Signe - Edition 6 by Signé

S I G N É

DUBAI’S DYNAMIC ART DISTRICT

AL QOUZ’S TRANSFORMATION FROM WAREHOUSE DISTRICT TO UP AND COMING CULTURAL HUB

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CONTENTS

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032 FOREVER YOUNG An actor whose influence has long outstretched his short but brilliant life, James Dean remains the quintessential representation of cool

035 INSTINCTIVE APPROACH A watchmaker plying his trade on his own unique terms, Maximillian Büsser discusses his fascinating career trajectory

039 MAN FOR ALL SEASONS One of the biggest names in the fashion industry, Tom Ford continues to march to the best of his own beautifully styled and highly polished drum

042 STYLE STATEMENTS Rami Al Ali is a designer whose star is on the rise. A Syrian national based in Dubai for the last 15 years, his glamorous and captivating designs have garnered accolades and attention across the globe

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046

046 MADE TO LAST

Prada’s made-to-measure service gives its fantastic interpretation of menswear styles a personal touch

050 BESPOKE TRADITIONS From Napoli to Bur Dubai, Bespoke tailors continues its proud history of catering to a market of individual taste with its intriguing interpretation of menswear classics

055 SPIT AND POLISH For the gentleman who takes pride in his footwear, a guide to maintaining and caring for your beautiful bespoke shoes from famed cordwainer John Lobb

058 DIAMOND BRIGHT A guide to Gucci’s newest luggage style - a piece that is reminiscent of the past and a reflection of the future

063 TIME TELLERS What to wear and when to wear it, a step-by-step guide to watches from top luxury watch retailer Ahmed Seddiqi & Sons

071 STRATUM The long and intricate history of the tobacco trade and how the Cuban cigar came to be held as the paragon of class and quailty

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076 PATRONS OF TASTE Gran Maestro of the Ordine Cavalleresco Giancarlo Maresca talks about the establishment of his elegant society for gentlemen of taste

082 FOR HER As Fall draws near, a taste of what to look forward to for the rest of 2014

085 SPREZZATURA Looks abound in our run-down of the wardrobe essentials for the forthcoming season

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CONTENTS

PHIL ANTHROPY

100 GREEN SCHEMES

106 PATRON OF EXCELLENCE

From where we eat to what we drive, and where we spend our recreational time, the UAE is going green

Breguet’s esteemed patronage of the French arts is made clear by its exceptional patronage of the Louvre’s epic restoration

100

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CONTENTS

OBSESSION 112 DUBAI’S DYNAMIC ART DISTRICT With Al Quoz’s transformation from dingy warehouse district to up and coming cultural hub, we look at the projects that are changing the Emirati cultural landscape

118 GENTLEMAN RACER Dragon Racing chairman Leon Price discusses his life as a gentleman racer and reveals how his racing team can help the aspiring driver to the ropes here in the UAE

122 DREAMWEAVER Up-and-coming installation artist Faig Ahmed has a unique talent for combining the aesthetics of traditional Azerbaijani carpets with contemporary sculptural forms

112

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CONTENTS

H E R I TA G E

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126 ALL IN A ROW While Savile Row has its contenders, it remains the centre of the British tailoring

131 EASTERN PROMISE From East to West, how the Middle East came to inspire a new era of cultural assimiliation through fashion and design

134 THE RENAISSANCE The Renaissance period changed the world in irrevocable ways, and its legacy continues to be felt to this day

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L A D O L C E V I TA

146 HAUTE SOCIÉTÉ

152 ON THE ROAD

New and upcoming projects that have hit arived accross the country

Jeremy Hackett tells us about his travel habits and where he draws the most inspiration

150 ENDURING APPEAL

155 THE TIES THAT BIND

The small town of Le Mans in northern France is a small historical town with a big automotive pedigree

Marche Endurance Lifestyle illustrates the growing strength of Emirati and Italian bilateral relations

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F O R E V E R YO U N G

forever

young

James Dean’s star burned out far too soon but the iconic star lives on through his cinematic roles and his enduring rebellious styles that resonate through the age.

The use of the word ‘cool’ as a descriptor of informal agreement or approval has been around for so long now, it’s hard to imagine a time before it was part of our everyday vernacular. The first credited use of the word in this context goes to tenor sax legend Lester Young, a musician with a serious finger on youth culture in the mid-20th century. He popularised the word in jazz circles, but despite having coined the word (as well as the use of the word ‘bread’ as slang for money), his face would likely not appear alongside the word in the dictionary. That distinction would, in all likelihood, go to James Dean – a man whose image and cinematic performances still resonate with unquantifiable and iconographic quality

nearly 60 years after his untimely and tragic death at the age of 24. Born in 1931 in the state of Indiana, Dean spent his early years travelling between Mario (the small farming town of his birth) and California. Upon graduating from high school, Dean went back to California with the intention to study law at Santa Monica College. However, this was to be a shortlived foray into ‘professional’ life. Beneath all his smarts, there was an attraction to the creative arts that triggered the young Dean to abandon law and enrol at UCLA in order to major in theatre. However, Dean was quickly on a fast track to stardom. After making a single appearance on stage as Malcolm in Macbeth, he dropped out of college and quickly picked up work in

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a Pepsi commercial. This led to several television appearances through which he began to make waves and grab the attention of studios. But Dean wanted to truly learn the craft of the stage arts and in 1951, made the cross country move to New York in order to study method acting – a thoroughly cerebral approach to character preparation – under famed acting teacher Lee Strasberg. Rather than simply making believe, followers of the Strasberg method endeavoured to immerse themselves in their characters and become someone else entirely by embodying every character trait, which is then manifested through their performance. Dean surely benefitted from his training under Strasberg and very quickly moved up the ranks to make his big screen debut in the

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F O R E V E R YO U N G

Screen icon James Dean (1931 - 1955) plays aging millionaire Jett Rink in the Warner Brothers film ‘Giant’, adapted from the novel by Edna Ferber and directed by George Stevens.

cinematic version of John Steinbeck’s East of Eden. Following this performance, he went on to star in the film that came to immortalise Dean – Rebel Without a Cause. His portrayal of teenager Jim Stark was mesmeric, and when one thinks of Dean’s style, it is often blended with the character of Stark – young, reckless, a little lost and breaking the rules. Dean subsequently starred in the big Hollywood production Giant alongside Elizabeth Taylor and Rock Hudson, and once again, stole the show. In a mere three cinematic appearances, Dean had managed to leave an indelible mark on popular culture, displaying a raw and unbridled talent as well as the ability

to create characters that crackled with life. Sadly, though, he wouldn’t live to revel in the successes of these films. Dean was an avid racer and died in a massive car accident on September 30, 1955. The world’s youth mourned the loss of a star that burned bright and fast. But while Dean the actor was lauded for his unique approach and commitment to his roles, his cinematic legacy was much shorter than his shelf life as a symbol, which all too often obscures his tremendous talent. He is as much today as he was then, the physical representation of teenage rebellion, of single-minded bravura and emotion. Such is his mystique that even today, his unfussy

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uniform of jeans and leather jacket, scruffy beatnik hair and cigarette casually drooping from his lips has become a representation of studied carelessness, and is revived time and time again in modern fashion circles – biker chic as a kind of visual shorthand for his particular brand of ‘cool’. He became a rallying point for youth culture around which people could rebel against a world they never made, and one they didn’t choose. Three cinematic starring roles hardly seems like a solid foundation for such cultural impact, but so earthshattering were his performances to the audiences that looked up to him that he would stay forever young.

Instinctive approach ROSHIN RAHMAN HAS A CHAT WITH MB&F FOUNDER MAXIMILIAN BÜSSER – A WATCHMAKER WHOSE MISSION IS CREATIVITY, AND FOR WHOM, TIME IS AN AFTERTHOUGHT.

How did you come to establish MB&F? Watchmaking saved my life. About 23 years ago, I was coming out of my engineering studies and was about to go and work for Procter & Gamble’s marketing department, which was big corporation marketing. Luckily for me, I bumped into Henri-Jean Belmont, Managing Director of JaegerLeCoultre, on a ski slope in Verbier. He invited me to visit the factory where he persuaded me to join his company. JaegerLeCoultre, like so many watchmaking firms at the time, was virtually bankrupt because of the quartz revolution – but on that factory tour, he sold me his dream about

how he was going to save the company and re-launch the business. With JaegerLeCoultre, I found a family and a passion. Belmont helped me realise that I didn’t want to be one person in a company of 200,000; I wanted to be one of four people who were going to save Jaeger-LeCoultre. I had spent seven fantastic years before I was headhunted for the Managing Director’s post at Harry Winston Rare Timepieces. I was 31 and about 10 years too young for the position. What I didn’t know at the time was that Harry Winston was virtually bankrupt at that stage, and was about to get sold. My mandate was to save the company. This was the hardest thing I have

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done in my life, but we managed to grow the company and made it successful again. I learned two things during my seven years at Winston – the first being that I could run a major company. You don’t know what you are capable of until you try. The second was that as the company was growing, I became less and less satisfied on a personal level. When my father passed away, it set a lot of things in motion – I started questioning what I was doing with my life. Even though everyone was proud of me, I was not very proud of myself because although I was creating products, I was doing it for other people. I was a marketing guy; I looked at the market and made decisions about

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what it wanted, I made it and sold it to them. I was good at it, but it was nothing to be proud of. I felt that i was trampling the values my parents tried to give me on a daily basis just to make money for the shareholders. I decided I had to take my life in my own hands, create my own company, and create products I believed in. So I went away and developed Maximilian Büsser & Friends, and I’ve tried to abide by my parents’ values. It hasn’t always been easy, but its great that i get to work with people who share the same values. Where does the unique inspiration for MB&F timepieces come from? MB&F is the only watch brand that will say giving the time is not the point. We create mechanical works of art. Since the quartz era in the 1970s, the reasons for anyone to create mechanical movements have not been in the pursuit of accurate time keeping but rather to admire the artistry behind their creation. MB&F takes that idea one step further, deconstructing traditional watchmaking and reconstructing it into a sort of 3D kinetic sculpture, pieces which give time as an afterthought. The company is one of the more outwardly creative ones in the industry. How do you balance the creative spark with practical business decisionmaking? Amongst the many enemies of innovation and creativity, marketing is number one. As a creator, I try not to focus on market requirements. I’ve made innovation really simple by taking the markets perspective out of the equation. The only boundary I currently have is technical. In a regular company, you can’t come up with crazy ideas if it is believed that they won’t sell. I don’t have any of those issues. Whatever I design is a case of ‘How do I get this to

MB&F HM. 3 SIDEWINDER

work? How can I take what is in my mind and make it real?’ and not ‘Who is going to buy it?’ Sometimes we have to compromise because a design we have come up with is really not possible, but taking marketing and market perception out of the equation has streamlined things a great deal and left us with the creative freedom to make whatever we can imagine and is technically achieve. Making an MB&F watch is an extremely capital and time-intensive process. It takes anywhere between three to four years at least for a design to become a reality, which is super frustrating because an idea I have today will, at best, come out in four years. How would you describe the aesthetic of MB&F?

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We are a very bipolar company in that we’ve got our Horological Machines (HM) with all these crazy kinetic pieces, and then you have the Legacy Machines (LM) that are me imagining what I would have done if I’d lived in the 19th century. The former takes a completely instinctive approach whereas the latter are more mindful. When I set about starting MB&F, one of the clear points was that there should be no ‘brand DNA’. I wanted to be able to create whatever I wanted at any given moment. However, people have commented that there is a discernable coherence to the eight pieces I have released so far, which upsets me a great deal because MB&F is supposed to represent freethinking design! But it has become clear that you cannot escape brand DNA because each piece is infused with a bit of my own DNA– the common thread is myself and what inspires my personal creative process. When I made the HM1, the first piece, it seemed so radical and extreme. Today, I look at it and it seems so tame. I’m very fond of it, but wouldn’t design something like that today. I realised that as I keep evolving as a human being, thereupon what I create is evolving and maturing too. Tell us about the new LM101? What makes it special and unique? During the creative process of designing the third watch in the LM range, I realised that LM01 shouldn’t have been my first LM. My first LM should have been something much simpler so I started looking at what I should have been looking at before. I wanted to design a prequel, not a sequel to the series – a timepiece that sets the scene for the LM range. We created the LM101 to be the essential legacy – stripped down to its bare essentials. It is much more difficult to create something more simple than complicated, and our legacies are big babies so that whole challenge was to make it the most elegant

The friends from Maximillian Busser & friends.

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MB&F HM4 RD DOUBLE TROUBLE limited edition of 8 pieces

and thinnest piece ever. You can wear it in any circumstance and even though it is very innovative with its incredible balance wheel, it remains something extremely sophisticated. I believe that someone who loves a classic Patek Philippe would also love the LM101. But that isn’t why we made it; we did it because we wanted to create the most elegant timepiece possible. It’s our third calibre, but also important for us because we developed it in-house for the first time. From there, it was a very big learning curve for us because our calibres had previously always been developed externally. It also allowed us to come out with two movements this year, the second being for the HM6 that was developed in collaboration with outside involvement and which we will be launching in November. What kind of following does MB&F command and enjoy here in the Middle East? Up until recently, very little. The Middle East is a very open market where people are receptive to new ideas, which is good for usì but it has been very focused on brands, which has been a big problem for us. We’ve had a hard time here but in the last six to twelve months, we’ve seen a dramatic increase in

interest and sales. I believe that this change is because of Instagram. We have changed nothing in our business model in that time except open our Instagram account with 4,000 followers, many of them from the Gulf. I’m always amazed when I hear that people know we exist. Who is an MB&F customer? People who buy MB&F watches are courageous people because they are buying an object that is not known, one that people would not recognise and that many people will not understand and perhaps even criticise. So the owner has to be a bold personality, similar to us. One of the biggest problems we have is that the people who know about us and love what we do are the people who can’t afford it. I, myself, cannot afford one of my own timepieces because I have invested so much into it, but that’s okay because I get to create them. Those who can afford them don’t know about us yet, which is something we are working on. You clearly have a deeply entrepreneurial spirit. Where would you like to see MB&F go from here? I am in the process of moving to Dubai – the first watchmaker and brand to do so.

