical instrumentation specialist Omega is providing financial support for the project. It has also been contributing significantly to the project in real terms, applying its own technological expertise. Because of the collaboration, Solar Impulse 2 has been able to implement new and improved equipment to make the airplane more energy efficient. These enhancements include a more efficient landing light system and an upgraded, lightweight piece of tech called the Omega Instrument, as well as the creation of an energy dispatcher that transfers energy from one engine to another in the event of an energy deficiency. It has also offered lighter electronics inside the plane’s dashboard. The Omega Instrument is particularly important to the project and has been designed by Swiss aeronautics expert and legendary European Space Agency astronaut

fashion, is easily read and highly visible. However, should the pilot miss some warning signs from the instrument, the technology will trigger vibration in the sleeves of his flight suit, alerting him to a potential issue before it gets serious – safety being a key feature of any prototype aircraft design. Additionally, the Omega-engineered energy dispatcher ensures that should one of the four engines experience difficulty, the energy produced can be recalibrated to balance the aircraft.

to those that are fully operational. Keeping minimisation of weight a key design concern, the watchmaker has undertaken further technical innovations. The landing light system attached to the Solar Impulse has been ingeniously created to have a mere three grams of weight per watt of energy. Situated on each wing is a set of LEDs, the brightness of which is amplified by correlation lenses. While each landing light will only consume 10 watts of energy,

Claude Nicollier. It indicates the plane’s degree of inclination, and in typical Omega

This occurs by transferring the energy from the battery attached to the faulty engine

its brightness is equivalent to 200 watts – a thoroughly innovative design.

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A leader in philanthropic n Cartier curatorship, the Fondatio is a pour l’art contemporain corporate wonderful example of a arts on entity championing the a grand scale.

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C ONCE P T UAL C ONVE N T ION S

Since its inception, the house of Cartier has placed artistry and fascinating design at the forefront of its jewellery creations. A glance at any of its stunningly executed and masterful creations makes it evident that Cartier holds itself to the highest conceivable standard. It is therefore no surprise that Cartier has, for 30 years, been vociferously championing the arts with its unique and highly-individual style of patronage on a rather grand scale. The Fondation Cartier pour l’art contemporain is the branch of the firm wholeheartedly dedicated to showcasing and supporting the contemporary arts. The foundation was established in 1984 by Alain Dominique Perrin, then president of Cartier International, on the suggestion of artists César and Hervé Chandès. It is a paragon of corporate philanthropic enterprise to this day, and a model that has pioneered the concept of charitable business practices. The foundation is currently based in a Parisbased building designed by Jean Nouvel. Here, artists supported by the foundation can exhibit works, hold conferences and even create their pieces. Nouvel is a prominent architect with an extensive catalogue of public spaces to his credit, including the Institut du Monde Arabe and Musée du quai Branly. His architectural style embraces a sense of transparency. The dematerialisation of architecture and the 12,000-square-foot

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Yue Minjun, Sky, 1997 Oil on canvas Private Collection, Europe © Yue Minjun Exhibition Yue Minjun, L’Ombre du fou rire, Fondation Cartier pour l’art contemporain, Paris, Nov. 14, 2012 › March 17, 2013

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View of the exhibition MŒBIUSTRANSE-FORME, from October 12th, 2010 to March 13th, 2011, Fondation Cartier pour l’art contemporain, Paris.

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Drawing extracted from David Lynch, Works on Paper, coedition Fondation Cartier pour l’art contemporain / Steidl, Göttingen, 2011

space he created has the aura of a botanical

established artists to explore common ideas

frequency and size of exhibitions, and the

garden – a contemporary space that mirrors the works on display. Since this venue opened in 1994, the Fondation Cartier has been at the beating heart of the Parisian contemporary art movement and has taken a distinct approach throughout. Spaces where art, artists and the general public can meet are created, thereby raising public awareness of contemporary art in all its myriad forms. These range from design to photography, from painting to video art, and from fashion to performance art – resulting in an often eclectic but always riveting and accessible suite of works that is regularly renewed and reinvested. Year on year for the past 30, the foundation has set about organising expertly curated exhibitions and programmes of understanding based on individual artists, works or themes around a central idea, and in so doing, commissions work for the gallery. This supports young artists while simultaneously enriching the foundation’s important collection. The commissioning process is vital to the entire programme

and themes. It is also a constructive way of supporting the artistic community through sponsorships. Cartier believes this concept far exceeds mere patronage. The process is an intimate, relationship-based collaboration, a creative partnership that goes from conception all the way to fruition. It gives artists the opportunity to not only create original works but to explore new horizons, work on a different scale, bring a project to culmination, and in many cases, realise a dream. This policy was initiated from the outset, and a programme of workshops and artistic residencies was established at the Jouyen-Josas commune. A wide array of very different artists made big impressions, chiefly among them being Marc Couturier in 1987; Jean-Michel Othoniel in 1989; Absalon, Fabrice Hybert, Huang Yong Ping and Chéri Samba in 1990; and Cai GuoQiang and Tatsuo Miyajima in 1993. Since the foundation moved to 261 Boulevard Raspail, the commissioning policy of sponsorship and patronage has gradually evolved, becoming

monumental works produced have become part of the permanent collection. Key moments that have defined this approach have come from the 1999 works of Sarah Sze with her Everything That Rises Must Converge piece, William Eggleston’s 2000 exhibition of photographs from the Utah, Arizona and California deserts entitled The Desert (which he later displayed in Japan for a solo show) and Raymond Depardon’s 2004 ten-film series documenting cities around the world – all outstanding exhibitions. The diversity is clearly displayed through the other commissions undertaken, with individual works or collections of pieces by Balthasar Burkhard, Marc Newson, Lee Friedlander, Wim Delvoye, Pierrick Sorin, Alessandro Mendini, Tony Oursler, Gary Hill and David Lynch. Aside from the foundation’s important role in the commissioning process, it also actively seeks to promote and encourage the work of emerging performance artists through its regular Nomadic Nights programme. This offers artists a rendezvous where they can explore links between the

as it provides essential contact between the foundation and up-and-coming or

more inclusive and artistically-focused. Artists are now more freely engaged with the

visual arts and other forms of contemporary artistic expression.

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Obsession

AND THE WORLD STOOD STILL

CHASING

SHADOWS

THE DARK STAR OF THE ROLLS-ROYCE LINE, THE WRAITH REDEFINES A GENERATION

“Accept nothing nearly right or good enough” S I R H E N RY R OYC E

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Introduction

He was not afraid to be a gentleman, because a gentleman is a patient wolf. Some called him demanding, others difficult and temperamental but he knew that there is no grey area when it comes to doing things the right way or the wrong way. It takes a certain character, a certain self-assuredness to hold oneself up to the highest possible standard, and live up to that standard every, single day. A character such as this will never accept nearly, or almost â&#x20AC;&#x201C; only perfection in every facet would suffice. His was a life of absolutes and the etiquette that governed him would not shift or waver for anyone or anything, wherever he was, whatever he was doing. In his life, the biggest sin was mediocrity.

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Chapter - 1



POWER When power in all its glorious folds and shapes surges forth like some unbridled wildling – unleashed by a simple flex of knee, there is nothing more mesmeric. He gently squeezed his foot down onto the accelerator and the trademark waft of the Wraith was unceremoniously and cacophonously interrupted by overtures of deep, honeyed rumbles. The sudden perception of speed was upon him in a blur of dust and dunes alluding to the car’s glorious pedigree and a brand’s sporting legacy – a legacy too long left dormant. He could almost count the six hundred and twenty four weaponised horses were at his instant disposal, supplied by the sumptuously potent 6.6 litre V12 twin-turbo engine. Aware that should the mood strike under the darkling sky, this monument to grace and speed would snap to 100 km/h from a standing start in 4.6 seconds, he raced onward. Unmatched in approach, unparalleled in ferocity, the sight of a Wraith on the charge is a fine thing indeed – the gentleman’s Gran Turismo.

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Chapter - 2



PANACHE Owning a Rolls-Royce – a piece of engineering of such innate quality, detail and spirit, it was hard for him to imagine a more deliberate statement of taste. In spite of all he had achieved, he felt truly lucky to possess the keys to such a vehicle. The whisper of the engine start effortlessly points to a classicism and élan that is virtually unparalleled anywhere in the world, let alone in the automotive sphere and he knew he wanted no other. He knew that having a Rolls-Royce was about more than simple possession – it requires not only the understanding of joie-de-vivre, but the desire to revel in life’s ultimate pleasures, something he keenly pursued at every opportunity. From the pleasure the drive gave him, to the comfort of the beautifully crafted cabin with supple leather monogrammed in his initials, to the celestial brilliance of the starlight headliner fashioned to recreate the constellations stars as the night he was born, he knew that owning this car was an assault on the concept of mediocrity.

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Chapter - 3

 NOIR

The stakes were high and the night was young. Our man leaned into the table eager to observe his opponents every twitch tick and breath. The river had been kind but the betting was not certain. He had checked his way past two opponents who had folded early. There were three left at the table. He looked up across the illuminated sea of green felt, the dealer giving no hint or quarter. There are no tells to be found behind the sunglasses and peaked hats at the table – he was on his own and his gut is his guide. He was the master of his own fate. The small breath to steady his hand went entirely unnoticed and he made his move. With no prior hint of his intension he slid his chips across the table. He was all in.

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Chapter - 4



HERITAGE The city he remembered was long past recognition. As he grew, so did his city. It grew up and sprawled out with vine like vigour, but as it moved forward it had begun to change. The sand coloured walls that once shaped his world, walls bleached by sun and hardened by time had been swallowed up by this miraculous age of progress. Where once a humble skyline stood now shimmering ode’s to progress stretch upward and the once quiet streets rumble as the city takes its morning breath. But despite the power of its future drawing it onward, the connection to the past is what anchored him, and in small enclaves the traditions hold on, stronger and more appreciated than ever. Without the past, there can be no future – a lesson he knew should never be forgotten.