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I’m personally looking for a better work-life balance, and I believe that the future is here. Many people may not understand Dubai, but I completely understand the vision that Sheikh Mohammad is trying to achieve, and I’m always amazed when I am here. Asia is my biggest market and by moving here, I can cut my travel time in half. The workshops will stay in Switzerland, but I will live and work here. On a business level, I announced earlier this year that MB&F has reached its ideal size. It has taken me nine years to get to this point and we are going to continue to create an incredible array of pieces, but consciously not expand our business because if I do, I will be putting it and also my ability to create in danger. If my overheads start growing, I wouldn’t have the courage to take the creative risks that I have in the past. MB&F is a small business, which means that we can be flexible, reactive and fast. I have been reading Sheikh Mohammad’s book ‘My Mission’, and he said something that really spoke to me – that we have to be fast because the fastest always overtakes the biggest, which is exactly what I’ve been saying for years. Creating MB&F was a life decision, not a business decision. It’s a pretty tough business model in terms of fiscal success, but it works perfectly as a model for me.

Man for all seasons Tom Ford has been at the forefront of fashion design for well over 20 years. His journey may have been a winding one, but it was his independent spirit that led him to the top of the fashion heap.

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MAN FOR ALL SEASONS

Tom Ford is a man who knows what works – that secret formula, which takes a mere fashion concept to an idolised garment to be coveted by men and craved by women. His clothing, perhaps more than many other high-end luxury designers, strikes a chord with the critics and the public in equal measure. And in a career that has spanned a remarkable 25 years, Ford’s ‘moment’ of relevance does not appear to be approaching its end, nor does his personal take on the sartorial world diminishing in cultural currency. After all, if Jay-Z names a song after you, you’re obviously doing something right. Ford’s trajectory from successful TV and commercial actor, turned

director, turned architect to fashion designer is perhaps the most unique to the fashion industry. From the beginning of his professional life, Ford continually found himself tripping over fashion design while looking for his niche in the artistic world. Developing other ideas and working in his own inimitable manner, he would accidentally (if not incidentally) incorporate clothing design into his various creative projects. After a few years in various disciplines, he eventually realised he was meant to be a designer and without much in the way of traditional training, drew up a portfolio and began his fashion journey in New York. But Ford was not destined for a place in the chorus line

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– this man was a star and it showed early. Four years after his start with Cathy Hardwick in 1986, he had worked himself up the ladder of New York fashion, eventually establishing himself in the design team of one of Italy’s biggest names – Gucci. By 1992, he was appointed to the position of Creative Director. In Ford, Gucci found a man for all seasons. He was a sophisticated designer with the foresight to promote and elevate the brand with an intuitive understanding of fashion and an innate ability to dictate trends and revolutionise public perception – something the then ailing and nearly bankrupt brand desperately required. In the process of getting the brand back on its feet, Ford became a shrewd businessman and injected a much needed air of exclusivity and sexy ‘70s inspired glamour into Gucci, and the brand quickly turned over a new leaf. By 1999, his guidance and creative zeal had boosted Gucci’s value to $4.3 billion. So successful was the feat that Harvard Business School started teaching a course on the manner in which Gucci was revived under Tom Ford and Domenico de Sole, which was held up as a paragon of strong and sensible business practices. In 1999, Gucci acquired Yves Saint Laurent and Ford set about applying his sultry brand of design to the Parisian fashion house. The man’s appetite for design during the late nineties and early noughties was insatiable. Working on two brands simultaneously and putting out 16 annual collections with a distinct style and mass-market appeal meant that Ford rarely slept. He was driven to create a sense of luxury that was aspirational, wearable and eminently fashionable. However, it was not to last long and by 2004, Ford had worked himself to a standstill. After disagreements with Gucci CEO Domenico de Sole and the PPR group over the creative direction of Gucci and YSL, he parted company with the brands, bidding farewell to this monumental chapter of his life. After taking a breather from the fashion world and completing the script for his much longed for directorial debut on the Academy Award nominated film A Single Man, Ford felt ready to reinvest

in his fashion credentials and set up his own brand – Tom Ford International – in 2005. The Tom Ford name still carried tremendous weight and he capitalised on it, displaying his typically savvy business acumen by developing an accessories line of eyewear and cosmetics. Their accessible price points allowed the Tom Ford brand to proliferate public consciousness faster than if he jumped directly back into the fashion pool – an always expensive and time-consuming endeavour. This move provided quick results and spectacular dividends with the eyewear range, which achieved a $350 million turnover last year, while the cosmetics arm is projecting a $250 million turnover this year. Despite this shrewd manoeuvre, Ford would not stay away from fashion for too long and developed his first menswear line in 2008. Whereas the cosmetics and eyewear lines had a palatable price point, the clothing was a quite different affair. His suits carried stonking price tags, as Ford was not about to denude or dilute his fashion clout. Tom Ford was to be an aspirational brand, and Ford would keep his name at the top of the market. His intuition in this regard was once again proven right when the financial crisis rocked the luxury market that same year. While spending in the luxury menswear sector nosedived in the immediate aftermath of the crisis, it was a short-lived affair and the ultra high net worth clientele that Ford was targeting quickly returned to their lofty spending ways. Perhaps it was his intuition or the desire to walk before he ran, but the development of the men’s line certainly paid off. Ford re-entered the womenswear scene in 2010, having prepared for the onslaught that this segment presents. He is back to creating beautiful and sensuous clothes, this time with a fresh perspective. Now based in his sparkling new headquarters in London’s Victoria, Ford continues to grow his brand with outlets springing up worldwide and Tom Ford products being distributed to franchisees globally. With his empire firmly established, Tom Ford the designer, businessman, style icon and master of his own fate is yet again doing what he does best – run the show.

But Ford was not destined for a place in the chorus line – this man was a star and it showed early.

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S T Y L E S TAT E M E N T S

“Luxury to me is a combination of beauty and practicality because its not often where those two worlds can meet.” RAMI AL ALI

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Style statements Rami Al Ali is a designer whose star is on the rise. A Syrian national based in Dubai for the last 15 years, his glamorous and captivating designs have garnered accolades and attention across the globe – with even Beyoncé having picked up an exquisite laser-cut silk gown for her Mrs Carter Show world tour. However, behind the organza, satin, tulle, brocade, embroidery and sequins is a man for whom personal taste is about striking a balance between East and West, and for whom style is more about the whisper of quality than a scream of extravagance.

I think being in the Middle East, we have a celebratory attitude towards life. We treasure fine things and appreciate them a great deal. I believe there is an intimate relationship between Middle Eastern culture and wanting to display the very best of yourself; that is why I was drawn towards a sense of glamour in my work. When in a glamorous atmosphere, you are almost forced to change your behaviour and body language. There is a change in attitude when one wears a tuxedo and patent leather shoes compared to jeans and a t-shirt… you cannot help but see and feel a completely different character within. I find that dressing in a more formal way draws upon the spirit of a different era, like the 1940s and 1950s, the ‘Gatsby’ days. It is a sort of impersonation that is brought about by the way you dress. You immediately transform, which is something I find very beautiful.

I come from a country that was exposed to fashion quite a long time ag o. However, Syrian fashion stopped evolving in the ‘70s and ‘80s, and even then, it was certainly more practical than it was stylish. I took a bit of my background and what I had at the time, and used the tools that living in the UAE provided me to try and evolve that sensibility of blending Eastern and Western fashion. There is a wonderful sense of indulgence and sophistication that Middle Eastern influences offer and I reached a blend that is still part of my fashion house’s DNA.

I moved to Dubai in 1997. At that time, there was a big difference between the Gulf region and other countries in the Arab world in terms of style, life and approach. Then, global tastes had not yet impacted the UAE so when I moved here, fashion was very precise and specific to the Gulf client. It was only the start of the era of big media magazines and the Internet revolution, and the big fashion boutiques had not yet opened. After that, tastes and styles began to blend and mix, resulting in the market we see today. Personally, I love classical styles with a twist Things that can last in your wardrobe for a long time, and you can reach for again and again. I’m very careful about what I select. Of course, there are pieces that I fall madly in love that I perhaps only wear on one or two occasions, having made a statement. But in general, I go for classic pieces that can be mixed and matched, wearing them at different occasions and during different seasons. I love Victor and Rolf. They have maintained the same DNA for quite some time and I admire what they do for both, men and women. I find what they do really interesting. They have genuine respect for their clientele, which I like. Their clothes are elegant and beautiful, but with a sense of humour and fun. I always look for a great fit that gives a really nice physique, showing the right definition and silhouette for my body type..

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I look also carefully at the finish and fabrication – the fall of the fabric, the detailing, and the selectivity of where embellishments are placed. I’m experimental when it comes to choosing fabrics, as long as it’s interesting and practical. I’m not really a collector of watches, but I’d like to think I have the basics that anyone who appreciates them might have. I’m a huge fan of Bulgari as a watch brand, particularly as they have started to make the mechanisms themselves, which makes them even more reliable… it’s a watch and an accessory. I don’t like pieces that you simply look at when you need to tell the time; Bulgari is making beautiful timepieces that you want to look at all the time because they’re captivating. I also love the latest collection by Harry Winston. They are very classical with a touch of modernity, which makes them eternal. I prefer simplicity in a mechanism but I think if you are into collecting, it makes sense to acquire more complex pieces. When I’m on the road, I cannot be without my communication gadgets. When I’m at home, it’s a bit different. There are things I have gotten used to but I think I’m a bit of a chameleon, and I find it easy to adapt to my surroundings – put me in a new environment and I will immediately blend in. In my career, I hope to achieve stability. Stability is what I always look for, whether it is in launching a new line, moving to another fashion capital or dressing a celebrity – I always look for a sense of stability.

Savoir Faire Savoir Faire

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MADE TO LAST

Made to last PRADA’S MADE TO MEASURE SERVICE GIVES ITS DISTINGUISHED CLIENTS ACCESS TO THE INIMITABLE STYLE OF THE MILANESE POWERHOUSE, YET ALLOWS ROOM FOR A DOSE OF PERSONALISED TASTE.

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When it comes to fashion, few clothing brands command attention like Prada. Its unconventional mode of sartorial presentation inspires wanton glances and lingering stares in equal measure – courtesy of lean lines, rich colours and formal presentation elegantly blending the ideas of luxury, sex appeal and classicism. However, while the Prada items that are available off the rack are often spectacular, the made-to-measure service provided at 40 of its international stores produces garments of sublime quality. The Italian fashion house is renowned for its almost maniacal attention to detail and is consequently meticulous in both, presentation and message, and this carries through from its ready to wear lines through to its su misura range.

The customer can order suits, coats, jackets, shirts and trousers in a multitude of forms, all bearing Prada’s inimitable quality. All items produced are crafted entirely by hand in the grandest tradition of the tailoring process, with each garment going through hundreds of steps prior to completion. But while the process is traditional, the innovative sprit of Prada continues to shine through with embellishments and details evolving constantly to reflect the times and the styles of the moment. The suiting tradition at Prada is exceptionally strong and with 300 fabrics to choose from – including finely woven wool, mohair and Guanashina – clients can be as avant-garde or traditional as they see fit. Speaking of fit, jacket and trouser

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styles are also plentiful, with the tailors on site able to help the customer find a shape that will enhance their best attributes while diminishing less favourable ones. This can mean a suit will come with two or three buttons, trousers can come with pleats or without, and finishing flourishes such as lapels and pockets are all advised on and selectable. The same can be said of shirting. Clients can choose from four shirt models: classic, tight fitting, slim with pleats, and short-sleeved. Once the shape has been chosen, the client’s measurements are taken and a choice of seven different collars and six cuffs is offered. Further enhancements such as monogramming and adding additional pockets are also available, but in a classic Prada shirt, a 5mm box pleat can also be added.

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MADE TO LAST

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The fabric options range from classic fine men’s shirt fabrics to Prada’s historic archive of prints, and are made from silky to the touch gossamer cotton. Should a customer be in the market for a coat, there is no finer option than Prada, with 30 materials from which to make a selection – including exquisite cashmere, rare Vicuña and Guanaco. Prada is famed for its militaryinspired cuts and fashions, and its coats are exquisite representations of the brand’s design clarity. Be it a classic two-button, three-button or double breasted with pointed lapel, the surest thing is that the outcome will always be elegant, cut and fitted to perfection. All of these options are presented to

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clients at the Prada VIP rooms. Here, clients will enjoy a private, intimate atmosphere as they go through each step of the process, from selecting the model and fabric to having their measurements taken. Each store participating in the Made to Measure service will have a specially-trained member of staff taking measurements and handling everything else that follows: fabric selection, determining the best fit for the client, and the choice of customised details. Through its bespoke service, Prada manages to create garments that have everything you would expect from a traditional tailor, offering the opportunity to create the perfect suit to match your personal taste.

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BESPOKE TRADITIONS

Bespoke traditions From humble origins, Bespoke tailors in DIFC has grown up alongside the country and consequently has a unique perspective on tailoring in the UAE.

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Those familiar with the galleria of luxury stores in DIFC will have undoubtedly cast their eye upon Bespoke, a traditional gentleman’s tailor of distinct pedigree within the UAE. Established in Dubai in 1956 even before the UAE was founded as a nation, the shop was set up by Pitamber Nagji Parmar, a tailor who migrated from Mumbai to what was then the Trucial States – a desert enclave under the governance and protection of Great Britain. The original store was located at the heart of the bustling trade centre in the old Abra market in Bur Dubai and catered to the British contingent, providing military uniforms and European tailoring options when Western influence here was limited. Iranian traders also became a key source of business and as the country became more grounded, so too did the atelier, thriving for a further 50 years. In 2006, it was time to expand and the tailor opened a luxurious store in the heart of the city’s financial district, an area run by gentlemen and women for whom bespoke tailoring is par for the sartorial course. Parmar’s son Prakash along with his brothers runs the store.. His entry into the family business is much like that of any young apprentice. “My father said to me: ‘Your exams are over? Good. Come to the store tomorrow’. That was summer of 1986. I’ve been here ever since,” he recalls. Having lived and worked in the UAE for so long, Prakash is in a unique position to be able to cast an authoritative eye on the unique savoir-faire of the region’s bespoke tailoring industry, and has seen tastes and the preferred styles of cut evolve. “Up until the turn of this century, the fashion trends were mostly in the English tradition and the tailoring techniques that we tended to follow were the same as those followed by Savile Row tailors,” he says. However, Prakash has noticed a shift in the last decade towards more modern

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BESPOKE TRADITIONS

styles: “From 2000 onwards, we have seen a shift in clients’ preference towards more comfortable and relaxed cuts. Perhaps with onset of the Internet era and more international brand awareness, tastes have shifted. Today we see more and more clients opting for the comfortable fit that an Italian suit can offer.” The market here still favours the more traditional, however the aggressive temperatures make typical English suiting very difficult to wear day-to-day. This is where the Bespoke method of tailoring has adapted to become more versatile, which means its customers have access to greater variety in their suiting. “We specialise in making structured jackets, but with the comfort of Italian tailoring. We have developed ways in which to incorporate the use of light raw materials into the armorial styles of the English jacket without losing the functionality of heavier canvases or differing from traditional shape or finish. We are not restricted by habits of either Italian or English tailors. We take the best from both techniques and make something new and different – perfectly designed for customers in this climate,” explains Prakash.

Charming character Signé has previously spoken about the seminal effect that the Neapolitan sartorial movement has had on fashion since its permeation from its Italian bastion in Naples into international menswear lines. For many, the Italian tailoring is considered as a flamboyant sartorial approach but BESPOKE describes the characteristics of a Neapolitan jacket and how it is diverse and a perfect fit for the middle eastern weather conditions. The style has become a genuine and valid alternative to the rigidly ‘stuffy’ and conservative suits that have dominated menswear for centuries. But to really understand how the Neapolitan look has come to alter the perception of relaxed yet formal menswear, it is important to understand its key elements – particularly the jacket. In the symphonic world of gentlemen’s tailoring, the trouser is the bass line but the jacket is the melody. Except in Naples, the entire composition operates in a 5/4 time signature, making its garments a little avant-garde and surprisingly complex despite their outward simplicity. One of the biggest differences between traditional Neapolitan and armorial styles can be seen in the overall silhouette. The cut of the jacket should give the overall impression of a leaner torso without highlighting the narrowness of the waist. All the little details are unified by a single theme, showcasing the natural features of the body without overemphasizing them.

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The shape of a Tasca a Pignata patch pocket is inspired from the shape of a brandy snifter

I L L U S T R A T I O N : V I S A K A VA R D H A N

Neapolitan jacket features

Spalla Camicia shoulder

Con Rollino shoulder

This is where the seam allowance at the sleeve head is tucked against the shoulder. The sleeve falls and flows down the arm with the excess fabric puckering and creasing as it goes, giving an air of studied carelessness.

A more structured shape with the excess fabric at the top of the arm rolled up, which bulks the area and pushes the sleeve head upwards and creating a noticeable upward lift to the shoulder.

Notch and gorge

Lining

The gorge is also manipulated to create optical illusions in shape. A high gorge (the seam that connects the collar and lapel, which is often conflated with the notch in the lapel) will create the illusion of a slim line and extra height, and the Neapolitan style is perhaps the highest of them all.

There is a minimal use of padding and lining in the Napoli tradition. This has come about as something of an evolutionary necessity to combat the sweltering climate of Naples. The reduced structure provides greater mobility, freedom and utility while emphasising the natural features of the body.

Pignata patch pocket

BarchetTa pocket

The hip pocket is also unique in style and should be cut into a pot-like shape, similar to that of a brandy glass.

Traditionally, the breast pocket should be a Barchetta pocket (barchetta translated from the Italian word for ‘little boat’) and is characterised by an upward sweeping concave shape. It is not a superfluous design decision, however, as the shape will emphasise the shape of the chest.

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‘Bespoke’ style advice BY P R A K A S H PA R M A R

When dealing with the heat, it’s important not to lose your sartorial edge. Wear trousers and jackets in a mix-and-match fashion that will achieve a sense of casual luxury. Choose fabrics that will suit the environment. Natural fibres handle the heat best so jackets should be in linen, silk, cotton, blend or high twisted wools for natural breathability. Also it is wise to opt for half-lined jackets – in this heat, the fewer layers, the better! Style comes from making bold, memorable choices. For this season, check fabrics are very much in vogue, and they offer the chance to be adventurous. We source our fabrics mostly from Italy and Britain, as they are two countries that are still producing top quality fabrics. The Italian innovation in the production process is unmatched, and resultantly, their fabrics are of exceptional quality and performance. The Italian fashion brands are very flamboyant by nature, which is reflected in their ability to come up with new designs, colours and concepts every year. Keep your suit cut and colour on trend. Single breast one-button peak lapels or double breast twobuttons are very popular at the moment, but the length of jackets need to slightly shorter than regular. It’s also important to remember that one doesn’t simply have to go with traditional colours. Basic grey, black and navy are fine but if the opportunity presents itself, go for something bright. When building your wardrobe, it’s important to understand your needs. Before visiting your tailor, the ratios of suits to jackets and formal to smart casual need to be clearly defined. There is no point in having a wardrobe full of smart casuals and formal suits and not having a dinner suit, especially if you need it on a regular basis.

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Spit and polish A STEP-BY-STEP GUIDE ON HOW TO LOOK AFTER YOUR PRIZED BROGUES AND OXFORDS WITH THE HELP OF CORDWAINING POWERHOUSE JOHN LOBB.

After 150 years of experience, the quality of every pair of John Lobb shoes is assured as each benefits from six weeks of meticulous hand craftsmanship, finishing and inspection. They are fashioned only from premium leathers sourced from tanneries that use the finest time-honoured treatments, thus guaranteeing each shoe’s superb quality. Every pair of Lobb’s is hand-cut from a single piece of full-grain leather to ensure that the shoes are identical – both in quality and the way they fit the feet. In addition to the fine quality of the materials used, the wealth of experience and attention to detail that goes into constructing a pair of John Lobb shoes means that, with care, they will not only last a lifetime, but become even more comfortable and handsome with age. While one can have their shoes polished professionally, the satisfaction of looking after your own shoes is something that John Lobb recommends. Here are some tips straight from the brand on how to best look after a prized pair.

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SPIT AND POLISH

HOW TO LOOK AFTER YOUR

LOBB’S In order to appreciate your John Lobb shoes to the fullest, we recommend certain simple procedures: 1. Always use a shoehorn – it will help to keep your shoes in perfect shape. 2. Walk your new shoes in gradually, wearing them for only a few hours in dry conditions during the first few days. This will allow the leather to soften and better fit the shape of your foot. 3. Rotate your pairs of shoes, so they can dry out properly and breathe. 4. Always use shoetrees – they keep your shoes in their optimum shape and help to remove creases.

John Lobb medium shoehorn

John Lobb shoetrees

NOURISHING AND POLISHING Prior to polishing, dust over your shoes with a brush and clean the stitches with a welt brush. Choose a jar of shoe cream that is slightly lighter than the colour of your shoes to preserve the original shade, or a slightly darker shade if you want to deepen their original colour. Using a clean cloth wrapped around two fingers held together, apply the cream sparingly with a circular motion. Progressively work the shoe cream into the leather and use a welt brush to make sure it has penetrated the welt. Once the cream has dried, polish it off with a soft brush until the desired lustre has been achieved.

Polishing chest

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WAXING AND GLAZING In addition to the regular use of cream, we recommend that you also occasionally use a wax polish. It gives your shoes both, a wear-resistant coating and a more intensely gleaming patina, especially to the toe and heel. The wax should be applied in a fashion similar to the cream, though more sparingly and with a lighter touch, using a slightly damp cotton cloth to achieve a brilliant, glazed effect. Give the final touch, preferably whilst wearing the shoes, with a soft cotton cloth. Upkeep of suede shoes is easy – simply brush them with a stiff bristled (preferably not a wire) brush.

Black Wax

Buffing Glove

REPLACING THE SOLE Your John Lobb shoes are exceptionally robust. When, eventually, they require re-soling, just return them to any John Lobb outlet. We will carry out a full inspection of your shoes, undertaking any minor repairs. The entire sole, welt and insole will be removed and replaced with new ones. Your Lobb’s will then be expertly re-polished and returned to you as near to new as possible.

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SA EC VO T II O R NF ANIAR M EE

DTIIAT M LE O NODF B TR H IEG SHTTO R Y

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Diamond Bright GUCCI’S PRE-FALL RANGE OF LUGGAGE TAKES AN OLD CLASSIC AND GIVES IT A REVIVED 21ST CENTURY SPIN.

The 2014 Gucci Pre-Fall luggage collection has brought about a re-imagining of a typically Gucci motif in a powerful 21st century fashion. The Diamante design has a pleasing geometric aesthetic that is simultaneously subtle and striking. The original design dates back to the 1930s, initially appearing on woven luggage. However, the reinterpretation here sees the durable calfskin leather heat embossed with the design and revealed in a range of arresting hues such as bumblebee yellow, oxidation red and cove blue alongside more understated shades of black and brown. The motif can be seen on a number of different shapes, courtesy of totes, briefcases shoulder bags, messenger bags and the ubiquitous duffle. The look is current and confident while maintaining the allimportant sense of researched authenticity. Functionality is key; the exterior features adjustable/detachable leather shoulder straps and zip closures while the interior has been fitted with smart pockets for tablets and mobile phones, making them the perfect option for any perceivable need – be it a day trip or extended weekend.

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DIAMOND BRIGHT

1 Leather screening to identify the best area to cut

2 The side of the bag is manually cut and the diamante patterns carefully centered by the artisan

3 Gluing of the side patch for the shoulder strap to be attached 4 After the gluing process, the patch is hammered to the side of the bag, before the stitching procedure.

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7 Stitching of leather trim on front panel 8 The side of the bag is shaped through a mould

5 Stitching of leather trim on front panel 6 The side of the bag is shaped through a mould

Tools used to create the id tag hammer, ruler and piercing tool

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DIAMOND BRIGHT

“Without craftsmanship, inspiration is a mere reed shaken in the wind.” JOHANNES BRAHMS

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TIME TELLERS From sporty, sophisticated, business and casual, top luxury watch retailer Ahmed Seddiqi & Sons assists us in a selection of timepieces that serve a variety of occasions from its portfolio. BY REBECCA ANNE PRO CTOR

A watch is a man’s single most important fashion accessory. There is no other item that defines his sense of style and personality more than the watch he wears. But like clothing, watches too have special uses. There is of course the status quo watch, a staple accessory that he wears daily to emphasise who he is. And then there are watches that serve a variety of particular purposes such as elegant night out, a critical business affair, sports training and more casual encounters. Regardless of the occasion, the watch you wear becomes a defining character trait. Ahmed Seddiqi & Son’s portfolio of brands is a watch lover’s dream. One of the region’s most iconic watch and jewellery retailers, it has a history that spans over 60 years and carries such names as Messika, Roger Dubuis, Dior, IWC, Richard Mille, Bovet, Chanel and MB&F, among many others. But what defines Seddiqi’s approach to luxury timepieces is its ability to successfully marry the cultural sensitivities of the Middle East with a cutting-edge and international vision. Here is just a sampler of some of the company’s top brands, fitted appropriately into each relative occasion. It’s for you to pick and choose which one best suits your needs.

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TIME TELLERS

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BOVET RECITAL 15

Business You have a powerful role at work. Your sense of style needs to reveal a commanding and confident appearance – one that prompts people to respect both, you and your decisions. The Bovet Recital 15 encompasses these values. Part of the Dimier collection, its display mode will be familiar to watch collectors given that it is the same that made the Tourbillon Amadeo Virtuoso so successful. The watch includes a jumping hour, a seconds carriage and retrograde minute – all functions that are powered by the new Virtuoso II calibre. Another timepiece with which to make an impression is Audemars Piguet’s Royal Oak Tourbillon. This hand-wound tourbillion watch has a GMT function and selection indicator. Bold lines and a strong presence make its vision difficult to forget. It has a titanium case, open-worked dial, white strap and a white ceramic bezel.

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TIME TELLERS

ADMIRAL’S CUP AC-ONE 45 SQUELETTE BY CORUM

Sporty For athletes who seek a timepiece that is at once durable and stylish, we suggest the new Admiral’s Cup AC-One 45 Squelette by Corum. This robust watch features, for the first time, an entirely open-worked architecture. With its powerful presence defined by a 12-sided bezel and light titanium clothing the case, it is a forerunner in the field of design. It has a 42-hour power reserve, while black PVD inlays are strategically placed between the various elements to provide an even bolder effect. An additional option is Bovet’s Sergio, another powerful timepiece that tells of bravery, sportsmanship and honour. The Bovet 1822 by Pininfarina Sergio is a split-second chronograph named after the Sergio concept car designed by Pininfarina on a Ferrari base. It shares the virtuosity, reliability and elegance of its name. The model has a self-winding mechanical chronograph and features a small-second, 30-minute counter and power-reserve indicator.

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F.P JOURNE OCTA AUTOMATIQUE LUNE

CASUAL For the everyday and casual occasions of our lives, there are also corresponding timepieces. At once elegant, masculine and subdued, F.P. Journe has created a new dial in gold. The only watch to produce its movements in 18-carat rose gold, it has embossed mirror numbers integrated in the dial and an elegant leather strap. The new gold dial is dedicated to the Chronomètre Souverain, the Octa Automatique Réserve and the Octa Automatique Lune. Another casual option is Victorinox’s Chrono Classic. A tribute to the Swiss Army Knife, it is practical, functional and reliable like its source of inspiration. The timepiece is composed of two assembled parts: a guilloché top plate over a sun-ray finished bottom plate. Robust and sleek, it features a stainless steel case and lines that are both fluid and dynamic on a 41-millimetre diameter, a protected crown, and oval bottoms that fit perfectly into the case middle.