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Chapter - 5



BESPOKE His favourite place was that small unassuming street in London’s West End – Savile Row, the place he always visited to sate his sartorial cravings. To him, the beauty of bespoke suit was that it was made to meet every desire and whim and shaped to match his every curve and line – comfort and style encapsulated in all their splendid glory creating a single finely crafted sartorial statement of intent. The allegory between Savile Row and Goodwood was not lost on him. He peered through the window to check on his beloved fastback like the owner of an obedient pet. Even sitting stationary in the street it had begun to garner the wanton stares of both the envious and appreciative. At the Goodwood estate where his Wraith was crafted, the designers and artisans worked hand in hand with him to make his automotive dreams real – from coachline to marquetry, from leather to paint. His choice from the myriad of options meant he felt certain he could call his Wraith uniquely his.

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Chapter - 6



PAST & PRESENT From the moment he clapped eyes on it, he knew he wanted it. With its low slung, rude and rakish silhouette headlights gleaming, spirit shining it was all he ever dreamed of – but times in the 1940s were tough and roads to drive the exquisite Wraith were scarce. How times have changed. His grandson now owns one – but not the one that haunted his own dreams. No this is a modern car with all the modern accoutrements, technologies and whistles one expects. While it is a very different vehicle, he couldn’t help but note its worthiness of the Wraith name when parked next to his own prized classic – the one he spent a decades desiring and a lifetime cherishing. Vintage or new, Wraiths have the power to captivate the senses and linger in the mind.

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On the frontline It is no accident that the Emirati art scene is growing rapidly. With galleries and curators who continue to break the mold for artistic appreciation, palettes are constantly evolving. A champion for the arts, Amel Makkawi at Art Sawa has a distinctive approach to curation that gives regional artists a strong platform from which to showcase their talents.

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ON THE FRONTLINE

The large warehouse space allows the gallery to host large-scale sculpture and painting exhibitions. Pieces range from the traditional to the conceptual, perfect for both art aficionados and those who simply appreciate beautiful objects. Amel’s style of curatorship continually pushes the boundaries.

What was your inspiration behind opening a gallery in Dubai? I came to the city in 2000 after working as an architect and freelancer in Switzerland, Algeria and France. Being around art from an early age has influenced my vision of what a gallery should be. Art Sawa is intended to establish a different way for people to come together through art in the region, and is part of what I see as a gradual shift away from the way art has been commercialised in Dubai. The earlier model of clusters of collectors and art dealers who had a stranglehold on the circuit is slowly giving

set by their predecessors… a fusion of music, entertainment and gallery space into a multi-purpose environment that speaks back to the salon days of the 18th century.

way to a new breed of young professionals who are not so influenced by the standards

the soul and is key to documenting the story of the individual artist’s real life experiences

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From your personal experience, what leant to your artistic appreciation? My own art education was hindered by political and religious conflict, and the lack of freedom of expression. Having a brain was quite dangerous, which is why many of us have been exiled from our countries. For me, art is an amazing form of expression but it is not only political. Art comes from

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and his or her thinking process. It is a reflection of our society. Art Sawa’s mission, therefore, is to give artists from the region a voice so that they may participate in the global cross-cultural dialogue that our world so badly needs. Tell us about Art Sawa. Since 2008, Art Sawa has been based in a converted warehouse in the increasingly vibrant Al Quoz district. It has more than 10,000 square feet of space and hosts up to 10 exhibitions per year as well as running education programmes, talks and workshops for art, music and film appreciation classes. We also opened another branch in DIFC

Mondongo, Me Conformaría Con Poder Dormir (Escultura), 20092013, mixed media and leds on wood

in 2010. Since opening, we have built a reputation for promoting contemporary art, particularly home-grown artists who all have extraordinary and individual stories to tell through their work. The gallery has hosted group exhibitions for Egyptian, Palestinian and Iraqi artists, and is showcasing the first solo exhibition in the UAE of Egyptian artists such as Ahmed Askalany, Wael Darwesh, Marwa Adel and Hend el Falafly. Other solo shows include the Lebanese artists Mohammad el Rawas and Zena Assi, Robert Hammond as well as French Algerian sculptor Rachid Khimoune, whose

has found a home as a public sculpture in the UAE. Dubai, in particular, is especially strong and is expanding in the art scene quite fast with more galleries, auctions, art fairs and art initiatives. It is becoming the capital for the arts in this region. What is the Art Sawa brand of gallery curation? I set out to create an art platform that would provide very promising artists from the region with a space where they could present their work – a space of sufficient size and quality to create its own dynamic.

addition to the city’s already bustling art scene. It is a distinctive platform dedicated to the awareness and promotion of contemporary art from the Middle East, North Africa and neighbouring countries. The space is dedicated to promoting world-class contemporary art to a global and regional audience.

Children of the World collection of 21 bronze casts was initially shown in Paris, and now

Art Sawa embodies all of my aspirations for art in this part of the world; it is the largest

challenge, communication, entertainment, brainstorming, creativity and much more.

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Art is... ? My oxygen! I’m passionate about art and art education. My credo is that contemporary art should be accessible, something for everyone to enjoy. Art is also about innovation,

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F A M I LY B U S I N E S S

A Patek Philippe pocket watch specially ordered for a Saudi Arabian retailer in 1953 in honour of King Abdulaziz Al Saud (18801953), founder of Saudi Arabia. It features fine 18K rose gold and ruby keyless presentation with a dial painted on enamel.

Family business Never-seen-before personal effects, memorabilia and collectables from the Seddiqi family archives illustrate the company’s dedication to and understanding of high quality luxury and timepieces of international importance.

It is easy to appreciate that a family that has been at the forefront of importing and distributing the finest watches in the Middle East for 63 years would be in possession of a collection of some utterly extraordinary, high-end timepieces. This is certainly the case with the Seddiqi family, the heirs to the Ahmed Seddiqi & Sons empire. The founding of the company began with Ahmed Qasim Seddiqi, who at a young age began to seriously collect Swiss watches for himself. Word of his collection soon spread and watch enthusiasts began to buy pieces from him, making him an informal middleman of sorts. So began a family business that has gone from

the most respected trader in fine horology and representing over 54 reputable brands across its 57 locations in the UAE. The company has been a driving force in the region’s horological appreciation for well over half a century. To celebrate 63 years since the company’s formalisation, the Seddiqi family recently collated some of the best and most prestigious examples of watches from the family’s extensive archives – pieces of world-class importance that were displayed alongside an extensive assortment of corporate memorabilia for the first time. The exhibition beautifully illustrated a corporate and family journey of regional and international significance. Taking place at

strength to strength, beginning with a single store in Bur Dubai and becoming

Mall of the Emirates in Dubai, this collection was open for public viewing.

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Some of the family’s personal effects have been cherished and saved as mementos of an earlier time in the company history.

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F A M I LY B U S I N E S S

Some of the many pieces from the family archives displayed at the exhibition can be seen here. From left to right: 18K Rolex Cellini pocket watch in blue dial with gold chain, IWC vintage wristwatch featuring a turquoise and tiger’s eye bracelet with Omani ‘Khanjar’ crested dial, Rolex Collectible Vintage $20 Lady Liberty Coin pocket watch dated 1904.

“My father, the late Ahmed Qasim

exhibiting their prized collections to the

Seddiqi, was a man whose vision lives on through the Seddiqi brand and still guides our paths today. His teachings, principles and ethics are the cornerstone of how we do business, and we wanted to acknowledge him and share our journey with everyone. This exhibition will show items that have deep personal significance, but also memorabilia from a time that no longer exists – original documents, photographs, old identification seals and stamps, as well as my father’s walking cane, reading glasses and many other personal items. These have never been seen outside the family but as we embark on a new chapter in the history of the company, we must embrace and share our past as well,” said Abdulmagied Seddiqi, Chairman of Ahmed Seddiqi & Sons. The collection included a magnificent range of Swiss wristwatches and pocket watches for both men and women, and all have deep personal significance to the family – so much so that they had never before been shown to the public. A mere

1953 by a Saudi Arabian retailer in honour of King Abdulaziz Al Saud or the stunning peacock feather dial on the 18K cushion wristwatch made by Corum for the Shah of Iran would prove that this is a collection of international significance. It also includes various Chopard, Piaget, Bovet, Zodiac and DeLaneau pieces as well as a bounty of vintage Rolexes – including a very rare Day-Date, a gift from the founder to his son, the late Ibrahim Seddiqi. It is clear that the

public, Ahmed Seddiqi & Sons underlines its position as a leader of horological appreciation in the Middle East. The exhibition also coincided with the launch of Ahmed Seddiqi & Sons’ flagship store opening in Mall of the Emirates, which the company believes befits the reputation of the brands they represent and represents its commitment to customer care in the luxury segment. It shows that while Ahmed Seddiqi & Sons is celebrating its past, it is looking to the future. Commenting on the opening, Vice Chairman Abdul Hamied Seddiqi said: “2014 will be a momentous year for us. At Ahmed Seddiqi & Sons, we have always endeavoured to nurture a progressive and innovative outlook, ensuring that we remain at the forefront of not only international practices, but also trends and consumer needs. This new concept is a result of meticulous research and planning on how to further engage with our customers and offer them something above and beyond their expectations. We are confident that guests at our store will

glance at the 18K rose gold Patek Phillipe pocket watch that was commissioned in

family has a particularly refined personal taste in timepieces, and by generously

feel the difference as soon as they walk in... and will leave feeling delighted.”

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“At Ahmed Seddiqi & Sons, we have always endeavoured to nurture a progressive and innovative outlook, ensuring that we remain at the forefront of not only international practices, but also trends and consumer needs.” Abdul Hamied Seddiqi, Vice Chairman at Ahmed Seddiqi & Sons

From left to right: 1977 Rolex Day-Date, Rolex GMT-Master in 18K yellow gold featuring black bezel and the UAE Military crest affixed to a President bracelet. The display also contained a range of family heirlooms alongside inspired timepieces.

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A NEW VISION

A NEW VISION WITH ITS LATEST VISION CONCEPT, BMW TREADS A NEW PATH, STRIKING OUT IN AN INNOVATIVE DIRECTION BY REINTERPRETING AND REDEFINING LUXURY. THIS IS A DESIGN WITH AN UNDERCURRENT OF QUIET DRAMA – A CAR THAT WHISPERS ELEGANCE RATHER THAN SCREAMING EXTRAVAGANCE.