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TIME TELLERS

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RM 030 DE SAINT TROPEZ

Evening While many of the above watches serve perfectly well for a night out, for those desiring glamour there is RM 030 de Saint Tropez from Richard Mille. Automatic Chronometer Movement, Caliber RM 030, functions: hours, minutes, seconds, date, power reserve indicator and plant machinery. It has got the Titanium housing, bezel AT3 ceramics. Sapphire dial, hour indexes with luminescent coating. Domed sapphire crystal on both sides of the body is a touch of sophistication. On the back cover has a glass engraving “Polo Club Saint-Tropez”. Rubber strap combine with titanium buckle makes a statement. Operating with the principles of Artistic and architectural dimensions in tandem with the innovative technology and a flair of cutting edge approach, Richard Mille truly is a gift to this century’s horology.

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TIME TELLERS

Managing a portfolio of over 50 leading horological brands, Ahmed Seddiqi & Sons is an international horological brand in its own rights. Four generations of the family have been immersed in bringing the best of Swiss Watch Making to the region. While its modest origin was a single store in the Bur Dubai Souk in the 1950s, today the Seddiqi family serves the needs of sophisticated watch enthusiasts in the region through a network of 52 stores across the United Arab Emirates. All watches featured in this article are exclusively available at Ahmed Seddiqi & Sons.

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S T R AT UM

A new leaf

The proliferation of tobacco products began with the Spanish colonial expansions of the 15th century with the earliest incarnations of cigars found in the Americas and carribean islands.

Despite smoking being considered something of a vice, many still take pleasure in the aromatic and relaxing qualities of a fine cigar. For those who partake in the occasional stogie or cohiba, there are a wide variety of fragrant and flavoursome options in which to luxuriate. The story of how the cigar came to become so popular is unusual as it can be traced back to specific moments in history. While tobacco has historically been traced back thousands of years to Mayan civilisations in the states of Chiapas, Campeche, Yucatan, Guatemala and Honduras, it was when the tobacco leaf came into contact with Europeans that it set the world alight – quite literally. It is widely recognised that it was three crewmen aboard Christopher

Columbus’ expedition of 1492 – Rodrigo de Jerez, Hector Fuentes and Luis de Torres – who were the first Europeans to come into contact with cigars. During a stop on the island of Hispaniola (in what is present day Dominican Republic), the locals presented their visitors with dried tobacco leaves, which the explorers noted for their interesting fragrance. As the sailors travelled through the Caribbean, they discovered that the leaves were widely available and used in both, medicinal and recreational capacities by the native population. It was in Cuba, however, where they reported the leaves being encased in palm or plantain leaves and rolled into cigars. In due course, the European crews began to adopt the practice of smoking the tobacco

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leaves and the habit spread throughout the European navy, and then into mainland Europe through Spain, Portugal and France. When Sir Francis Drake brought back bales and seeds of tobacco to England after his famed voyages to the Americas, he fuelled the trend in Britain also – and the nation took up the pastime with gusto and made the product global. By the 16th century, commercial tobacco farming had become a key industry in European empires as the leaves were revered for both, their mystical and medicinal qualities. From that day to this, tobacco has remained a global industry with wars waged and histories altered by its proliferation, and cigars particularly proving to be a mark of luxury and excess.

S T R AT UM

Cultivating flavor The manner in which the tobacco leaf is handled once harvested plays a tremendous role in the cigar’s overall profile

The process of creating cigars has come a long way since its earliest incarnations, and the tobacco leaf or Nicotiana tabacum is as esteemed to the cigar-maker as the vine is to the vintner. The science of creating a cigar is complex as every facet of a cigar’s smoking quality is carefully studied and manipulated for maximum customer satisfaction. When tobacco leaves are first harvested, they are carefully aged using a method to reduce the sugar and water content without degenerating or rotting them. This process is known as curing and takes anywhere between 25-45 days to complete. The time it takes to complete the process depends

a great deal on the climatic conditions, however, it can be manipulated to create the appropriate colour, flavour, aroma and burning characteristics. Once aged, the leaves are sorted into use for filler tobacco or wrapping tobacco, a selection process based on the appearance and quality of the leaves. When one is discussing quality in cigars, the very best will undoubtedly be made by hand. A skilled roller can produce hundreds of identical cigars per day and use specially designed crescent-shaped knives known as chavetas with surgical precision along with their experienced hand and eye to accurately and evenly pack the tobacco. This is important,

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as uneven tobacco packing will prohibit the cigar from burning smoothly and regularly. Once rolled, and if left in appropriate humidity, the cigars can be left to age for decades – maturing and developing distinctive flavour profiles. Apart from differences in flavour, cigars can come in a variety of shapes. These include the Perfecto (cigars with pointed ends), Panatella (a long, thin straight shape) and Cheroot (an Asian design with an open end), to mention a few. There are also names for cigars of different sizes, ranging from the Half Corona, Très Petit Corona, Corona Grande and Lonsdale to the large Double Corona.

Original and best The cigar remains a symbol of the tremendous tobacco heritage of Cuba, and is protected by same the passion with which it is revered.

While tobacco production is prevalent in several corners of the world, from the Continental USA to South East Asia, it is the original homes of cigars in the Caribbean that arguably produce the very best varieties available on the market. Cuba’s association with cigars is deep and continues to this day. Despite nearly half a century of trade embargo between the USA and its neighbour in the south, nothing has diminished the regard that aficionados still have for the Cuban cigar. In fact, shortly before the embargo came into effect, John F. Kennedy is rumoured to have ordered his staff to source as many of his preferred Cubans as

possible, with his brand of choice being H. Upmann. Tobacco products from Cuba are regulated by the government and held up to the highest possible standard. Devotees to the craft will tell you that it’s the quality of the soil in Cuba that gives its tobacco such a distinctive, characterful flavour. Cuba’s Vuelta Abajo region in Pinar del Rio province has what is considered to be the optimal conditions for the process – perfect soil with a hint of sand, an average temperature of 23˚C, and humidity in the region of 65 per cent. Other countries are now challenging the Cuban domination of cigars with Dominican and Honduran techniques and flavours becoming exceptionally

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popular, perhaps partially because of the lack of trade sanctions against these countries and the USA. But the mystique of the Cuban cigar – be it the famed Romeo y Julieta, Montecristo No. 1 or the desperately sought after and enthusiasts’ favourite Punch Punch – is still hard to beat or challenge. However, one should be aware of fakes. Many do not comprehend the difference and this knowledge comes from experience, but the easiest way to tell a genuine from a fake is the aroma. A genuine Cuban will smell aged and refined – combinations of wood, spice and chocolate being key profiles. Fakes do not possess the perfection of burning character, smoothness or flavour.

SignĂŠ Selection

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PAT R O N S O F TA S T E

Patrons of

TASTE

A discreet club for distinguished patrons who can share their passions among likeminded individuals, the gentleman’s association Cavalleresco Ordine dei Guardiani delle Nove Porte was founded on principles of gentlemanly etiquette. We sit down with the Order’s Gran Maestro Giancarlo Maresca to discuss its founding and his interpretation of what it is to be a gentleman. BY DANIEL GIACOMET TI PHOTOS : FRANCESCO ANTONIO DE CAPRARIIS

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Giancarlo Maresca - Head of the Cavalleresco Ordine dei Guardiani delle Nove Porte.

The Cavalleresco Ordine was founded on a mutual passion for smoking Havana cigars. From 1981-82, Giancarlo Maresca and his great friend Salvatore Parise were two men with a passion for fine tobacco but without the means to enjoy the pleasures of the finest examples. As a result, they established a small consortium of cigar connoisseurs and began to travel across Europe looking for fine Havana cigars. Comprising around 12 individuals with a mutual appreciation, their mission was to take orders and go in search of fine specimens with the aim of generating enough money so that they too could enjoy the pleasure of Davidoff, Dunhill, H. Upmann and Partagas Lusitania among others. The pair would travel primarily to Spain, France and Switzerland to find them because Italy was not importing Cuban cigars up until 1992. It presented a unique challenge for the young men. But by founding the consortium, their ability to buy in bulk meant discounts that would cover their expenses. “Collecting all this money that could sometimes go up to several millions of Italian

Lira, we were able to obtain discounts to buy cigars,” says Maresca. “Thanks to the discounts, the travel expenses were covered almost completely. That way, a member of the group who would order 300400,000 liras worth would receive carefully selected specimens in perfect condition delivered directly to their homes without having to wait or spend extra money for travel. We went on with that system for several years.” Back then, the consortium was named Das Tabaks Collegium, meaning ‘The Tobacco Academy’. Gradually, Maresca realized that this elite group of cigar aficionados didn’t just share a love for Cuba’s finest, but had other passions in common as well. “We often used to organise billiards games, and would travel to the south of France to play in the Riviera casinos. We went to Cannes and Beaulieu, but not Monte Carlo because even though it is a nice casino, it is a bit uncomfortable for the player and the rhythm of the games doesn’t match our style,” he explains.

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PAT R O N S O F TA S T E

Gran Maestro Giancarlo Maresca enganged in a discussion about sartorial etiquettes

From 1985 onwards, the Academy developed another facet with the introduction of the trip to the Corrida, the Spanish bullfight, which became an annual tradition. On the 1988 trip to Seville, Maresca gave the group a new, more fitting name – Cavalleresco Ordine dei Guardiani delle Nove Porte, which translated means Knightly Order of the Guardians of the Nine Doors, of which Maresca is today known as Gran Maestro. Maresca understands the nine doors to be the entry points to elegance and masculinity. The first two doors were the already established love of cigars and the bullfight, with the others being the appreciation of fine clothing, gallantry and good manners, gambling, food and wine, art, and action. The ninth and final door is the joy of unknown pleasures – the mythical and mystical qualities of gentlemanly etiquettes. Maresca elaborates further by saying: “The doors are ways through life. If men can possess the knowledge of a subject, we have the key to walk through the various doors to the life of a gentleman, dedicated to deepening cultural appreciations of masculinity. We require a ninth door because there is something unquantifiable about good taste. It cannot be packaged into a small box with set rules. Within the ninth door is room for individuality, where anyone can imagine that there can be everything that has not been said yet, that we don’t want to say, or that we cannot say.” As time went on, the notoriety of the order became more renowned

and there came a desire for increased membership. The order had stretched beyond a mere gathering of friends and colleagues with mutual appreciations and become something else – something much bigger and grander. To allow for an expansion in membership, Maresca decided that the Order should become more principled, something closer to a gentleman’s club. On the 21st of November in 1997, the first 36 members were officially inducted under the Card of Principles, establishing the Cavalleresco Ordine as a genuine members’ club with a code of ethics to match. That same year, the group founded a website that, rather idiosyncratically, has changed little since the late ‘90s. It gradually filled with articles and blogs discussing best practice conduct of elegant gentlemen. Until this point, nothing like this had yet been seen online – ‘the castle’ (as the site is known) is regarded as a forebearer to the fashion blog. But while the virtual world is a tool to communicate the Order’s philosophies, the essence of the group can only be found in the face-to-face encounters that its members enjoy. Today, the Order maintains a rhythm of around two events per month, and these gatherings have their own protocols and rituals. The main objective is to develop the social spirit, the encounter between old and new members. They are a way to benefit from the association and a way to stay together because its members can feel comfortable in the company of likeminded individuals, brought together in the spirit of mutual appreciations.

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Luca Segattini - Balivo of the “Compagnia dei Giovani Leoni” : Balivo means ambassador, and the Compagnia dei Giovani Leoni is a division of the ordine for youth

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SIGNÉ SELECTION

PAT R O N S O F TA S T E

Giuseppe Maria Maresca – Son of Gran Maestro Giancarlo Maresca

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The events, Maresca explains, are broken down into the various prefectures of Italy, such as Piedmont, Milan, Rome, Naples and Genoa, with each one organising at least one gathering annually. There is also a general gathering of all Cavallieri once every two years. “The attendance is usually very big compared to the annual regional gatherings. It is around 150 people. We even managed to get together more than 50 per cent of our members at the 2013 gathering, which is not an easy task, even for a regional association,” he explains. Today, Maresca is an eminent part of Italian society. His opinions are highly sought after, his taste constantly emulated. He has also become a major player in both, the Italian cigar and fashion spheres, and even appeared alongside bigwigs and heads of state during the recent 100th anniversary celebrations for famed Italian tie brand E. Marinella. But Maresca is keeping his eye on the foundation of his Order, carefully maintaining standards and overseeing its careful and studied growth. The Cavalleresco Ordine of today is one of the most researched gentlemen’s clubs in the world thanks to the incredible

knowledge its members enjoy in their varying fields. It is a gentleman’s organisation of the highest calibre with 375 members currently in its ranks. Almost all are Italian, however, there are also German, Swiss, French, Spanish, American and even Venezuelan members – all of whom enjoy absolute discretion and exclusivity in its membership. It is a men-only establishment with a long tradition, and one that its founding members both cherish and vehemently protect. “I have been nominated Gran Maestro for life, and will manage the Ordine in a very controlled and contained way. The number of our members will stay very limited. With time, its importance will grow as more people know about it, and more people trust us and understand the importance of our ideas,” adds Maresca. But he is keen to stress the independence of the Cavalleresco Ordine. “I will never choose to be linked with public or political structures, like so many other associations do. Perhaps in the future, the other Gran Maestri will have the choice to look at the outside, but for now, we are focusing on improving ourselves.”

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FOR HER

ARCEAU MILLEFIORI

TIFFANY T COLLECTION

BY H E R M È S

B Y T I F FA N Y & C O

Using traditional Italian glassmaking techniques, the unique dials of the Hermès Arceau Millefiori watch range are prime examples of the wonderful artisanship and elegant understatement indicative of all products produced by the famed French brand. The same complicated techniques that are used for Millefiori paperweights by Saint-Louis Crystal are employed, and the intricate results truly speak for themselves. Featuring a mechanical self-winding movement produced by the Hermès horology department in Switzerland, a 50-hour power reserve, 28 jewels around the bezel, and a raspberry alligator strap, it offers premium style and sophistication in a day-watch that is ideal for the summer months.