TEXT: FRANCESCA FOLEY

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Rumour has it that this mock-up is a jump off for a potential 7-Series replacement but there have also been suggestions that this may be a cue for an entirely new offering, an 8- or even 9-Series.

The distinction between fantasy and reality is often exceptionally stark, but sometimes it is closer than we imagine.

for the modern soul, divergent taste can still fall under the luxury moniker. In automotive terms, the lines are still somewhat blurred.

Arguably this is no truer than in the automotive market, cars in particular. The concept car is a unique idea to its industry – fantasies born of maybe’s and might’s, these productions are occasions for abundant and freethinking creativity, away from the conventions, restrictions and design compromises necessary to manufacture cars in the 21st century. More often than not, these high-spec prototypes are mere confections to catch the eye and secure precious column inches, but underneath the façade of imagination, there is often a grain of truth and a promise of what may later come. With BMW’s more ambitious concept cars, however, the promise is potent as seen in its recently released take on the future of automotive luxury. For too long, the word ‘luxury’ has been a broad, lumpen cure-all used to cover highend, expensive and seemingly exclusive motoring conceptions, but in reality the term can mean many different things to different people. Luxury homes, for instance, can have many different design and architectural

With the new and rather grandly-titled BMW Vision Future Luxury prototype that was revealed to Signé at an exclusive launch event in Munich, it is clear that BMW is exploring a new path – a more innovative, cerebral definition of what luxury means to its customers. And along the way, the company is striking a definite tone for the future, representative of what it believes the L word stands for. Karim Habib, Head of BMW Design, explains the overall concept by saying: “The design of the BMW Vision Future Luxury is the messenger of our philosophy of modern luxury, one in which innovative technologies play a key and vital role. These innovations deliver a new, multifaceted luxury experience that spans intelligent lightweight engineering, innovative interior design and a radically new user interface design.” Rumour has it that this mock-up is a jump off for a potential 7-Series replacement but there have also been suggestions that this may be a cue for an entirely new offering – an 8- or even 9-Series. Understandably, BMW is

variations – from buildings with historical leanings towards classicism to minimalism

not ready to comment on this but whatever numerical series it will eventually fall under,

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A NEW VISION

one thing is certain – that car is big, jackedup to Rolls-Royce proportions. Even with the cover on, it had an imposing presence, but the fun really started once the fabric had been rolled back to expose the metal beneath. First impressions are crucial and the car had instant impact on the audience – a few audible oohs and aahs escaped the lips of many seasoned journos in attendance. With clear design cues from the Pininfarina Gran Lusso concept unveiled at Villa d’Este last

sense of flow in a flourish of calculated design excess – a lovely note. Angular and raunchy air intakes at the base of the front bumper emphasise the width of the car while drawing the eye to the razor-sharp laser headlamps that slice through the front fascia. These laser lights implement technologies that were envisioned on a previous Vision Concept and are now part of mainstream production in the BMW i-Series. Undulating side panels eschew BMW’s

thin and flexible – in fact they are 400 times thinner than a human hair. What lies beneath the achingly beautiful surface is a structure made from large quantities of carbon fibre – its deft use having both weight saving benefits as well as allowing BMW to get clever with its door configuration. The Vision Future Luxury Concept has been treated to some seriously cool suicide doors, but these are not typical by any means. Often seen in very high-end luxury vehicles, Rolls-

year, it is positioning to be a four-door flagship. But while it is a traditional limousine in size and door count, this is a Future Concept. Tradition is not the aim in this case. The car’s exterior design is a feast of modernity and understated elegance. With its long wheelbase and short overhangs, it has exceptional masculinity, particularly in the front end. Copious amounts of chrome highlight the

current, more rakish aesthetic in favour of soft curves and fall away into neat and tidily placed air vents. The look is so expertly composed, and allows the eye to follow the contours around the body with ease. The rear is robust and neat with details few in number, but dynamic in style. Particularly distinctive are the taillights comprised of organic LEDs in BMW’s trademark L-shape formation. These

Royce’s in particular, their inclusion here is a nod to typical luxe standards. However, the concept has been created with practically no B-Pillar thanks to the carbon fibre application, with the carbon construction allowing the seat frames to be integrated into the loadbearing structure, subsequently streamlining the structural design. This lack of visual obstruction means that with the front and rear

trademark BMW kidney grille, the robust bars of which curve over the bonnet adding to the

eye-catching lights consist of wafer-thin semiconductor layers that are exceptionally

doors open, the car is sliced apart – a cross section of the entire interior open to the world.

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It really is a view worth seeing, mainly because of just how attractive the interior is. Appearing like a next generation 6-Series Gran Coupé, the interior shows a careful and considered application of materials. The cockpit is reserved yet refined with an emphasis on construction quality and material choices. While the front of the car is drivercentric, the rear is a haven of relaxation. With two large and contoured seats at the back, divided by a large floating console that travels the length of the car, this ‘comfort zone’ has a reserved and private ambience akin to a private suite aboard an airliner. The clever use of wood gives it a comforting, organic sensibility while the integrated lighting serves to enhance the fabrication and styling. Top quality leather in Batavia brown and a lighter silk shade only add to the calming fitment. Technology is a BMW calling card and

calling the ‘set-back greenhouse’, the driver and front seat passenger are treated to a display of precision fabrication and intelligent instrumentation. The driver is surrounded by a wraparound cluster of displays and treated to a new BMW Vision Head Up Display – a technology that implements augmented reality into the driving experience. By projecting information on road hazards directly in the driver’s line of sight can be highlighted directly in the real-world environment. This almost science fiction concept gives a new dimension to driver assistance functions, an element of BMW’s design pedigree that has always been typically strong. Front seat occupants are also treated to an independent touch-screen information display. Backseat passengers are also in for a treat with the two integrated rear seat displays. These can communicate with front

which gives access to everything from triprelated details like speed and journey time to information relating to the BMW Luxury Concierge Services. It will also be possible to use them for online entertainment content like internet-based video and music streaming as well as gaming. Has BMW decided to step into the shoes of the now obsolete Maybach and truly challenge Mercedes-Benz’s dominance with the S-Class, only time will tell. This model is after all merely a concept vehicle, and yet it is easy to visualise it on the road. The Vision Future Luxury Concept is more than a fanciful mock-up of suggestions and design cues. It is a springboard for the brand’s new flagship style – elegant, powerful, streamlined and futuristic. So what can we be sure of? If it hits the market within 50 percent of its current form, it will completely shake up the BMW line

this concept, in all its hypothetical glory, is no different. In the fore of what the company is

displays and also touch base with BMW’s award-winning Connected Drive technology,

from top to bottom and give definite pause to its world-renowned competitors.

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Heritage

H E R I TA G E

T H E I N N O VAT O R S

Ferdinand Porsche (right) at the 1924 Targa Florio. At the wheel of the Mercedes-Benz 2-l-Targa-Florio racecar is the later race leader Alfred Neubauer.

The innovators Two men and two historic automotive brands. Here are the stories of those who have stood behind their names and set the road alight.

PORSCHE - The good doctor Synonymous with consistency and sporting prowess, the Porsche marque is one of the most illustrious automotive brands ever established. The ingenuity and precision espoused by the brand is deeply rooted in its foundation thanks to its founder Ferdinand Porsche, a man of technical expertise and great imagination. Born in 1875 in Maffersdorf, Austria, he had an affinity with mechanics and was particularly intrigued by the possibilities of electricity. He was already experimenting and innovating with electrical current at the age of 14, and set up a secret workshop at home so as not to draw the attention of his

and as he experimented, he learned about electrical engineering. After completing a plumbing apprenticeship, he took up a job at electrical company Béla Egger & Co., later renamed Brown Boveri in 1893. So impressed were his bosses by his knowledge and skill with electricity, he quickly ascended the ranks and was promoted to manager of the test centre. This allowed him to not only experiment further, but also to innovate, and his career quickly became characterised by groundbreaking designs. He was subsequently attracted to designing motors and in 1897, built an electric wheel-hub

Car Department’ at Hofwagenfabrik Jacob Lohner & Co., a Vienna-based company that fell under the jurisdiction of the AustroHungarian army, neatly pulling Ferdinand’s focus to automotive concerns. This pairing bore fruit when in 1900, a vehicle (rather unoriginally called the LohnerPorsche) was a star attraction at the world trade fair in Paris. It was a non-transmission vehicle powered by the Porsche wheel-hub engine, subsequently leading to Ferdinand testing his designs in races. During a nearly 20-year stint with AustroDaimler, which began in 1906 and ended in 1923, he climbed the ranks to become general

father who wanted him to become a plumber. This allowed his imagination to run wild

motor that garnered him critical acclaim. That same year, he took up a post in the ‘Electric

manager, and entered races himself. In 1910, at the wheel of an Austro-Daimler car that he

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Ferry Porsche (centre), his father Ferdinand Porsche (right) and Erwin Komenda (left), 1948, in front of the 356 No. 1 in Gmünd. The No. 1 was the first car to have the Porsche name: An aluminium roadster with a centrally-placed engine and a weight of 585 kg. 35 HP enabled speeds of up to 135 kilometres per hour.

designed himself, Ferdinand won the PrinzHeinrich race. Similarly, his Sascha car, a 1.1

Reichsverband der Automobilindustrie, the German automotive industry’s umbrella

Post war, Ferdinand was punished with a 22-month prison term for his affiliations with

litre 4-cylinder vehicle, took first and second place in its particular category at the 1922 Targa Florio race in Sicily. Porsche left Austro-Daimler in 1923, joining Daimler-Motoren-Gesellschaft in Stuttgart as a Technical Manager and an Executive Board member. Here, he continued to push the technical boundaries of motorsport and oversaw the development of the Mercedes compressor car, a vehicle that took top honours at the Targa Florio in 1924. Following such achievements, Ferdinand was awarded an honorary Doctorate from the Institute of Technology in Stuttgart. From this day on, and even in communications to this day, he would be referred to as Professor Dr. Ing. h.c. Ferdinand Porsche. By 1931 he had struck out on his own, setting up the tongue-twistingly complicated Dr. Ing. h. c. F. Porsche GmbH, Konstruktionen und Beratung für Motoren und Fahrzeuge (design engineering and consultation for engines and vehicles) on the 25th of April. By August, he had filed the first patent for a torsion suspension bar.

organisation. In this hour, Volkswagen became a reality. At the outbreak of the Second World War, Porsche was drafted into designing and creating military vehicles. In 1942, he and his son Ferry created the German Tiger Tank, the most powerful tank in the world at the time.

the Nazi party but the baton had been passed to his son, an innovator in his own right. Professor Dr. Ing. h.c. Ferdinand Porsche passed away in January 1951 at the age of 65, leaving behind a legacy that far outstretched the imagination of the young boy engineer.