Tiffany T is the first new collection created by Francesca Amfitheatrof, Tiffany’s design director. The vision is a pure one, expressed in the graphic angles and clean lines of Tiffany T. Its message is bold, unapologetically modern and fueled by an American ethos of design so considered and refined that it appears effortless. “The design pays tribute to the Tiffany name, but there’s also a verticality and intensity to the letter itself that I associate with the energy and optimism of New York. And there is a lot of New York in Tiffany T. This is a place of courage and reinvention that constantly sparks creativity.”

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CALIBER 101 B Y J A E G E R L E C O U LT R E

– A masterpiece of technical accomplishment, the Jaeger-LeCoultre Calibre 101 has been produced for over 80 years, and in 1929, was acknowledged as the smallest mechanical movement ever made. Entirely in tune with feminine eclecticism, it lent itself to all manner of daring approaches, offering the in-house designers boundless free rein for their creative instincts. The marvellous nature of the mechanism and its artful presentation means that the 101 is still at the forefront of the watch industry. The fact that each Calibre is uniquely tailor-made with every part individually adjusted and only 50 pieces are produced annually further adds to its exclusivity.

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FOR HER

FALL / WINTER 2014 BY C H R I S T IAN D I O R

For the Fall/Winter season, Dior explores unique narratives that both embolden and dramatize. Working in tandem with designer Raf Simons, the accessories on show illustrate both urban aesthetics and organic themes. In the embroidered Diorissimo bag and embroidered organza pumps pictured here, there is a sensuality and romanticism that entices and seduces in a sophisticated and whimsical fashion. As if to further illustrate the power of women, Dior has also released unique jewellery pieces with masculine embellishments. Displayed in the Men in Dior bracelet, silvered and gilt links in the shape of male bodies are reminiscent of Atlas, which only adds to the bold and graphic concepts throughout the range.

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S PR E Z ZAT UR A

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. Keeping a wardrobe up to date can be a difficult business, so in this edition we have taken the opportunity to break the season’s must-have items down for you. With this range of looks and accessories, you will be ready for all that fall and winter might bring.

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ALL BUSINESS 1. Dsquared - Diplomatic bag 2. Salvatore Ferragamo - Cufflinks 3. Patek Philippe - Nautilus Travel Time Chronograph 4. john lobb - Phil II derby 2

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SMART CASUAL 1. Salvatore Ferragamo - Glass 2. Hackett London - Cufflinks 3. Giorgio Armani - Bag 4. Chrono 4 - Eberhard & Co. 5. Santoni - Double Monk Strap Shoes

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DEBONAIRE DRESS 1. Blancpain - Tourbillon thinks big 2. Lanvin - Bowtie 3. Salvatore Ferragamo - Shoes

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CARRY ON 1. Christian Dior - Sunglass 2. Chopard - Mille Miglia collection 3.Santoni - Weekender bag 4. Salvatore Ferragamo - Belt 5. Salvatore Ferragamo - Shoes

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SPRUCE UP 1. Davidoff - Nicaragua Cigar Kit 2. Murdock - Pre-Shave Oil with Box 3. Murdock - perfume 4. D R Harris - 4 Piece Ivory Shaving kit

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SUITABLY FORMAL AS THEY SAY, FAILING TO PREPARE IS PREPARING TO FAIL, AND A GREAT FIRST SARTORIAL IMPRESSION GOES A LONG WAY IN SOCIAL CIRCLES. HERE ARE SOME TIPS ON WHAT TO LOOK OUT FOR WHEN GETTING READY FOR HIGH SOCIETY GATHERINGS.

The suit: In black or midnight blue. The jacket cut is a matter of taste and what suits the body best. Your tailor will be best placed to advise what your body type will demand. It should be noted that dinner jackets should never be fastened when single-breasted, as they will have no vents at the back. White is a notable exception in a jacket but should only be worn in hot, tropical climates (be warned, there may be a danger of having drinks orders forced upon you). Pocket squares are acceptable, but keep it clean and crisp in white. The trousers should match the material and are usually tapered, with a single braid running down the outside of the leg. Shirt: White, white and white again. Do not veer from this path. The style will depend on the formality of the event in question – winged collars are generally reserved for white tie and dress shirts for black, but button-down collars are a real no-no. Neckwear: Neckties should be studiously avoided for any black tie occasion in favour of a good, old

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fashioned dicky bow. These should always be hand-tied; it’s obvious when they aren’t. Grooming: Keep it clean and well managed. Bed-head is going to get you noticed for all the wrong reasons. A clean shave is preferred but should you have a preference for facial hair, an even length with well-trimmed edges is very important. A visit to your barber should be entertained. Shoes: Polished to mirror sheen, formal black shoes will round off the entire look. The extras: Belts are not advised, even if you opt for a cummerbund to disguise its presence. Instead, braces should be employed if your trousers are slipping southward. Keep socks black too, and in either cotton or silk. Also avoid flashy wristwatches; black tie events are all about discretion and not about keeping time, but rather enjoying the evening until it has run its course. White gloves and scarves are less fashionable but can be worn to and from the event if the temperature dictates.

Philanthropy

PHILANTHROPY

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Green schemes Sustainable living is an act of maturity, being aware of the consequences the future awaits. Most of us are used to a certain type of lifestyle and the shift to a sustainable lifestyle is often difficult. But thanks to many of the 21st century innovation, technology and initiatives, the shift to sustainable living is in harmony with the current living style. We take a look at few such initiatives in the U.A.E, as many areas of the city is embracing sustainability – early adopting in the promise of a more environmentally conscious future.

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GREEN SCHEMES

BMW i8 The versatility of the i8 lends itself perfectly to big city living. In 100 per cent electric mode, power tops out at 131hp – ample for a quick spin to the store. Engage the petrol engine to increase range and increase the fun factor. A 2+2-seater sports car, the engine bay houses a plug-in hybrid powertrain, which includes a three-cylinder petrol engine with BMW TwinPower Turbo technology combined with eDrive technology that combine to give total power output of 362hp, channelled through a six-speed automatic transmission. Keeping sustainability in focus, its forward-thinking design and new take on ‘premium’ are defining characteristics. Environmental concerns have been considered at every turn, not just in the final product, but in the manufacturing process also. Carbon fibre production and vehicle assembly relying on 100 per cent renewable electricity and innovative processing methods for recycled materials, together with the use of materials treated in an environmentally friendly manner, are hallmarks of the i8’s all-embracing nature. In a country where the petrol pump is less taxing on the bank balance, such as the UAE, the need for sustainable transport is perhaps less urgent than in other quarters – but that hasn’t stopped the population from snapping up the full allocation of vehicles available. The i8 is currently sold out, illustrating perhaps that the perceptions of what hybrid drive technology can do are truly changing.

The Farm Many restaurants in the country are beginning to shy away from obtaining produce from far-flung international sources, instead choosing to put regionally produced and seasonal fruits and vegetables on their menus. One such establishment is the Farm at Al Barari. One of the most sustainable and environmentally conscious developments in the UAE, the Farm offers both residents and visitors its unique concept in beautifully lush surroundings. The wholesome philosophy is translated both, through the environment and the menu. The Reserve at Al Barari is the latest addition to the project, which will take the development’s commitment to environmentally and ecologically sound construction to new heights. The entire architectural, landscaping and infrastructure activity taking place at the site is embracing previously unseen levels of sound environmental practices.

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“One of the most sustainable and environmentally conscious developments in the UAE, the Farm offers both residents and visitors its unique concept in beautifully lush surroundings.”

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Al Maha Desert Resort The UAE’s commitment to preserving its natural and national heritage can be seen most clearly through the Dubai Desert Conservation Reserve, a designated area that supports wildlife conservation. Since its founding in 2003, the reserve has been formally recognised as a protected area by the United Nations Environment Programme, with the local government investing AED10 million into the 225-square-kilometre area. The reserve is one of the only locations within the UAE where visitors are able to experience completely free-roaming wildlife within their natural desert and dune habitat – species such as the Arabian Gazelle, Sand Gazelle and previously endangered Arabian Oryx. Visitors who wish to avail themselves of the area’s natural beauty can enter the reserve when visiting the Al Maha Desert Resort. The resort itself is the genesis of the Desert Reserve, with the property establishing a small 27-square- kilometre protected area around the hotel in 1999 for its exclusive use. This area was subsequently extended to its current size by the government. It is one of the most luxurious and elegant properties in the UAE, and in its secluded patch of desert, offers a range of cultural experiences as well as a restorative stay away from the hustle and bustle of city life. Comprised of small private villas tucked neatly away among the dunes, its low impact on the environment in which it sits is clear. However, the focus on maintaining and perpetuating the local flora and fauna in a holistic way is key to its philosophy.

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PAT R O N O F E X C E L L E N C E

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Patron of

excellence Celebrating its deeply seeded ties to the Louvre, Breguet’s astounding charitable donation has allowed one of the most important wings of the famous Parisian museum to finally be reopened to the public with an exhibition fit for the 21st century.

In the modern age, even the most established and highly regarded institutions often find themselves reliant on charitable donations to maintain their collections of masterworks in a perpetual state of perfection – even the magnificent Louvre in Paris is not immune to the economic demands that caring for its vast collection and palatial surroundings demands. Thankfully, there are those who would see the treasures of the world kept safe and whose charitable inclinations at times seem practically boundless. One such benefactor for the preservation of the arts is famed watchmaker Breguet. The Swiss manufacturer’s esteemed patronage of the Louvre is typified by its commitment to the restoration of the museum’s 18th century furniture rooms – the Conseil d’Etat rooms and the Salon Beauvais that make up the Louis XIV wing. With

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restoration work on the Louvre beginning in the 1980s as part of the Grand Louvre project, the rooms that make up the Département des Objets d’Art have been closed to the public for nearly a decade. However, the project finally drew to a close recently and the rooms are now ready to house the Louvre’s extensive collections of furniture and artefacts dating from the 17th and 18th centuries. The renovated salons stretch over 2,500 square metres on the first floor of the Sully Wing and are festooned in some of the world’s most spectacular examples of furniture, bronzes, porcelains and other decorative objects – many of royal provenance. The rooms renovated with the funding and support of Breguet are adorned with a 19th century painted ceiling as well as a wonderful Hyacinthe Rigaud painting of Louis XIV, who rather majestically peers down on visitors. There are also spectacular examples of

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cabinetry by the famed AndréCharles Boulle. The overall cost of the renovation project is reputed to be in the several million Euro range, and has been generated over the course of five years. It was initiated by the late Nicolas G. Hayek, and overseen to completion by his grandson and current Breguet CEO Marc A. Hayek. The rooms have also seen major technological and museographical upgrades to make them more educational and informative. This redeployment of the collections allows the works to be integrated with a unique palatial architecture that combines visibility and clarity. In this way, justice is done to the splendour of the creations, which are brimming with history

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and symbolise Europe’s rich cultural heritage. The Hayek family, owners of the Swatch group, is a staunch supporter of the arts, having contributed to several other restoration projects important to French

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culture. Their generosity includes the nearly €5 million renovation of the Petit Trianon, a small château located on the grounds of the Palace of Versailles and a veritable jewel of French neoclassical architecture, as well as the three-year mission to recreate the Marie Antoinette Grand Complication pocket watch. However, the Breguet connection to the Louvre goes somewhat deeper as the brand’s earliest history is intertwined with the museum. Breguet founder AbrahamLouis Breguet made the first major presentation of his works at the Louvre’s second exhibition of industrial products in 1802, with various luminaries of the age coming to acquire his wonderful timepieces. A few years later, the

Room Gilbert and Rose Marie Chagoury at the Louvre Museum

first Louvre patron Vivant Denon purchased a minute repeater Breguet watch and a bisque clock in 1810 and 1811 respectively. There is even a monumental collection of Breguet timepieces on display amongst the 18th century art collection at the Louvre, much of which was bequeathed to the museum in 1961 by the by the widow of Lyon industrialist, Claudius Côte. This subsequently inspired

the then president and director of the Louvre, Henri Loyette, to organise the 2009 exhibition Breguet at the Louvre, An Apogee of European Watchmaking that also featured a staggering number of timepieces from the Musée Breguet, the Louvre’s own collection, and some on loan from private collections and institutions like the British Royal Collection Trust, the Musée des Arts et Métiers in Paris, the Moscow Kremlin

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and the Swiss National Museum. To commemorate the conclusion of this epic phase of restoration to one of the world’s most important museums, Breguet welcomed nearly 300 VIPs to an unprecedented celebration of the ties between the heritage brand and the Louvre – ties which, thanks to the sizeable donation and tireless support, are now stronger than ever.

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Obsession

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D UBAI ’ S DY NAM I C AR T D I S T R I C T

Dubai’s

Dynamic Art District BY REBECCA ANNE PRO CTOR

Just a decade ago, Al Quoz was merely an industrial area populated by construction projects and labour camps. It has since developed to become one of the Middle East’s most concentrated neighbourhoods for artistic creation.

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Dusty garages, construction trucks and labourers dominating the streets with their dirty and worn attire – these are the scenes most likely to be witnessed in Dubai’s Al Quoz area. The aesthetic of the district is far from the glitzy exterior of the city’s luxury hotels and shopping malls. There are none here – just sand, dust and many of the facilities needed to create Dubai’s shiny gemstonelike façade. But amongst this beaten rubble and degraded buildings are now a multitude of art spaces. Over the last decade, the gritty and urban feel of this industrial area has attracted many creatives to set up galleries, art studios, performance spaces and even private museums. Comparable in some light to London’s Hackney in the East End or New York’s East Village, Al Quoz has become the centre of Dubai’s burgeoning art scene – and its continual development is increasingly attracting more regional and international participation. A significant part of Al Quoz evolving is punctuated by the presence of Alserkal Avenue. The area is an art hub of its own and takes its name from its founder and one of the city’s greatest art patrons, Emirati entrepreneur Abdelmonem Bin Eisa Alserkal. Within an area comprising of many warehouses, Alserkal has created an oasis for artistic discovery. Many of the region’s leading art galleries have set up spaces here, benefiting from Alserkal’s artistic

Kamrooz Aram Exhibition at the Green art Gallery, Al Qouz.