Ferdinand Porsche at the wheel of one of his 1903 LohnerPorsche “hybrid“ touring cars.

By June of 1934, a contract was concluded between Porsche design and

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FERRARI - Il Commendatore Born on February 18 in 1898, Enzo Ferrari grew up in Modena to a working-class family. His father was a manufacturer but the young man decided early that he would not follow in his father’s footsteps. Enzo wanted to get behind the wheels of fast cars and become a professional driver, reportedly inspired after having spectated races with his elder brother in Bologna. However tragedy hit home for the young man when both his father and brother fell victim to the flu pandemic in 1916. Shortly thereafter, Enzo was enlisted with the third Alpine Artillery of the Italian army during the First World War, but was discharged after contracting the deadly virus towards the end of the conflict. When he returned to civil life, he immediately became involved in jobs related to cars, working with CMN and Vespa as a test driver, and later taking a position with Alfa Romeo. He had a great knowledge of cars and mechanics even without having received any formal education in engineering or physics, and all the while he was working

With passion and vision at heart, Enzo Ferrari took a humble racing outfit and turned it into a brand of inimitable quality, style and performance.

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at the manufactury, he tirelessly worked on his driving talent, entering the first post war races in Italy. Success quickly followed and

was concocted in 1929. Over dinner, the idea for Scuderia Ferrari – a racing team whose mission was to give its shareholders the

spiritual home of Ferrari. By the war’s end in 1945, Enzo was ready to begin the fabrication of his first

he was promoted to a full factory driver with Alfa and received recognition in many highprofile events including a fifth place finish at Targa Florio, a second at the Mugello Circuit in 1921 and a first place at the first Savio Circuit in 1923. It was at the Savio Circuit that Enzo met with Count Baracca, father of the famed

opportunity to race – was floated. For Enzo, racing was an entry point to the mechanical aspects of motor vehicles – something that fascinated him much more. He began building cars with Alfa Romeo, and the 158 Alfetta dominated the racing scene. After a few more years of strident success, the Scuderia Ferrari was mothballed and

production car. Ambitious in design, the 1500cc V12 vehicle would become the template on which all other Ferrari vehicles would be modelled – a sports car that can be used on the track as well as the main. By 1947, the 125 S rolled off the production line – the beginning of a new era in Italian motoring. However racing was still at the

Italian Air Force ace Francesco. He later met Countess Baracca who was completely smitten and gave Enzo a photograph with a dedication inviting him to use the now famous prancing horse as a mascot for his vehicles. Moving up in the world, Enzo was honoured by the Italian state, receiving the title of Cavaliere for his sporting prowess in

Enzo took up the post of Alfa Corse’s head. However the union was short-lived and ended acrimoniously a year later, with Enzo barred from re-establishing the racing brand that carried his name for four years. He made it his mission thereafter to beat Alfa in every race he could. At the old Scuderia headquarters in 1940, Enzo set

heart of the enterprise, with Ferrari winning the Le Mans 24 Hour Race in 1949 and the Formula 1 World Championship Grand Prix in 1951, and taking the very first Formula 1 Championship during the 1952-53 season. By the 1960s, Ferrari was known for its avant garde design approach and wonderfully vivacious engineering. Fiat Group acquired

1924 and the title of Commendatore in 1927. Through it all, Enzo continued to race and in May of 1928, won the second edition of the Modena Circuit at the wheel of an Alfa Romeo 6C 1500. But he had bigger, bolder dreams for his racing, and an ambitious plan

about building two cars for entry to the Mille Miglia – 1500cc 8bhp cars known as the 815s. However when war broke out in Italy, he quickly became involved in the effort and transferred his growing factory from Modena to Maranello, which has since become the

the company in that decade, yet the clear focus on sporting pedigree and performance has always remained at the heart of the brand. Enzo stood down as company president in 1971, although he remained closely involved until his death in 1988.

1963 Ferrari 250 GT California Spyder

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GOLDEN ERA

The future, reborn A movement that changed the way the world saw itself, futurism took industry and forward thinking to its heart, revolutionising the way the arts were seen and appreciated.

There are times when an artistic movement is difficult to decipher from its name – Dadaism, Bauhaus and Fauvism for example. Futurism, however, is slightly easier to decode. As the name suggests, the concept is forward thinking and a celebration of modernity. Its origins are to be found at the turn of the 20 th century, during the height of the Industrial Age. Italian poet Filippo Tommaso Emilio Marinetti published a groundbreaking Manifesto of Futurism in the famed French newspaper Le Figaro in 1909, exalting the modern age and revelling in man’s mastery over the world. The manifesto encouraged a new appreciation for art and culture that tore down the relics of the past and looked ahead to something new and different. Instead of looking back at revered archetypes, a technological and mechanised world was to be celebrated – a world very different to what came before. In his manifesto, Marinetti proclaimed: “We will free Italy from her innumerable museums which cover her like countless cemeteries. We declare … a new beauty, the beauty of

Louvre museum in Paris). His words found receptive ears in a new generation of artists, poets and writers. Futurist arts began to look to symbolism of the metropolis and themes of speed and machination as vehicles for self-expression, releasing an energy and vitality into the art of the age that reflected the world as a living, breathing machine. They championed the original and however daring or violent the outcome, shared a sense of chaos and madness as they went, rebelling against taste and replacing art with science. Dynamism and vibrancy were seen in everything from the application of paint to the texture of a sculpture – beauty in motion – themes clearly seen in the work of Umberto Boccioni, Giacomo Balla and Carlo Carrà. The Futurist credo also entered arts like music and industrial, with mechanised sounds being incorporated into recordings. While new movements like Art Nouveau and Art Deco superseded the Futurist movement in fashion and taste, its legacy is still keenly felt even today. Cinema, art, music and literature all reveal

speed. A racing motor car … is more beautiful than the Victory of Samothrace” (the celebrated ancient Greek sculpture in the

echoes of that groundbreaking time, when the world was reborn and the past was left behind.

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Landed

Gentry –

THE ROAD FOR LAND ROVER – LIKE THE TERRAIN IT HAS BEEN DESIGNED TO CONQUER – HAS OCCASIONALLY BEEN ROCKY, BUT WITH 66 YEARS OF STURDY AND STEADY PRODUCTION, THE FUTURE FOR THIS LEGEND OF THE BRITISH AUTOMOTIVE INDUSTRY LOOKS ROSY AS ITS INTREPID ADVENTURE CONTINUES.

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1940

The engineering director of the British motor manufacturer Rover makes the first Land Rover design sketch in the sand on the beach at Red Wharf Bay in Anglesey. Maurice Wilks owns land on the island and wants a versatile vehicle that can double as a light tractor and off-roader. It is christened the ‘Land Rover’. Maurice shows the proposal to his brother Spencer, Rover’s managing director, and the project is approved in 1947. A prototype is soon built using an American Willys Jeep as a foundation. Powered by a 1595cc engine, the original model features a permanent four-

1948 LAND ROVER Series I The “farmer’s friend” makes its debut in post-war Britain.

wheel drive transmission fitted with low ratio gearing to increase off-road capability – a hallmark of every Land Rover to come. Production proper begins in Solihull, UK in the summer of 1948. The first year’s production is only 1,758 vehicles but rises rapidly to 12,395 in 1949 and 16,795 in the following year.

1949 ARMY EDITION The British Army orders its first Land Rovers.

1950

1958 Land Rover Series II unveiled with more refined styling.

In 1950, the permanent four-wheel drive system is replaced with a more conventional selectable arrangement. The system allows for four-wheel drive engagement in low range and can also be selected in high range, when required. Two years later, a 2.0-litre unit replaces the relatively underpowered 1.6-litre engine. More than 200,000 Series I Land Rovers have been made by the brand’s 10th anniversary in 1958. The occasion is marked by the launch of the Series II model, recognisable by its restyled body with side sills and rounded shoulders in the side panels. The better finishing as well as the larger, more visible rear window made of nonscratch glass make the car easier to drive without sacrificing durability. Orders flood in and a year later, the 250,000th Land Rover rolls off the production lines.

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1960

The 1960s sees Land Rover become involved in developing and expanding their existing offering. With the introduction of new powertrains and design elements, Land Rover has become the product of choice for utility vehicles in Great Britain and Europe – however the US market

between 1961 and 1966. In response to visible changes in how people are using their Land Rovers – taking them both to town and country – the design team begins to develop a car that could be more effectively used in both environments. Seen as a competitor to the

remains elusive. A 12-seat station wagon is introduced in 1962, and further Series II variations including the Series IIA, Series IIA Forward Control and Series IIB are offered

Ford Bronco and Chevrolet Blazer, the car is a completely new offering. Meantime, Rover merges with British Leyland in 1969, beginning a new era for the brand.

1970 RANGE ROVER Land Rover’s iconic

1970

model is launched in a two-door format.

Dubbed the Range Rover, the new addition to the Land Rover line-up that was developed in the late 60s is launched in 1970. Fitted with a powerful V8 engine, the car requires a new gearbox to handle the additional power and is provided 4x4 capability through a lockable central differential. Originally a twodoor model, the interior and exterior (designed by Spen King and Gordon Bashford) instantly appeals to customers as does its near 100mph top speed. In 1972, a four-door version outstrips demand for the two-door model. Developments in the Land Rover line continue and in 1971, the Series III replaces the Series IIA. The car features technological advancements including a new synchromesh on all high-box gears. The exterior is similar to that of the IIA, with small modifications made to the headlamps and grille. In 1976, the landmark one millionth Land Rover is built. By the end of the decade, Land Rover begins to adopt more powerful Range Rover engines, creating the ‘Stage 1’. The combination of power and utility is an instant hit.

1976 1,000,000th Land Rover built

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1989 DISCOVERY The third Land Rover model is launched.

1980

Success follows the Land Rover brands, with more interest coming from the rest of the world and a renewal of interest from the United States. Model revisions begin in the early part of the decade; the venerable Series III is replaced by the new Land Rover 110” and 90” in 1983 and ‘84 respectively. The name alludes to the increase in the size of the wheelbases. The general shape of the cars is retained, however there are a number of minor alterations implemented. The grille is moved forward, allowing sufficient space in the engine compartment for the Rover V8 as well as other engines. The windscreen is also replaced with a taller one-piece windscreen, and polyurethane wheel arches are fitted. Inside, the furnishings are improved while the slide windows are replaced with windup ones. The rear load space is also increased by restricting the boxed-in sections to the wheel arches only. One year later, a further extended wheelbase model appears – the 127”. The Leyland collaboration comes to an end with the sale of the Rover group to British Aerospace in 1988.

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The go-anywhere, doanything philosophy of the Range Rover struck an instant chord, and the car has remained at the forefront of luxurious off-roading since its launch in 1970.

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As if to underscore its technological prowess and adventurous spirit, Land Rover becomes the brand of choice for the Camel Trophy, an offroading spectacular for the wild at heart.

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THROUGH THE AGES

1990

In 1990, the 110” and 90” models are given a new name (the now iconic Defender moniker) as well as a new powertrain, a 200TDi turbo diesel engine option. The new name comes from the association between the 90” and 110” and the military, which regularly uses

into the growing 4x4 market. The brand bursts with new products in the latter part of the ‘90s with the P38 Range Rover – a totally reworked design with luxury at its core – and an all-new offering in the shape of the Freelander, a small yet capable model

FREELANDER Land Rover’s fourth

the vehicles. This follows the launch of a new Land Rover variant dubbed the Discovery in 1989. The Discovery is a family-friendly vehicle designed by Sir Terence Conran and is aimed at the growing family 4x4 market, yet retains the enviable off-road abilities Land Rover is famed for. The Rover parent company is yet again sold in 1994, this time

designed to muscle out the Japanese SUV market that included the likes of the Toyota RAV4 and the Honda CRV. The Freelander is a departure from standard Land Rover designs, instead employing a monocoque body and independent strut suspension. The Discovery Series II – codenamed Tempest – is launched in 1998, completing a busy

model launched.

to BMW group that itself is looking for a road

decade for the brand.

DEFENDER Original ‘Landie’ relaunched and renamed.

1997

2000

s 2010 RANGE ROVER EVOQUE A small, premium model based on LRX concept model launched.

2013 RANGE ROVER SPORT The fastest, most agile and most responsive Land Rover ever.

BMW’s stewardship of the Rover group comes to a close and the group is broken up in 2000. Land Rover is sold to Ford for £1.8 billion whereas MG Rover is sold to the Phoenix Consortium. Two years later, Range Rover launches the third-generation Range Rover. Moving further upmarket, the MKIII was designed under BMW’s ownership and is meant to accommodate BMW technology and engines. This is altered in 2005, which sees the car receive significant updates and alterations including new engine variants from both Jaguar (separately purchased by Ford in 1989) and Land Rover. The Defender is updated a year later with a new 2.4 litre Diesel engine, a 6-speed gearbox and new interior configuration. By May 2007, the f o u r- m i l l i o n t h L a n d R o v e r ro l l s o ff production lines. This, however, doesn’t prevent Ford advertising Land Rover and Jaguar Cars for sale a month later. By August, Tata Motors expresses interest and by June of the following year, the purchase is finalised. With this, the new firm Jaguar

The first model to be released in the Tata era of management is the new Discovery LR4 in 2010. The car’s styling has been given a facelift with smoother lines and new front fascia, yet retains its integrated body frame structure. Mechanical changes are also introduced with two new engines from the JLR Gen III range. One year later, Range Rover adds a new stalemate to its line-up with the launch of the Evoque. A compact luxury SUV available as a two- or four-door four-wheel drive, it becomes the benchmark for the luxury compact market. Designed to appeal to urban buyers, it meets new regulations of CO2 emissions and fuel economy. Retaining Range Rover features and capabilities, nearly 88,000 units are sold in the first year alone. A convertible concept version is shown in 2012. Range Rover also overhauls the original Range Rover in 2012, launching the MK4. This model displays incredible technology with the inclusion of an all-new lightweight aluminium monocoque body. Distinguished by its outstanding luxury appointment, athletic physique and masterful off-road capabilities, the vehicle is the most aerodynamic, efficient, powerful and technologically advanced Range Rover

Land Rover is formed.

yet, and is lauded by brand loyalists and general public alike.

2010

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2014 With the Discovery now a quarter of a century old, the time has come to begin a new chapter. With luxury appointment increasingly becoming the norm in automotive terms, it takes a new direction, arriving at a place where incredible

off-road

performance

and

technologically

advanced fitment are seamlessly merged into a comfortable and visually striking package – fit for the next 25 years.

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Changing the channel Paris of yesterday gave birth to the idea of fashion for men. Paris of today is ready to reclaim its place at the forefront of innovation in fashion – a much needed breath of fresh air in an area that is often tied-up in its own traditions and conventions.

So intertwined is the story of masculine fashion with the British suiting tradition that most believe London to be the spiritual home of menswear. It is a unique and intimate relationship that has been built up over centuries. However despite the unquestionable mastery of the Savile Row set, the suit and men’s ‘fashion’ on the whole began its unusual journey not in the British capital but in the French, where high glamour and taste at the middle of the 17th century became utterly splendid. Beginning with the reign of Louis XIV, this period heralded an archetypal shift in the way in that men dressed themselves. PostRenaissance, men craved less formal attire and more comfort. Around the year 1650, a new identity presented itself, away from the incredibly formal and costume-like doublets and cloaks of previous years – a formal standard of the upper class wardrobe since the beginning of the 16th century. During the reign of the ‘Sun King’, men became experimental with what they wore in keeping with the experimentations seen at court. Fashionable men from across Europe travelled to Paris during this period to patronise the tailors of France’s capital, who had been listed in one of the first royal guilds for tailoring. Gone were the heavy clothes that symbolised rank and status; in came trousers, vests and grand hats made from fabrics like silk – lighter and more versatile

fabrics and still maintained a sense of status, but were certainly more egalitarian. However this was not quite a full suite of clothing – that came a little later, and outside of Paris. The mid-17th century was the point at which glorious French menswear was usurped by its neighbour across La Manche. With the restoration of Charles II to the British throne on October 7, 1666,

had naturally adopted a more French mode of dress befitting the national nobility. The country, however, was wildly unpopular on Britannic shores at this time and Charles’ more flamboyant Gallic taste was decried among the still shaky establishment. Charles rather cleverly made a fashion statement at his coronation that eschewed more cross channel sensibilities, creating something

– symbolising a strange modernity. These items were of course made from the finest

menswear heritage took a more anglicised turn. After a long exile in France, Charles II

typically British in the process. In doing so, Charles was able to reassure his people

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H E R I TA G E

CHANGING THE CHANNEL

Lanvin’s Spring/ Summer 2014.

The combination of vest, coat and breeches formed what became known as a “suite” of clothing – the foundation of what we would today know as a suit.

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Modern French menswear may be far removed from its 17th century predecessors by both time and context, yet designers like Hedi Slimane at Saint Laurent (model pictured here) are pursuing a new idea of Parisian menswear tradition through bold, thematic exploration.

the expected and giving menswear an always welcome shot in the arm. Modernity is a much over- and inappropriately-used word, but there is a sense of forward-thinking that is clearly visible... and young designers and elite Parisian houses appear to be chancing their collective arms. Avant-gardism and a youthful new generation of designers are shaking the established French couturiers to their very cores, and fashionistas everywhere can’t get enough. Designers like Hedi Slimane, creative director at Saint Laurent, have injected new, controversial and vibrant aesthetics into the core of French fashion ‘pour homme’ – sometimes ruffling feathers in terms of scheme and theme, but always holding the traditions of fine fabrication, intelligent construction and respect (if not reverence) for the past. Slimane’s Saint Laurent is much differed from the YSL of yore but retains the principles of Yves, even if the name has been dropped from the billing. This is typical in France at the moment. Designers from around the world are using the French capital as a launch pad for their own exploratory endeavours. The fact of the matter is that genre has often been

and give his fledgling court a firmer footing. The combination of vest, coat and breeches formed what became known as a “suite” of clothing – the foundation of what we would today know as a suit. The style became wildly popular and thus the “suite” of clothes became a suit. With a more restrained and sophisticated appearance than its French counterparts, this new interpretation was suitable for work and play, and was quickly adopted as the gentleman’s staple throughout northern Europe. This new style, paired with London’s already sterling reputation for tailoring military uniforms, set the tone for the British capital to surpass Paris as the home of menswear – a status that has remained practically unchallenged since then. This is not to say the British tradition is the only way. Over time, many variations on the theme have made themselves known and the status quo has been challenged. Italian

designs – earning devoted followers along the way. But France has been somewhat conspicuous in its absence and has never truly re-asserted itself on any major level. Master fabricators its fashion houses may be, but a specific style of dress has never truly emerged as an archetype. However the first quarter of the 21st century is seeing Paris truly re-emerge as a genuine contender for international menswear excellence and redevelop its own distinct narrative. The established centres had better watch their backs – the French are dab hands at revolution. It seems the 21st century Parisian menswear scene is born from a lack of conformity; Italian suits may have a more casual feel, but make no mistake there are certainly rules and regulations that must be upheld to deserve the title of ‘Italian suit’. The French philosophy is much more fluid and unrestrained, which means that designers

considered a venture of style over fashion – and yet in France, the enthusiasm for organised chaos and unpredictability is more prevalent than ever. The catwalks appear at a confluence of the various creative media and social enterprises – fashion merged with art, photography, politics and philosophy in a narrative of clarity and vision. It is a point at which many revel and become inspired by. And yet somehow, the melee of ideas – the shout of trends and the conceptualism of couture – is married to what all men want in their clothes: wearability. Perhaps through reinvention has come a sense of neutrality, the idea that Paris can offer what other fashion capitals cannot – a clean slate. The identity of having no identity offers a rare platform for freedom of expression. And with no cultural conventions to break and no rules with which to conform, the only restraint is on quality, not something French houses have ever had issue with. It is a potent, sophisticated and thoroughly modern approach to design and one that is winning fans collection by collection, re-

suiting, for instance, has radically altered perceptions with its more relaxed and casual

working at French houses today are able to live it up creatively, somewhat challenging

establishing Paris as THE place for modern ideas of menswear.