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Hazem Harb at Al Qouz, Expansion Preview

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patronage. In 2007, Alserkal became the driving force in developing Alserkal Avenue Arts District in Al Quoz, which today houses some of the foremost contemporary art spaces in the Middle East and is currently in the process of doubling its size. The additional development extending behind the current Alserkal Avenue is due to open at the end of the year, attracting regional and international contemporary art galleries, not-for-proﬁt cultural foundations, project spaces, design and fashion concepts – all of which will serve to solidify its presence as a cultural destination. These include Carbon 12 Gallery, followed by Isabelle Van Den Eynde Gallery, Green Art Gallery, Ayyam Art Centre and many others. The Alserkal family has been awarded with numerous accolades for its work to promote the arts in the Middle East. These include the Patron of the Arts award in 2012 and 2013 by HH Sheikh Mohammed Bin Rashid Al Maktoum, UAE Vice President and Prime Minister and Ruler of Dubai. But beyond just a place to appreciate the arts, what Alserkal has done is to create an area that promotes a sense of community and intercultural dialogue – ideas that Alserkal is continually promoting. “As an organisation that has been active for almost two decades, Green Art Gallery has had the privilege of bearing witness to

the tremendous transformations the region’s art scene has experienced,” says Director Yasmin Atassi. Green Art Gallery offers a roster of upcoming and emerging Middle Eastern artists. Of particular note among its portfolio is Kamrooz Aram, an IranianAmerican artist whose work focuses largely on belief systems that permeate religious and national sentiments. “Since the gallery has moved to Alserkal Avenue in 2010, we have noticed the growth of interest in the area from international and regional art lovers,” adds Atassi. Green Art Gallery was also one of two (along with Gallery Isabelle van den Eynde) of the first art galleries from Dubai to participate in the prestigious Art Basel fair in 2012. But as Atassi also notes (and what others will support) is the need for a more community-oriented infrastructure to bring together the many talents that are residing within the area. Ramin Salsali, owner and director of Salsali Private Museum, opened his space in 2012 and most recently showcased the work of renowned Iranian painter Amir Hossein Zanjani. “The demand for large spaces at a reasonable price with an edgy environment has driven many to consider the well-situated Al Quoz as the alternative place for an art space,” says Salsali. His museum has become one of the area’s focal points. It hosts exhibitions year-round

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as well as art events in collaboration with organisations such as Deutsche Bank. But as he also notes, improvements need to be made through a more organised structure including the development of hotels, food and beverage outlets, and proper signage throughout the area. A more inclusive infrastructure is indeed in store through the development of A4, a new collective space supported by the Alserkal family. “The growing arts scene of Dubai is what encouraged us to expand as a hub and create more space for creativity,” explains Alserkal. “We are doubling in size at the moment. This progression will extend our reach to the community by diversifying our portfolio and welcoming projects to complement our stance as a cultural destination.” The $14 million project aims to further maintain Alserkal’s reputation for top talent. “We have received fourfold demand for the spaces available,” says Alserkal. “This is exciting because the new space will extend to the community and welcome projects that have been in the making for the past few years, yet have been put on hold waiting for the right space to incubate and grow. I believe that with time, we will be one of the main art capitals in the world – in line with New York, London and Berlin.” While Alserkal Avenue has become one of the defining highlights of Al Quoz, the

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area is also home to creatives outside the Avenue’s walls. These include such names as Art Sawa, The Third Line and Meem Gallery, the latter that is known for its excellent roster of Modern Arab artworks. “Since Meem Gallery opened its doors in 2007 in Al Quoz, we have seen the area experience amazing growth, especially within the artistic community,” says Meagan Horsman, Business Development Director. “Al Quoz works well as an artistic hub due to its architectural nature – large, open warehouses that are easily transformed into contemporary galleries. Meem is a case in point. Within its converted warehouse space

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that features high ceilings and a large open area, the gallery is able to host exhibitions featuring artworks and installations of great proportion.” But besides the tremendous art patronage of Alserkal and efforts of each art space, many would ask what exactly is spurring the economy of this dynamic art hub. Foreign buyers are the common answer, and this happens largely at certain intervals during the year. The months of March and October near in time to Art Dubai, Abu Dhabi Art and the Christie’s auctions are crucial times for the sale of art by local galleries. The developing diversity of artistic creatives and competition

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among art galleries is what has deepened Dubai’s art scene, as well as its commercial market. Even so, the scope to find art buyers and supporters is still a struggle for many spaces that have chosen Al Quoz as their home. It’s a risk that they have chosen, one that has contributed to the area’s momentous rise on the regional and international art scene – and one that will eventually pay off. But above all, its artistic dynamism is intellectually and socially funded by a group of passionate individuals who had the courage to start something where there was nothing. With further transformation underway, Al Quoz is very much looking ahead.

Kamal Boullata, Bilqis 4, 2013. Acrylic on canvas.

Abdelmonem Alserkal Patron of the Arts and Developer of Alserkal Avenue Arts District Dubai

Ramin Salsali Founder of Salsali Private Museum, Al Qouz

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GENTLEMAN RACING

GENTLEMAN

RACING

Gentleman racing in the modern age requires ambition, drive and determination, but also solid teaching. Gentleman racer Leon Price knows a thing or two about stepping into this highly romanticised arena, and with his Dragon Racing team’s track day experiences, also knows how to give the aspiring amateur the thrill of a lifetime.

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It is the need for speed and preference for horsepower that often drives a man to get behind the wheel of a very fast car. Race car driving takes many forms, from the humble weekend banger race to rally-cross all the way up to the F1 circuit. But perhaps there is no greater embodiment of the spirit of true racing than the professional amateur and gentleman driver – the devil may care, fearless adrenaline junkies who were once the backbone of the racing profession and now take up the challenge not for financial gain, but for the thrill of the chase. Full-time pros are expert to be sure, but their skill is compensated. Often for the gentleman driver, the participating and winning are the only quantifiable reward. In today’s high tech racing age with its

computer analysis and digital readouts, the aspiring gentleman racer’s need for speed is often tempered by the weight of the enterprise on the wallet. However, this does not prevent them from taking up the challenge – of financing, building and establishing a team for the sheer pleasure of the race and search of podium and trophy. One man who understands the challenges presented by gentleman racing is South African businessman, Pro-Am driver and racing team owner Leon Price. “I got into racing because my friend Jack Gerber was invited to a corporate track day hosted by Maserati, which he enjoyed a great deal. Enrico Bertaggia, the then head of the Ferrari client days, was in attendance that day and invited Jack to come to Monza for another day on the track, to which he replied ‘only if I

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can bring a friend’, which was me. In 2007, we got into our first race cars… and it turns out after a few laps, we weren’t that bad. Enrico said that we needed to do it more often to get better and buy a race car, which we both did in the shape of Ferrari challenge cars, and we took them down to a lot of track days. He then said we needed to start racing,” says Price. Beginning at the famous Donnington track in England, Price, Gerber and three other amateur drivers lined up to have a crack at a real race against seasoned competitors, but it wasn’t completely smooth sailing. “It was pouring with rain and we had never driven as a gentleman driver without traction control on in the rain. Our team chief, Rob Barff, told us to turn it off because we would drive the cars better and he was right, but

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Dragon Racing at the Yas Marina Circuit , Abu dhabi.

every single car lapped us. My teammates w e re d i s h e a r t e n e d b y o u r l a c k o f competitiveness and some wanted to call it a day, but I said to them all: ‘We have to keep going because at the end of the season, we will be up there competing, trust me’. Sure enough, we were a little bit better at the next race, and by the end of the season, were pushing into the top five or six. The next season we were on podiums regularly,” he recalls. The passion for performance was clearly a potent motivator for Price, with the racing becoming more serious as time went on. He explains: “The adrenaline is amazing. But it’s also a challenge to constantly improve. Rob Barff, who still works with me, has the unique ability to find something to make me just that little bit quicker every time I get out of the car and I’ve always said that as long as I keep getting that little bit quicker, I’ll keep racing. The minute I go backwards, I’m

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stopping. I’ll continue to do track days, but competitive racing will stop. Rob still finds a tenth of a second here and there for me and we work at it.” Since his first outings, Price has driven competitively in many races in the UK, Europe and the Middle East in Sports and GT3 cars, achieving over 40 podiums as well as racing at the 2013 edition of the famed Mille Miglia classic car tour in Italy. But he also keenly understands the risks involved in this high-octane pursuit, having lost a close friend and driving colleague Jeff Ledley at a GT race in Hampshire, England. After this loss, Price’s teammates retired from the sport but he continued: “I thought about giving up too but I came to the conclusion that I didn’t want to. I arranged a track day at Silverstone and stayed in the car for hours, just driving around until I felt totally comfortable and safe in the car again. We carry driving number JL34 on the side of all our vehicles now in

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memory of Jeff.” Price continues to race to this day, and most recently, took his seat in the 2014 Le Mans Classic behind the wheel of a lovely 1956 Moretti 750 Grand Sport. After a number of years of competitive gentleman racing, Price went on to establish his own racing team, Dragon Racing, in 2012. It is based in the UAE and as a team, has competed at major events across the region alongside fellow driver Jordan Grogor and engineer Rob Barff. But as chairman of the team, Price was eager to capitalise on the region’s penchant for petrol by offering the avid or aspiring gentleman driver a bespoke driving experience with tuition by his highly trained staff of race tested engineers and drivers, providing the opportunity to get behind the wheel of an exclusive fleet of track-prepared Ferrari 458 Challenge cars and McLaren 12C GT Sprint vehicles. “We chose McLarens and Ferraris because we feel they have the biggest

Dragon Racing will tailor-make the experience to a client’s specific wishes

P H O T O : DA R R E N RYC R O F T Leon Price, Chairman & Founder, Dragon Racing

lineage in motorsport. One could argue that Porsche is up there with them, but at the end of the day, Porsche doesn’t have the Formula 1 heritage that McLaren and Ferrari do. People forget that McLarens in the CanAm series ruled the roost for years… and that was proper sports car racing. And with Ferrari, well, it speaks for itself. We think we’ve chosen the best cars for track,” explains Price. With the option of taking a spin around either the Dubai Autodrome or Yas Marina Circuit in Abu Dhabi, Dragon Racing will tailor-make the experience to a client’s specific wishes – arranging hotel stays, luxury transfers to and from the airport, and even picking clients up in their favourite vehicle are all on the menu. “Whatever is possible, we will do,” Price reiterates. “We know that it is difficult to give total satisfaction to a group of more than 30 people, which is about the limit

that we can safely manage at one time while ensuring everybody has a great time. The reaction to our track days in the UAE has been astonishing.” But the Dragon Racing team is aware of the requirements of taking to the track and is wise to the dangers and pitfalls, so it judges the individual capabilities of each customer appropriately. “If you are a novice and get into a race car and drive five laps, you’ll get out absolutely exhausted, so it’s not a question of denying people time in a car. It’s just that we understand what people can take”, says Price. “Even racehardened people who drive in this heat can do 10 laps and come into the pits, incredulous as to how racing here can be physically possible given the temperatures. We have to make sure the drivers are prepared and happy. It’s about tailoring what we know people are capable of timewise and making it enjoyable. If at the end

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of the course they are good enough, we’ll put them into the GT3s at the end of the second day as a sort of graduation.” Gentleman racing has traditionally been a terrible business idea but men do it because they love it, in spite of the costs. However, the Dragon 88 experience gives the avid racer the training and tools to take to the track with confidence in racespec vehicles without the tremendous commitment and expense required. But this is only the beginning of what Price hopes will be the establishment of a genuinely competitive and internationally recognised team and service. “We want to make Dragon Racing a household name. Like the Nike swoosh, we want to put our logo out there and have it be instantly recognisable. It’s taken a great deal of effort to get to where we are today, and we have to make it work at this level first, which I have no doubt we will.”

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OBSESSION

D R E A M W E AV E R

Dreamweaver RAPIDLY GAINING RECOGNITION FOR COMBINING THE AESTHETICS OF TRADITIONAL AZERBAIJANI CARPETS WITH CONTEMPORARY SCULPTURAL FORMS IS UP-AND-COMING INSTALLATION ARTIST FAIG AHMED, WHO COMMENTS ON THE REGION’S EVER EVOLVING ART SCENE.

Your work has a playful quality to it. What are you hoping to express by morphing and disassembling traditional Azerbaijani and Middle Eastern archetypes? I would like to gauge the viewer’s reaction to the transformed nature of this iconic symbol of Middle Eastern culture. I preserve the traditional method of weaving carpets

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but experiment with form and composition so that I may suggest change and observe its impact on the viewer. Inspiration for such a unique art form… where did it originate? I grew up in a traditional society seeing carpets around everywhere, accepting it as the most conservative and consistent

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element of culture. My desire to change and transform this symbol was a kind of rebellion. This rebellion is the source of my inspiration. Having worked for a number of years in the Middle East, how have you come to see the region’s art scene develop? The Middle East has always boasted an

artistically diverse and rich culture. This is mirrored in the art we see coming out of the region today. Over the course of the last decade, several Middle Eastern artists have altered the paradigm of international contemporary art. I believe the region will continue to be a key player in the global art market. What do you think is the international perception of Middle Eastern art?Â Historically, Middle Eastern art has been perceived by the Western world as exotic, religious and mysterious. Today, Middle Eastern contemporary art is rebellious and deeply socio-political. Take, for example,

Iranian and Turkish art. Some regional art also places traditional eastern subject matter into a western frame to communicate culturecentric ideas internationally. We see a similar evolution of contemporary art in Asia, Africa and South America. What did the recognition from your Jameel Prize shortlisting mean to you? It meant a great deal to me as an artist. I was honoured and grateful. I have a long way to go still and much more to learn, so it is very encouraging to know that my work is recognised and appreciated. How beneficial have you found working

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with Cuadro during the period of your residency? As a platform for international contemporary art in Dubai, Cuadro welcomes a very diverse group of collectors and art lovers. The UAE has a versatile appetite for art, always engaging something new and different. It is a competitive and refreshing market that reminds me of New York or London. Exhibiting with the gallery has introduced me to a completely different audience of art in a completely new context. What is your favorite quote? My favorite quote has not written yet.

been

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Heritage

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H E R I TA G E

ALL IN A ROW

ALL IN A ROW While there are many upstarts and pretenders to the gentleman’s tailoring crown, Savile Row and the numerous artisan tailors who have made it famous for centuries, is stronger today than ever. While times and tastes may have developed, these masters of the bespoke arts are still creating clothes of a most superior standard – long may they reign!