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La Dolce Vita

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HAUTE SOCIÉTÉ

Waldorf Astoria Ras Al Khaimah Address Vienna Street - Ras Al-Khaimah Phone:+971 7 203 5555

RAS RETREAT HOTEL The newly-opened Waldorf Astoria Hotel in Ras Al Khaimah lives up to the sterling reputation of its name with elegantly designed accommodation in a modern Arabian setting. The neutral and subdued tones of the welcoming lobby are offset with punctuations of turquoise, as if to emphasise the hotel’s coastal aspect. Boasting 346 spacious rooms and suites, the lodgings reflect opulence. Each room is fitted with large, comfortable beds and thick rugs that give off cosseting vibes of comfort. The extensive grounds and facilities feature an adults-only lap pool and 10 distinct dining venues and lounges in which to wind down. These include the Azure pool bar, the Lexington Grill and Qasr Al Bahar, all offering a variety of cuisines suited to the most discerning palate.

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SUMMER SPECIALITIES R E S TAU R A N T Famed for a contemporary take on South American cuisine, Izel at the Conrad Dubai has revealed its new, fresh and vibrant menu for the summer season. Bursting with zingy flavours, it has been conceived by talented Head Chef Luis Del Hoyo and is a truly Latin feast with inspired dishes from Mexico, Argentina, Chile and Peru. Regional classics including a variety of carnivorous options are served – steaks from the kitchen and grill are chosen from premium daily cuts and featured alongside other signatures like the light and fragrant ceviche, tuna tacos, duck and quinoa croquettes, and lamb and polenta ragout. The new menu is rounded out with an indulgent selection of desserts.

Conrad Dubai Address: Sheikh Zayed Rd - Dubai Phone: +971 4 444 7444

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BOLD DEVELOPMENTS HOTEL With three luxury properties in Milan, Bali and London (and a fourth in Shanghai completing in 2015), it was perhaps only a matter of time until the Bulgari franchise arrived in the UAE. In an agreement signed between Meraas Holding and Bulgari Hotels & Resorts, the famed Italian jeweler-hotelier is set to break ground on a new and highly exclusive residence on the yet to be finished Jumeirah Bay Island. The property (said to be a mixed-use development spanning six million square feet) will comprise 100 rooms and suites in the main hotel buildings in addition to 20 hotel villas, a full range of luxury hotel facilities, lowrise residential villas and marina facilities framed by lush landscaped gardens.

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Sign of progress Getting to grips with packing for long haul journeys is a tiresome affair, so any product that can help streamline the process is a welcome boon. The added bonus of the Monogram collection from Saint Laurent is the beauty that comes alongside wonderful practicality.

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The range encompasses every conceivable travel need on multiple levels; these pieces are overtly and subliminally practical.

For people that travel regularly, be it for business or pleasure, the importance of having the correct travel accessories should not be underestimated. Bags designed specifically for travel are always more useful with their speciallyincluded features helping keep you organised and on schedule. It is completely possible to stop by an airport kiosk to pick up a perfectly practical piece of luggage that is made to be an ideal travel companion. But these are often not the most stylish, looking every bit the utilitarian option... where’s the fun in that? (Especially when travel accessories have never been so elegant.) There is an art to travelling with aplomb style and there is a bounty of options in luggage from which to choose. At the top of the heap, surely, will be the beautifully made Monogram collection from Saint Laurent – an institutional line of luggage and accessories belonging to the permanent collection of the house of Saint Laurent. With vintage elegance at its heart, the collection effortlessly blends a 1950s

crisply monogrammed with a repeating ‘YSL’ print over the canvas exterior. These are densely woven in classic, muted shades of black and brown, giving them a look that is neither showy nor crass but representative of sophistication. The monogram pattern employed here has been designed by Hedi Slimane and is inspired by the historic YSL symbol crafted by artist Cassandre in 1961. Elsewhere, details such as the tubular handles, shoulder straps and lock cases are executed with supple Italian leather. The most interesting element of the design, however, is the ability of the owner to add a touch of personalisation to their pieces with the optional extra of having one’s initials imprinted into the bag – a service only available at select Saint Laurent stores. But while these bags certainly look the part, the collection’s utility and functionality is key to its universal appeal. Many travel accessories are underutilised as not many realise their full potential and functional benefits. In contrast, the features of the Monogram collection are designed and

The range encompasses every conceivable travel need on multiple levels; these pieces are overtly and subliminally practical. If you are the type of person who never knows how much to carry on a brief weekend away, you may need a bag to help you pack precisely the right amount of

styling with crisp lines and finishes. The 30 androgynously styled pieces are sleek, each

implemented in order to be applied to their fullest without compromise.

clothing. The Toile Monogram 48H bag is specifically sized to give you enough space

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to perfectly pack for a two-day hiatus. This case, which splendidly showcases the monogram motif on its surface, has a double zip closure with an interior slot pocket that allows for the efficient and neat packing of clothes along with other essentials like a laptop or other tech accessories. Thanks

lustre and appearance. The adjustable compression straps that are designed to minimise the size of the bag add to its utility, making it easier to carry and a perfect fit in an overhead luggage bin. Further highlights of the collection include the duffle bag, backpack, trolley,

are on a smaller scale, but no less clever in their design. Saint Laurent’s elegant wash bag has two zipped compartments that help to arrange toiletries methodically while the ample space in the travel document case can easily accommodate all trip-related basics as

to its canvas coating, the bag’s durability is maintained while preserving its authentic

eye mask, the East/West zipped tote and the North/South shopping bag. Other key pieces

well as keys and cash, creating that muchneeded feeling of safety and security.

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Culture Quest A trip to the theatre is a sensual, uplifting and culturally evocative experience that can only be enhanced by its staging in a beautiful setting, and there are few locations more vibrant in which to take in a little culture than the Metropolitan Opera House in good ol’ NYC.

The Metropolitan Opera (or ‘the Met’ as it is affectionately known) is currently in its 129th season and is widely regarded as one of the very best opera companies in the world, yet its humble origins belie its current, extraordinary location. The first house to hold the Met was built on Broadway and 39th Street in 1883 by a consortium of businessmen who sought to have their own theatre venue in the city. In its early days, the theatre showed a tremendous variety of works. The performances varied in success though, partially due to the management insisting on a single language – initially performing everything in Italian, and then German. Eventually the typical policy became performing all operas in their original languages, which kept them authentic and drew in an adoring and appreciative public.

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The finale of the Metropolitan Opera‘s 2013/14 season is set to be a grand affair, taking in classic ballet and theatre.

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The theatre hall can seat 3,800 people with an additional 195 standing room places. The beautifully opulent space was was designed by architect Wallace K. Harrison.

Stars of the stage were widely engaged here with Lilli Lehmann dominating Wagnerian repertory, Jean and Edouard de Reszke taking centre stage, and American sopranos Emma

The Carlyle by Rosewood is certainly a fitting destination for any aspiring culture vulture. A long-standing hotel with a reputation for quality, this typically NYC establishment is situated at the heart of the city.

the venue, despite its young years, is utterly authentic and holds to the grandest traditions of theatrical staging. Each season, the Met stages over 200

Eames and Lillian Nordica winning plaudits from fans and critics alike. Arturo Toscanini and Gustav Mahler, great conductors of the early 20th century, also took star turns with the baton at the head of the orchestra, underscoring the venue’s enviable reputation. However, in recent times, the venue on Broadway and 39th Street became regarded as inadequate in terms of facilities for grand staging, and the Met was in danger of falling behind the times. It wasn’t until the Metropolitan Opera joined with other New York arts institutions in forming the Lincoln Center for the Performing Arts that a new home for the opera company became possible. The new venue, which opened at Lincoln Center in September of 1966, was equipped with the latest technical facilities and worthy of the finest performers and grandest sets – immediately claiming a place among the most important cultural venues in the United States, and even the world. The space is special indeed. Designed by Wallace K. Harrison, it is splendid in its art and design. Two murals feature in the lobby – not unusual for a public space, but when one realises they are by Marc Chagall, it is apparent that this is a setting for cultural experiences of the highest calibre. Called The Triumph of Music and The Sources of Music, they are expansive pieces and utterly mesmeric. The entrance to the venue is mind-bendingly ornate, but inside the auditorium is where

opera performances during which more than 800,000 people attend a combination of opera, ballet and theatre. Millions more experience the Met through new media distribution initiatives and state-of-the-art technology, but simulcasting via the internet or to a movie theatre do not in any way substitute for experiencing the real thing. The 2013/14 season will conclude this summer and it is sure to go out with a bang thanks to ballet, theatre and opera recitals from the top drawer. June will see Giselle, Cinderella, Swan Lake and Manon performed, with a special celebration of Shakespeare at the end of the month running into July. Should the chance to see these wonderful performances take your eye, you will be in need of a place to lay your head. The Carlyle by Rosewood is certainly a fitting destination for any aspiring culture vulture. A long-standing hotel with a reputation for quality, this typically NYC establishment is situated at the heart of the city. Its 34-storey Madison Avenue façade has screamed oldmoney vibes and quintessential American style since it opened its doors in 1930. The hotel’s white glove service is luxurious and homey – doormen festooned in bowler hats greet high-profile guests to its welcoming ambience. With single rooms and spacious suites decorated in opulent yet restrained manor-style décor and offering views of downtown and

the true magic happens. A total of 21 chandeliers bedeck the ceiling, accenting the splendour of the red velvet and gold leaf. It’s apparent that

Central Park, The Carlyle offers everything one could want from a perfectly formed New York City residence.

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Flying old-school

The Goodwood estate is one of the most exciting and entertaining country estates in the UK, thanks to its bounty of unique activities. One of the most thrilling aspects of its programme is the vintage aircraft facilities that launched from its private airstrip within the grounds and are ready to get aspiring warbirds airborne.

The seat of the Duke of Richmond, the 12,000 acre Goodwood estate features a racecourse (first used in 1802), motor circuit (opened in 1948), aerodrome, private members’ club , two golf courses (the Park Course and the Downs Course), a sculpture park and farm – not to mention the epicentre of the estate, Goodwood House. Goodwood has become well-known for hosting incredible sporting occasions such as the Glorious Goodwood horse racing carnival, social spectacles like the Goodwood Revival, and motor races such as the Festival of Speed – all of which are part of the estate’s annual programme. The prevailing theme of many of these events, however, is to invite guests to take a step back in time and celebrate the glories of the past. The Goodwood Flying School is one such enterprise. Based at the Goodwood Aerodrome

circuits, the Goodwood Flying School has been training aspiring pilots since 1968 and has gained a reputation for delivering some of the best quality flight training available in the UK today. Originally a WWII airfield from which Sir Douglas Bader famously flew his last sortie, Goodwood Flying School uses specialist training aircraft and the very latest techniques that will get you off the ground. Programmes here are specifically designed to get pilots airborne in 45 hours. If attaining your Private Pilot License (PPL) is the aim, then this may be enough. However, extension and conversion courses are run on the estate to allow pilots to become truly versed in the art of flight – chief among them being the Go-Solo with Goodwood course. This unique programme allows students of the flying school the opportunity to learn how to fly solo in 15 hours and achieve their

Rob Wildeboer, Goodwood Aviation General Manager, says: “There are far too many people who just do not realise how accessible flying is, and once they have had a go, many are simply bitten by the bug. The Go-Solo campaign was conceived in an effort to demystify this most rewarding pastime by giving a student confidence that they really can achieve this magical milestone!” Flying has become so passé that these days, most people don’t even think about it. Stepping onboard a plane is more like sitting in the waiting room at the doctor’s office for a couple of hours instead of the thrill ride it once was, the horizon rushing towards you at speed. Aviators of the past knew how special a thing it was to sit in an aircraft; they had known a world without its thrill or convenience. But for those who crave the same feeling, the desire to be more connected to flying and touch history by learning how to pilot the same aircraft as

near Chichester and on the infield of one of Britain’s most famous motor racing

first independent flight – a major hurdle towards becoming a pilot.

they would’ve some 70 years ago instead of the flying laptops we call planes today, look

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The Boultbee flight academy offers the opportunity many a flying enthusiast dreams of – the chance to get behind the stick of a real, honest-togoodness Spitfire.

no further than the Goodwood estate. The school’s fleet includes five Cessna 172 Skyhawks – one of the most successful training aircraft in aviation history – and a historic Harvard T6. All are maintained to the very highest standards on-site by Goodwood’s own engineering department. However the estate offers much more

a real, honest-to-goodness Spitfire. One must work up the ladder a little, taking conversion courses first in a Tiger Moth, then a Chipmunk, and finally the Harvard before the chance to dogfight in a real king of the sky. The Spitfire is still regarded as one of the very best planes ever built, a visceral flying tour de force. The Rolls-Royce engine

than just learning how to fly; it teaches an appreciation for what has come before and offers the opportunity to get airborne in some of the finest aviation models from the past, including the cockpit of a 1943 Harvard IIB – a plane made famous during the Second World War. Called the Warbird Flight Experience, this adventure provides access to one of World War Two’s foremost allied training aircraft. Once your PPL has been attained, whether from Goodwood or elsewhere, the flight school offers a conversion course to learn how to fly the old girl. But should your PPL not yet have been attained, fear not, there is still hope to get airborne as there are also passenger rides available that give stunning views of the estate and English countryside. While the Warbird experience is brimming with the romance of the golden age of flight, there are also experiences with a little more in the way of adrenaline – and certainly very reminiscent of eras past. The Boultbee Flight Academy based at the Goodwood Aerodrome offers the

sparking into life is as evocative a sound as one will experience in aviation. Additional courses for the Spitfire include formation and display flying, but there are strict flight-time prerequisites for this experience, and pilots must be prepared to pay out for the privilege. Understandably, the many people that have passed through the course would vouch that it is totally worth the time and effort. Should any of these flying experiences take your fancy, the estate naturally has a beautifully appointed hotel from which to set up base camp. The Goodwood Hotel is located outside the gates to Goodwood House and provides a luxury environment for visitors to relax. Besides 93 rooms, it features two restaurants (The Richmond Arms and Goodwood Bar and Grill), a health club with gym and swimming pool, plus The Waterbeach spa. The rooms are beautifully decorated. Among them are character rooms (situated in the 18th Century part of the hotel), garden rooms with private terraces, eight suites with separate lounge areas and newly

opportunity many a flying enthusiast dreams of – the chance to get behind the stick of

refurbished signature rooms – each perfect for a trip to remember.

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SPORTING CHANCE

SPORTING CHANCE Sports fans everywhere have countless reasons to be excited as the global calendar heats up this summer, with events taking place in some of the world’s best venues. Read on for a few examples of destinations blending the passion and glory of top-class sport with wonderful activities – perfect for front row access to all the action.

European Polo Championship – Chantilly, France One of the finest polo clubs in the world, the Polo Club de Chantilly in the Parisian outskirts, plays host to the European championships from September 4-14 this year, offering front row seats to the best that European polo has to offer. With teams from around the continent pitching up to compete, spectators of an equestrian bent can expect thrilling end-to-end action on an international scale. And while the international heavyweights saddle up, club level contests – smaller but no less important – will also be taking place simultaneously. Of course, spectators in attendance will be privy to the social niceties that events like these can offer, and there can be no finer setting for it than the Polo Club de Chantilly as it has some of the finest facilities in Europe. With nine grass fields set in an enchanting 220 acres of wood and farmland, the sporting event will take place under the watch of La Fédération Française de Polo and promises to be a hotly contested battle. Naturally, with the tournament lasting 10

away, there are a multitude of opportunities to step back from the action and take in some of the city lights. A fine option to temporarily call home is the Shangri-La Hotel, widely considered to be one of the city’s best. Originally a private residence to Roland Bonaparte, nephew of the Emperor Napoleon, the hotel has been meticulously styled on a vision of Parisian luxury. Its historic salons and grand halls have been painstakingly restored to their original glory, while the gilded nymphs that decorate the elegant and softly embellished rooms in elaborate flourishes are wonderfully apropos. Shangri-La has a total of 81 grand and lavishly appointed rooms and suites to its credit to suit the most seasoned palate. Each of the three restaurants is worth a try. Sample traditional French haute cuisine at Philippe Labbé’s L’Abeille, authentic Cantonese at the Shang Palace and French/ pan-Asian cuisine at the all-day La Bauhinia. On the whole, the hotel is une place idéale to access the city, revel in luxury service and get

days, there will be ample opportunity for other diversions and as Paris is such a short distance

stuck in the equestrian delights outside Paris – a wonderful prospect for any sports fan.

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While the fairways and greens of The Gleneagles Hotel are quiet now, approximetely 45,000 people will be dotted around the course by the time the first drive is completed, taking in the delights of the finest golf at the grandest venue on the biggest stage.

Ryder Cup – Perthshire, Scotland Golf, for better or worse, is now an Olympic sport, but many a European and American player would argue that even the chance of a gold medal pales in comparison to the ultimate prize in the storied game – the Ryder Cup. The event is a biennial head-to-head tussle between the best golfers from Europe and the United States, and is now a grudge match of epic proportions. But what makes this year’s event perhaps most significant is that the event is returning to its inaugural venue – The Gleneagles Hotel in Perthshire, Scotland – for the first time. With a history of a little over 90 years, this event is one of the greatest sporting rivalries, and is based on pride and passion inspiring some of the greatest performances by the

fans travel the world to get behind their teams. And while The Gleneagles Hotel offers the definitive seats to all the fine action across the Ryder Cup weekend, there are numerous stations around Perthshire from which to access the event, many of which will have their own share of entertainment beyond the first tee. The Fonab Castle Hotel, for example, is the perfect destination for those who want to be nestled in the county’s mesmerising beauty while enjoying baronial luxury. Located a stone’s throw away from the charming Victorian town of Pitlochry, the hotel was originally the home of the Sandeman family, who were wine and sherry merchants. In 2013, this Gothic-style mansion was refurbished by the Clarke Family and turned into a five-star

awards for its signature Scottish hospitality. The castle blends the old with the contemporary. Each and every element has been carefully chosen, and effortlessly combines the historical context of the building with a timeless opulence. The sensitive renovation has not only preserved the castle’s 19th century architecture, but also added a fully wooden, glass-walled log cabin, increasing its offering from 13 to 31 rooms. The rooms held within the cabin extension are no less opulent than those in the main building, and offer the additional benefit of direct views of Loch Faskally and the surrounding countryside. Still, its proximity to Gleneagles as well as the foursomes and fourball delights remains the main attraction. At a

finest of Europe and the United States. Magic happens at the Ryder Cup and die-hard golf

castle hotel. It has only been open a year, and yet, the establishment has already won several

mere 40km away, the Fonab castle has its feet firmly in two camps.