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ALL IN A ROW

PHOTO:CHRISTOPHER SIMON SYKES

By invitation only Anderson & Sheppard A bespoke tailoring house that is as true today to its ethos as it was when it first opened is Anderson Sheppard. Unlike all of its contemporaries, Anderson & Sheppard has not entered into the fashion world by launching accessories or ready to wear ranges, rather it has a laser focus on precisely what it has always been – a damn fine tailor – a fact of which its illustrious clientele are well aware. Per Anderson and Sidney Sheppard established the company in 1906 and moved to number 13 Savile Row in 1913 and the pair would ultimately come to influence the entire sartorial landscape of Edwardian Britain thanks in part

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to their tutelage by famed tailor Frederick Scholte. Developing a new cut that gained favour as a more relaxed take on the suit, the pair along with their mentor Scholte favoured a less prominent shoulder and higher armholes to ensure a form fitting shape. It became a shape for a new age thanks to its softened accessibility that became famous the world over as the London cut. And yet, initially Anderson & Sheppard was far from easily accessible. If you weren’t a member of societies upper echelons, the odds of securing an appointment were slim indeed, which is why the records of Anderson & Sheppard team with the most established and eminently fashionable names of the age - Fred Astaire, Noël Coward, Gary Cooper, and the Prince of Wales to name just a few.

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Unusually for a tailor on the Row women were also welcomed, provided they were in search of a gentleman’s cut of suit – which movie star Marlene Dietrich certainly did. Playboys, dukes, barons, maharajas, industrialists, composers, and society luminaries frequented the shop and its wares flew out the door – all baring the inimitable style of the name. The store moved once more along the road to number 30 where it steadfastly resisted the advent of the swinging sixties and the dreaded casual Friday, instead retaining its loyal and discerning clientele and accruing new customers who appreciated its classic methods and style. Anderson & Sheppard left Savile Row in 2005, however it is still classified as a Savile Row tailor – how could it be regarded as anything less?

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PHOTO:CHRISTOPHER SIMON SYKES

H E R I TA G E

ALL IN A ROW

Norton and Son Norton & Sons was established in 1821 by Walter Norton as a gentleman’s tailor at its first address on London’s Strand and quickly built up an esteemed reputation. The award of the Freedom of The City of London given to the then owner George James Norton in 1859 was a great honour for the firm in recognition of their unique savoir-faire. It was not long thereafter that the shop moved to Savile Row in the 1860s, taking its place among the tailoring luminaries of the age. For the following half a century, Norton and Sons catered to the great and good of not only London’s movers and shakers but also a growing international clientele including the Royal households of Europe, celebrities

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and Presidents. It was also its mastery of sports tailoring for the rugged outdoorsman that was and still is their calling card. Such was the quality of their lightweight, yet deftly crisp clothing that King Edward VII, Winston Churchill and famed explorer of the Arabian Deserts Wilfred Thesiger were longstanding clients. Indeed, Lord Carnarvon, famed Egyptologist and explorer, was wearing Norton & Sons apparel when he discovered the remains of Tutankhamen in the Valley of the Kings. Over the years, Norton and Sons has made something of a habit of incorporating small yet highly regarded Savile Row firms with the likes of Hammond & Co, J. Hoare & Co, E. Tautz & Sons and Todhouse Reynard & Co. joining its ranks, however by the turn

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of the 21st century, business had begun to flag. With only 200 suits being made annually, the company came up for sale in 2005. Enter Patrick Grant. With a small consortium of investors behind him, Grant purchased Norton & Sons from the Grant family and set about ringing the changes. Collaborating with Giles Deacon, Christopher Kane and Kim Jones, some of the fashion industry’s most important names, created a new and vibrant impression of modernity and cutting edge design. Norton & Sons has only ever been attached to the finest bespoke tailoring and it has no licensing on its name, however this has not prevented the brand from expanding into other areas with the launch of a ready-to-wear line under the name E. Tautz (one of the brand names incorporated into Norton & Sons in the 1970s).

Eastern promise Covering the spectrum from fashion to culture, the seismic impact of Eastern influence cannot be underestimated.

In the world of fashion, inspiration can come from many quarters. However, some of the most iconic styles have come from traditions, cultures and styles of the Orient – a region that, in the eyes of the West, stretches from the edge of Europe through Central Asia to the shores of the Pacific Ocean. However, orientalism is a nuanced idea, and one that in fact has little to do with the East. Indeed it appears to be more a fabrication of Western idealism. As the explorers of the East such as Cathay and Edo brought back tales of wonderful spices, rich fabrics and new fabrication techniques yet to be mastered by Western craftsmen, ‘Eastern’ influences began to permeate westward. However hackneyed these often stereotyped ideas may have been, they quickly assimilated into globalised notions, perhaps no more visually so than in the arts and fashion, which were imbued with a new character and vocabulary that reflected this new Eastern view. The Middle East particularly enchanted in sartorial terms; perhaps its proximity to the West gave it a more redolent quality. The harems of North Africa, and the beauty

and mystique of those living a more itinerant lifestyle provided pronounced exoticism to the idea of that particular compass point. Easily transported items passed along the length of the Silk Road as it opened up, with fabrics in new and sumptuous colours making their way into Europe. These new aesthetic possibilities had a tremendous impact – perhaps nowhere more so than Venice, a city that stood astride the continents and the first port of call for the tradesmen of the day bringing their goods from the bazaar to the piazza. It has been argued by those of a scholarly persuasion that it was the assimilation of Eastern knowledge and ideas into Europe via the tradesmen that lit the touch paper for the Renaissance, perhaps the longest lasting legacy of the entire enterprise. It is taken for granted that the etymology for cotton, satin, damask, muslin, chintz and jute derive from Middle Eastern or Asiatic roots. In the realm of clothing, the transcendent nonverbal communication that the import of these fabrics brought about quite literally opened up a world of possibilities in terms of how people could dress. As the concept of foreignness became synonymous

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with exclusivity, it rendered Western dress with inimitability and exoticism. While this permeation is something that has been taking place for over 500 years, it was at the turn of the 19th century when the rapidity of cultural hegemony really began to take hold, as empires expanded and the speed of human mobilisation increased to previously unattainable levels. Subsequently the idea of orientalism became so standard that its impact became far less subliminal. By this stage, it was in fact Eastern fashions that took hold. Kimonos from Japan, shawls from India, caftans and djellabas from North Africa, and cheongsams from China were all more visible, if not commonplace. While European dress was reliant on tailoring and exact fit, the antithetical focus on the primacy of fabric draped and looped in a more laissezfaire style was certainly an Eastern trait – and one that came to become a sort of symbol of rebellion and counterculturalism. In fact in the early 1900s, one French designer became famed for breaking the sartorial mould, using ‘Oriental’ influences to liberate women from the constraints of the fashion norms of that day and age. Paul

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Poiret abandoned bustles, hoops, corsets and other hyperbolic styles that kept women in a permanent state of formality and propriety, and took influence from the success of the Ballets Russes’ captivating performances and costumes that were taking Europe by storm at the turn of the century – styles that harkened back to a Turkish harem. By doing this, he created a wave of interest in looser and achingly glamorous draped styles that gave women better freedom of movement, an absolute game changer with serious sociological ramifications in terms of women’s suffrage. The harem trouser, in particular, became enormously important. In many circles, the wearer would inspire uproarious responses from the establishment due to the garment’s seemingly subversive nature as an affront to feminine propriety. Times have obviously changed since this age of fashion enlightenment, and yet, the East still offers its inspirations for art, fashion, design and architecture. Every season, there is one designer or another creating looks for both men and women with their gaze firmly looking eastward – and the outcomes are as elegant today as they have been in the past.

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GOLDEN ERA

THE RENAISSANCE THE 14TH CENTURY EUROPE WITNESSED A REVOLUTION IN UNDERSTANDING ART AND DESIGN, PERHAPS MOST TYPIFIED BY THE AMBITIOUS ARCHITECTURAL FORMS THAT WERE ERECTED DURING THIS PERIOD.

The French word ‘renaissance’ – when translated literally – means ‘rebirth’, and no more apt a phrase could be dreamed up to describe the metamorphosis of cultural thought among Europe’s intelligentsia during the 15th century. This was a period in which Western civilisation came into its own in art, science, music, philosophy and architecture, with its heart in Italian culture. The dramatic changes that took place during this time are vividly represented in the style of buildings that shot up during this time, particularly in and around Florence. Their façade, potent reminders of the mathematical, scientific and artistic geniuses at work in the field at this time. The Italian architects at the turn of the 15th century had begun to turn their backs on the domineeringly intricate Gothic styles and started to base many of their design theories on classical Roman examples. Many went on pilgrimages to the ancient ruins of the Pantheon and Colosseum in Rome for study and inspiration. As a result, the visual vocabulary of the Renaissance period came to be dominated by revived ideas such columns, pilasters, pediments, entablatures, arches and domes. The writings of 1st century author, philosopher, architect and engineer Marcus Vitruvius

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Pollio (born c. 80–70 BC, died after c. 15 BC), commonly known as Vitruvius, became the basis of understanding for Renaissance architects, who in their own way, sought to create harmonious spaces based on the theory of mathematical proportion – a unit of measurement based on human form that came to define beauty. Many developed on his work is spectacular ways, perhaps none more so than Filippo Brunelleschi, who is widely considered to be the first architect of the Renaissance era. Having trained as a goldsmith, Brunelleschi’s desire to pursue architecture was fuelled by a trip to Rome to visit the ancient ruins of the city. Clearly inspired, he went on to engineer some of the period’s greatest monuments and became a founding father of the Renaissance architectural movement. Among his greatest accomplishments is the engineering of the dome of Florence Cathedral. But while Brunelleschi lit the touch paper, it was Leon Battista Alberti who took the principles to new levels of genius. In every sense a true Renaissance man, Alberti was a master architect, humanist, musician and theorist. He worked tirelessly to develop his mind, striving to learn more about not only the human condition, but also the science behind the art. His painting, sculpture

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and architecture masterworks were the fundamental treatise in the subjects, and it was he who came to fully understand the impact of linear perspective – a technique that brought previously unattainable levels of realism to all forms of art. His architectural period ran from the 1450s onwards and during his time, he (like Brunelleschi) strived to reflect the glories of the Roman past in his designs. The façade of his Tempio Malatestiano in Rimini (built in 1450) and the church of Santa Maria Novella in Florence (erected in 1470) are a testament to this. For Alberti, architecture was a way to create meaning and to make sense of the world – a trait that the finest of architects and designers possess to this day. From its birthplace, the principles of Renaissance design eventually diffused throughout Europe, with France adopting a pseudoRenaissance style that seemed to fuse Gothic ideas with those from Italy. The result was a nearly 100-year period of design that adopted the principles of Renaissance design laid out by the likes of Brunelleschi and Alberti, but with a less revolutionary approach. It was a period that forever changed the way we live our lives today, and a mere glimpse at its architecture is enough to realise just how much is owed to these maestros of science and art.

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THROUGH THE AGES

THE UPPER CLASS Being a role model means leading the way. Since the earliest days of the automobile, the top-of-the-line models from Mercedes-Benz have been the most well-known and famous ambassadors of German automotive engineering. With groundbreaking innovations, they have set the standards for passenger car development in general. This tradition is still alive today and will, from the summer of 2013, find its continuation in a model series that carries forward the prestigious name of the S-Class into the future.

1904

The Mercedes Simplex 60 hp is an early example of MercedesBenz’s unique tradition of luxury class automobiles. This spacious and luxurious touring saloon from 1904 is from the private collection of Emil Jellinek, whose daughter Mercedes gave her name to the Stuttgart-based automotive brand. Presented in 1903, the Mercedes Simplex 60 hp followed in the innovative footsteps of the Mercedes 35 hp, which Jellinek had started to develop at the beginning of 1900. Today this first vehicle to bear the name Mercedes still ranks as the first modern motor car.

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1928

The Nürburg 460 (W 08) made its debut in 1928 as the first Mercedes-Benz series-produced passenger car to feature an 8-cylinder engine. The name “Nürburg” was a reference to the Nürburgring race track, which had been inaugurated just one year earlier. The background to this choice of name was a spectacular endurance trial in which a 460 model covered a distance of 20,000 kilometres in 13 days round the Nürburgring. The elegant and luxurious Pullman saloon versionwas one of the most popular variants of the 8-cylinder Nürburg, which was available from 1934 to 1939 as the Nürburg 500.

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1930 1951

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In 1930, Mercedes-Benz unveiled the 770 “Grand Mercedes” (W 07) as the ultimate in automotive engineering. This luxurious prestige saloon for the most discerning clientele was fitted with a powerful 8-cylinder compressor engine designed to deliver effortlessly superior performance. This new model, which represented a continuation of Mercedes-Benz’s decades-long tradition of luxury automobiles, was custom-manufactured at the MercedesBenz production facility in Sindelfingen, where every customer wish was comprehensively accommodated.

The Mercedes-Benz 300 (W 186) is today known primarily by its nickname, the “Adenauer Mercedes”. Konrad Adenauer, the first chancellor of the Federal Republic of Germany, was among the first users of this new flagship Mercedes-Benz model of 1951 and was henceforth only ever to be seen being chauffeured around in a MercedesBenz 300. On being launched at the first IAA International Motor Show in Frankfurt in April 1951, six years after the end of World War II, the Mercedes-Benz 300 heralded, like scarcely any other vehicle, Germany’s return to the international automotive market.