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Opera House Cup – Nantucket, Massachusetts There is something about sailing that captures man’s imagination – the harnessing of natural elements, the slap of water on hull, the snap of a full spinnaker in the wind, and the smell of salt proving to be a powerful mix. In its most modern incarnation, boat racing has become something of an extreme sport with carbon fibre catamarans slicing through the sea, and sometimes air, at often mind-bending speeds. Even then, there is still something very innate about those who eschew technology in favour of the traditional when it comes to sailing. The Panerai Classic Yachts Challenge is an international classic boat regatta that puts those with expertise in traditional sailing to the test. From the Isle of Wight to Antigua, the series itself travels the world, taking in some of its most beautiful locations. August will see the tour set a course for Nantucket, a small island

has a tremendous sailing pedigree, and every year, a large fleet of vintage boats gather there to enjoy a little racing alongside its picturesque scenery. The island also happens to have a unique little community that marches to the beat of its own drum, with distinctly boutique given preference over lavish luxury – perfect for those who crave a little seclusion without forgoing civility and all the pleasures that come with it. One of the finest boutique lodgings here is The Wauwinet hotel, a beachfront property of clear New England style and distinction. At once intimate yet luxurious, the property houses 36 thoughtfully-furnished guestrooms and four cottages allowing easy access to the wonderful beaches and quaint town against a soundtrack of the ocean’s gentle thrum. What makes the

detail. Should the sought-after Coatue Suite be reserved, the hotel provides a complimentary BMW SUV so that guests can explore the island at leisure. The rooms are a little compact but in keeping with the country cottage feeling of the hotel. They feature beautiful prints by John James Audubon, a 19th century ornithologist who documented the region’s wildlife, as well as handsome fabrics and an array of antique accessories. The hotel recommends you take advantage of its breakfast in bed, which is a somewhat romantic, silver service affair. Away from the magnificent sailing, the hotel offers a plentiful supply of additional activities to its guests, with private beaches on both the Atlantic Ocean and Nantucket Bay from which to watch the photo-worthy sunsets, launch lobstering excursions, take

48km south of Cape Cod on the American east coast, for the Opera House Cup. Nantucket

accommodation truly unique and the stay memorable is the personalised attention to

surfcasting lessons and enjoy scenic offroad drives.

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THE OLD WORLD AND THE NEW

The Grand Hotel et de Milan, run by the Bertazzoni family, is continuing its phenomenal legacy of elegant hospitality and international excellence with a century and a half of world-class experience under its belt. However it no longer stands alone. Its sister hotel, the newly-opened Straf hotel, may be the absolute antithesis of the Grand Hotel in aesthetic but proves to be a fitting successor to the ‘Milan’ in every other way.

The Grand Hotel et de Milan is one of those hotels that is so representative of the city in which it resides, it is something of a shorthand for

in London. Opened in 1863, it has a long and storied history in Milan, having played host to diplomats and divas, composers and countesses alike for over 150 years.

Maria Callas have all been welcomed through its doors and into its opulent lobby. At the end of the 19th century, Giuseppe Verdi – Milan’s favourite son – set up

everything the city embodies – much like the Waldorf Astoria in New York or the Savoy

Luminaries such as Enrico Caruso, Tamara de Lempicka, Gabriele D’Annunzio and

residence at the Grand Hotel et de Milan, perhaps because of its convenient location

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THE OLD WORLD AND THE NEW

In contrast to what can be seen at the Milan, the Hotel Straf is a modern declarative statement on contemporary hostpitality. Bold and thoughtful design is matched by excellent service and comfort, giving guests the very best of two very different worlds.

with La Scala only a few yards away from the hotel’s entrance. Verdi sadly took ill while staying at the hotel and passed away there in 1901. A plaque commissioned in Verdi’s memory still hangs in the hotel and reads: “This house holds the memory of Giuseppe Verdi who was a prestigious guest and who died here on January 27th, 1901. This plate was affixed on the first anniversary of his death by the municipality of Milan and with the unanimous consensus of the people to remember the maestro who revived Italian hearts with celestial harmonies, desire and hope for a motherland.” There is something so touching and completely appropriate about this plaque, and redolent of how the Grand Hotel treats all of its guests – as beloved members of a sumptuous yet intimate household, if only for a night. The traditional look to the hotel is a comforting homage to old-world style with grandeur and panache by the bucketload –

hotel’s legacy. There is a modern restraint applied that seems to take inspiration from the past without being stuck there. Run by the Bertazzoni family, the hotel is rich with history and opulent in design, with visible traces of the storied past mixing seamlessly with the present. The family business is chaired by Daniela Bertazzoni, daughter of hotel magnate Manlio Bertazzoni; she has run the Grand Hotel et de Milan since 1969. Today, her two daughters Alissia and Sarah have taken a leading role in the running of the business – the third generation of the family to do so. Having grown up around hotels, both are well-versed in the history of the ‘house’ and what guests ultimately desire when they book a stay – chiefly luxury, discretion and privacy set in a pleasant yet aristocratic ‘old Milan’ atmosphere. The family has, however, come to appreciate that although the hotel has a

wants to forgo heritage in favour of modernity – who crave a more forward-thinking version of hospitality. And this explains why the family has opened a second hotel in the centre of Milan – a sister project that could hardly be further from what is available at the Grand, offering avant-gardism aplenty with a strident definition of modern luxury. A stone’s throw from its elder sister, this design hotel was transformed from a 19th century palazzo into a space that is both bold and cerebral within a deconstructivist aesthetic. Raw, unpolished concrete juxtaposes strong furnishing choices and dramatic art choices that perforate its calming ambience. This feeling stretches from foyer to suite in a seamless flow, so much so that it is often described as a hotel-cum-art gallery or a grand scale installation. While Alissia takes the lead at the Milan, Sarah’s focus is on the Straf – and under Daniela’s guidance, both hotels stand independently and together

oozing from every sconce and chaise, but managing not to be too reverential to the

certain degree of service on offer, there is also a very different type of clientele out there that

under the unique stewardship of this highly experienced sorority.

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SPLENDOUR AND SERENITY

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SPLENDOUR

&SERENITY For centuries, Lago di Como has attracted travellers, merchants and explorers eager to get close to its serene pleasures. The Villa d’Este hotel and Concorso d’Eleganza Villa d’Este are the perfect excuses to experience its delights in person.

LAKE COMO Italy is full of gem-like treasures – destinations of such ubiquitous beauty and prestige that it is hard to imagine their equal anywhere else in the world. The country is truly blessed in this regard. One such gem, perhaps a pearl to the Amalfi Coast diamond, is Lake Como – two four-letter words that generate images of sumptuous beauty and sublime glamour. With Milan a mere 30-minute sortie away, it is a major attraction for throngs of well-to-do types who snap up the premium lakeside properties for summer vacation spots and the glitterati who pitch up for a fleeting taste of its delights. While Italians have used it as a weekend destination to get away from the hustle and bustle of the city for centuries, it was the steady flow of travelling writers, artists and grand tourers who discovered the place in the 19th century, attracted by the heady combination of Mediterranean features against the backdrop of snow-capped Rhaetian Alps. Even today, the rippling edges of the famed inverted Y-shaped body of water, is breathtakingly charming, dotted with small towns like the exquisite Bellagio, Lecco and of course Como.

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VILLA D’ESTE One of the most popular sights in all of Como is the house with which the area has become synonymous – the Villa d’Este. In 1568, the construction of a summer residence for Cardinal Tolomeo Gallio was ordered – a villa of princely style and grandeur in the once small fishing village of Cernobbio on the site of the cloister of Sant’Andrea. Undertaken by famed Italian architect of the day Pellegrino Tibaldi of Valsolda, the end results were spectacular, even by Renaissance standards. The house – a fine example of architecture and landscape design – was named Villa del Garrovo after the mountain stream that runs into the lake. After Gallio’s death, the house continued to be developed, with further embellishments spreading its fame far and wide. Even the Sultan of Morocco travelled to Cer nobbio in 1614 with the sole purpose of visiting the Villa and seeing for himself its reported splendours. The house remained in the hands of the Gallio family for more than 200 years, but when the clan moved to Naples, the house fell into the hands of several marquises and marchionesses until it became the home of Caroline of Brunswick-Wolfenbüttel, the then princess of Wales, in 1815. She named the house New Villa d’Este. The house subsequently changed hands multiple times after her death in 1821, with Prince Domenico Orsini and then Baron Ippolito Ciani taking ownership. Finally in 1873, the Villa was converted to a luxury hotel with 152 rooms, opening itself up to a grateful public that had been bewitched by the property since the early 19th century release of its guidebook by Louis Viganò. To this day, the grand hotel remains set in 25 acres of sculpted gardens and parkland. Of key importance is the lower part of the gardens, which are beautifully preserved examples of Renaissance design – a legacy upheld by the 500-year-old plane tree and 16th century Mosaic with its Nympheum it keeps. Such is the draw of the Villa. Even today, it is still widely held as one of Europe’s finest establishments.

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CONCORSO D’ELEGANZA VILLA D’ESTE The Villa, with its massive acreage and prime position, began to attract further international recognition thanks to the inaugural Coppa d’Oro Villa d’Este, an international Concoursd’élégance for motorcars, on the 1st of September, 1929. Wildly successful, the event proved that the villa could be a fantastic venue for a motorshow that celebrates all the joys of handmade coach-building – a show able to rival the established guard of Paris and Monte Carlo. It ran annually until 1933, when the Villa d’Este company unceremoniously withdrew its support for the event, forcing it to move to Villa Olmo under the patronage of Princess Maria José. The event was renamed the Coppa d’Oro Principessa di Piemonte in her honour. It remained this way until 1947 when, as a gesture of support to the ailing post-war car manufacturing industry, the format and original organisation structure was reintroduced. However, a crisis in Italian motoring was looming with manufacturers and coachbuilders in tremendous trouble. The 1951 event was postponed indefinitely, not seen again until 1995 when it was revived as a celebration of innovative design and vintage vehicular excellence. The event spluttered and faltered, unable to generate consistency of organisation and was abandoned in 1998. But by the following year, the event had attracted the attention of the BMW group who, with its three arms of Mini, Rolls-Royce and Bimmer, took over the patronage of the event, securing its future. It relinquished sole patronage in 2001, but has been the event’s key supporter for 14 years. Today the event is stronger than ever, and with the reintroduction of the referendum vote for visitors alongside the Coppa d’Oro for the grand champion, awards for the best design studies and concepts are also awarded – giving the event much-needed currency as well as retrospection. There are also motorcycle events for lovers of two-wheeled propulsion. While some days are by invitation only, the general public is permitted to attend on the last day of the event and take in all the delights that the Villa, lake and automobiles have to offer. The 2014 edition was held this past May, and yet again, displayed delights from across the manufacturing, restoration and coach-building spectrum. With Maserati still carrying out its year-long centenary celebrations, there was a beautiful parade of wonderful examples for the public to see and experience. And the brand was in celebratory mood too, with the new Alfieri Concept Sports Car taking the Design Award for Concept Cars & Prototypes and the Best of Show trophy going to a stunning dark blue 1956 Maserati 450 S. However the Coppa d’Oro went to an exquisite 1931 Alfa Romeo 6C 1750 GS owned by Italian collector Corrado Lopresto.

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