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THROUGH THE AGES

1954

Introduced in 1954, the 220 model, also known internally as the 220 a (W 180), was the first Mercedes-Benz 6-cylinder model to feature a unitised-body design. Its modern, spacious “ponton body”, which Mercedes-Benz had launched just six months earlier in the mid-range 180 model, offered hitherto unknown standards of spaciousness and comfort. With the launch of the revised and more powerful 220 S in 1956, the letter “S” became a permanent fixture in the names of high-end Mercedes-Benz models, underlining the special status of the 6-cylinder “ponton” saloon.

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1959 1965

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Launched in 1959, the 220, 220 S and 220 SE “fintails” (W 111) owed their nickname to their distinctive rear fins. These were officially known as “sight lines” on account of their function as a parking aid. This new generation of luxury-segment saloons marked quite a special milestone in automotive history, as these were the first seriesproduced motor vehicles to feature the safety body conceived by Béla Barényi. In the event of an accident, front and rear crumple zones absorbed the energy of the impact to protect the occupants.

The saloons of model series W 108 and W 109, which replaced the 6-cylinder “fintails” in 1965, were characterised by their timelessly elegant styling and generously proportioned windows. Like their predecessor, they were available in a version with a 10-cm-longer wheelbase. A special highlight was the 300 SEL 6.3, which was launched in 1968. This new top-of-the-line model featured the powerful V8 engine from the Mercedes-Benz 600 and provided its proud owners not only with the ultimate in comfort and luxurious appointments but also with sports-car-like performance.

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1972 1979

In 1972, the luxury-class saloons with which Mercedes-Benz had been setting automotive standards for a number of decades were given their own name. The new 116-series S-Class was characterised by a comprehensive safety concept with numerous detail innovations. In 1978, the Mercedes-Benz S-Class became the world’s first series produced vehicle to be equipped with the ABS anti-lock braking system, which was designed to maintain vehicle steerability even under emergency braking conditions.

In 1979, the 126-series S-Class impressed with its aerodynamically optimised form and systematic weight savings through the use of, for example, new light alloy V8 engines. The new S-Class was also a trendsetter in terms of design. The airbag, now a key element of automotive safety, made its debut in the S-Class of 1981, thereby finding its way into series production. The driver’s airbag was initially combined with a pyrotechnic belt tensioner for the frontseat passenger. From 1988 onwards, Mercedes-Benz also offered its customers a front-seat passenger airbag.

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1998 2005

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The new 220-series S-Class of 1998 impressed not onlywith its coupé-like styling but also with weight savings combined with further enhancements in safety and comfort. 2002 saw the introduction of the PRE-SAFE anticipatory occupant protection system, which prepares passengers for a possibly imminent collision by automatically initiating measures designed to ensure their optimum protection. Concurrently with the introduction of the new safety system, the S-Class was optionally available with intelligent 4MATIC allwheel drive, which helps to guarantee optimum traction at all times, including in adverse driving conditions.

The pioneering technical innovations of the 221-series S-Class launched in 2005 included a multiplicity of assistance systems, such as the new and improved DISTRONIC PLUS adaptive cruise control and Brake Assist Plus, which brought the S-Class another step closer to realising the vision of safe, accident-free motoring. The Mercedes-Benz S 400 HYBRID of 2009 was the first luxury-class automobile with efficiency enhancing, ecofriendly hybrid drive as well as the first series-produced passenger car to use a lithium-ion battery.

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THROUGH THE AGES

2013

The best car in the world – each generation of the S-Class has earned itself this epithet anew. Thus, “perfection down to the last detail” was once again the challenge that faced the developers of the forthcoming model series. This new luxury saloon from Mercedes-Benz will merge top-flight mobility with responsibility at the highest level. Numerous innovative and optimised driving assistance systems which have been summarised under the name “Mercedes-Benz Intelligent Drive” combine comfort with safety.

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La Dolce Vita

La Dolce

HAUTE SOCIÉTÉ

A NEW CITYSCAPE SHOPPING MALL Dubai is riding the crest of a wave with the announcement of the World Expo 2020 coming to the city, and as a result, its development has increased in volume and speed as of late. The newest announcement, surely to be a crowning achievement, is Mall of the World – an entirely temperaturecontrolled and pedestrianised city-within-the-city to be built along Sheikh Zayed Road by Dubai Holding. This will be through a glass dome enclosure that will be open-air during the winter months, a high season for the city’s leisure, retail and hospitality sectors. Unveiled by UAE Vice President and Prime Minister and Ruler of Dubai HH Sheikh Mohammed bin Rashid Al Maktoum in July, the development will include the world’s largest mall occupying eight million square feet connected to 100 hotels and serviced apartment properties offering a combined 20,000 rooms. Also on the agenda is a retail street network stretching to over 7 kilometres, the world’s largest indoor family theme park, a cultural district comprising theatres built around New York’s Broadway, and the Celebration Walk inspired by Las Ramblas street in Barcelona. No date has yet been divulged on the start of this project, which will cover 48 million square feet and attract 180 million visitors annually once complete, further bolstering the city’s credentials as a key global tourist destination.

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Vita A GRAND REOPENING R E S TAU R A N T After undergoing a major refurbishment, Cipriani Yas Island has reopened to the public and is once again serving its inimitable brand of Italian fine dining. Boasting simple elegance, the restaurant seats up to 300, extending 130 seats into the iconic marine-facing terrace and 50 seats in the lounge. The venue also comprises an exclusive private dining room seating up to 30, a private curtailed area on the restaurant floor and a grand secluded function room for 50 guests, complete with its own separate kitchen and service area. Bolstering its renowned flair for personalised experiences, the restaurant also hosts a cigar lounge with expertly hand-rolled cigars à la minute served during the Formula 1 Grand Prix season.

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EAST INDIA COMPANY LONDON R E S TAU R A N T The East India Company offers products that have been crafted by artisans and specialists from around the world using ingredients that have been carefully sourced for their quality and well-known provenance. Now, in collaboration with local partner BinHendi, the company has opened its first branch in the UAE. Located at Etihad Towers in Abu Dhabi, it carries an expertly curated selection of fine teas and coffees, sweets, savoury biscuits, chocolates and preserves. Each tea in the range is personally selected by The East India Company’s tea master in order to ensure that only the finest quality teas are available.

The East India Company Podium One Avenue at Etihad Towers Abu Dhabi

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Confisierie Sprüngli Boutique & Café Village Mall, Jumeirah 1 Dubai, UAE +971 (4) 343 3900

A FRESH DIRECTION R E TA I L Famed luxury chocolatier Confiserie Sprüngli has inaugurated its first boutique and café outside its home base of Switzerland. The company has been creating fine Swiss chocolate for 122 years, and its artisanal products were previously only available through private appointment and mail order. However, increased demand for its chocolates in the country has prompted the opening of its first boutique and café in the region, which is situated at the Village Mall in Dubai. All of the products sold in this new store will still be produced at the Confiserie Sprüngli production facilities in Switzerland to maintain quality, and air-shipped regularly to the city.

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ENDURING APPEAL

ENDURING APPEAL THE ATTRACTION OF LE MANS FOR DRIVER AND SPECTATOR ALIKE IS CONTINUAL AND STRONG, AND FOR ANY PETROL HEAD, A PILGRIMAGE TO THE HALLOWED TARMAC IS ABSOLUTELY ESSENTIAL.

The urge to compete

behind the wheel is apparently innate. Let’s face it, everybody does it. Be it from the traffic lights to the highway or the track, the urge to put the pedal to the metal is in everyone who gets behind the wheel. Of all the variants of four- or twowheeled racing endeavours, the 24-hour race is perhaps the most storied and

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prestigious, and of all the 24-hour races, the Le Mans is at the pinnacle. Established in 1923, this no holds barred racing spectacle attracts the avid amateur and the seasoned professional to the small French town of Le Mans to test their mettle and machines to the limits. Sometimes referred to as “the Grand Prix of Endurance and Efficiency,” teams have the extremely complicated

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challenge of balancing speed with the car’s ability to run for 24 hours without sustaining mechanical damage while managing the its consumables, primarily fuel and tires – no easy feat. Drivers frequently spend hours behind the wheel before handing over the car to one of two teammates who will perform a stint of their own. To be competitive in this

forum requires exceptional skill and talent, which is why Le Mans regularly attracts the very best drivers and endurance racers from around the world. This year’s edition included former F1 driver Mark Webber, Alexander Wurz, Nick Heidfeld, Mika Salo, Marco Holzer and Jörg Bergmeister to name a few. Running on the Circuit de la Sarthe that includes some public roads as well as track, teams can enter in differing classes of vehicles of similar specification. This means that the track is teaming with competitors, and includes a wide variety of cars from the supercar to the smaller sports car. The winner in each class is determined by how far they have managed to get in the allotted 24 hours and can frequently exceed 5,000km. To put that into perspective, that is in excess of 18 F1 races back-to-back. Those without qualms about high levels of noise or lack of sleep can revel in this genuinely taxing endeavour and spectacle of ferocious

racing. Often, the race is an endurance contest for the spectators as much as the drivers. It is high octane and high stakes for all concerned, and needless to say, a brilliant way for any petrolhead to spend a few days. But what should not be forgotten is that beyond the scent of burning rubber and sound of thunderous engines tearing around and around for hours on end, Le Mans is in the heart of the French countryside and offers a tremendous amount to do beyond simply fixating on pit lanes and chicanes. If you desire a break from the action, there is a wonderful Musée des 24 Heures du Mans nearby that outlines the history of the race. It features over 100 years of automotive history and contains some of the most rare and coveted vehicles in the world. The city itself is located on the Sarthe River in the northwest of France, approximately two and half hours by road and just over an hour by typically quick TGV rail link west of

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Paris in the Pays de la Loire region. Within the Gallo-Roman walls of the city teem historical monuments from centuries of occupation by various parties. Its because of the ancient Roman redbrick architecture, which still accents, that Le Mans has earned the nickname of ‘the red city’. Layers upon layers of history build and crescendo at the magnificent Le Mans Cathedral, a gothic masterpiece dedicated to Saint Julien and resplendent with Romanesque nave and impressive flying buttresses. The building dates back to the 4th century with major expansion and renovations taking place during the 9th and 11th centuries, making it a living relic worth seeing. If viniculture is your bent, the proximity of Le Mans to the Loire Valley makes it an ideal jump-off point to go and experience some of the finest produce that France can offer. The vineyards of Touraine are amongst the very best in the region… degustation is not only encouraged, but expected!

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ON THE ROAD

On the

road

JEREMY HACKETT TELLS US ABOUT HIS TRAVEL HABITS AND WHERE HE DRAWS THE MOST INSPIRATION.

As a man on the move, what can you never leave home without? I like to take photographs so I always take my camera. How do you get ready before you travel? Do you have a set routine to prepare? Because I travel quite frequently, it doesn’t take long to sort out what I need to carry, whether I need clothes for a short trip or a week away. I try to travel as light as possible. What, if anything, do you look for in luggage? Do you have a preferred brand? Durability. Luggage takes a real battering when travelling. For long-haul trips, I take my Globetrotter suitcases that stand up to the worst treatment the airlines can offer. If I am just going away for the weekend, then I rely on my tweed Hackett holdall. You are dashing out the door to catch a last minute flight – what are the five things you grab on the way out? My passport, sunglasses, wallet, moleskin diary, and phone. What items do you always forget when you travel? I often arrive at my hotel and realise that I have forgotten to pack my adapters, phone charger or razor. I have a drawer full of items I

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have suddenly needed to buy because I forgot to pack them in the first place. On arrival at your hotel, what is the first thing that you try to do? I usually unpack my suits, which may have been in the suitcase for more than 20 hours. I then arrange to have them pressed as quickly as possible because I am often going straight to a meeting. I also charge my phone… that is, of course, if I have remembered to pack the charger or my phone for that matter. How do you approach dapper dressing in climates of extreme temperatures? Fortunately, most of the places I tend to visit are air conditioned, whether it is the car, the hotel, the shopping mall or restaurant. If I do get caught out in the heat, I tend to walk very slowly. In very humid temperatures, I find I am changing my clothes three times a day. What is the most difficult thing about travelling so frequently, and how do you remedy the problem? The amount of time I spend hanging around airports because a plane has been delayed or a flight cancelled. I sometimes spend more time at the airport than my destination. I have now resigned to those inconveniences and just settle down with a good book.

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What is a little luxury you always take with you? I enjoy the occasional cigar so I will pick up some Cuban cigars at duty free. Is there a specific secret that you have figured out, or a piece of advice you could offer from your years of toing and froing for your job? I hate carrying anything so I always have all my luggage put in the hold rather than traipse around the airport with several bags. How would you recommend achieving a fresh appearance when you’ve been on back-to-back long haul flights? On long haul flights where the plane stops halfway, I’ll take a quick shower before getting back on my flight. It is very refreshing. Usually not long before landing, I shave, which I find makes me feel much better.

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What in the Hackett 2014 A/W collection lends itself to travel? There is a great lightweight, navy blue raincoat made from a technical fabric that can easily be packed into an overnight bag. Do you have a packing rule? If there is no more room in the suitcase, then it doesn’t go. Where is your home away from home? Cornwall, I love to visit the coast of Britain in the summer. What destinations give you the most inspiration? I find inspiration all around, but mostly in vintage markets throughout the world from Portobello Road in London to Dongtai Lu Antique Market that I recently visited in Shanghai, China.

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The ties

that bind

ENDURANCE LIFESTYLE is an extra ordinary event of experiences, important initiatives and appointments of excellence. Four days dedicated to sports, business, culture, tourism, fashion & design, social responsibility to enhance the discipline of Endurance, its protagonists and all the Italian excellences. Endurance, known also as the “Sport of Sheikhs”, manages to achieve the promotion of Made in Italy productions fostering the economic development, territorial marketing and creation of synergies.

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MARCHE ENDURANCE LIFESTYLE The development of bilateral ties between the UAE and the region of Le Marche is a key target for both parties, and the partnership is growing stronger year-on-year thanks to events such as Marche Endurance Lifestyle, a co-sponsored event between Italy’s Regione Marche and the UAE Ministry of the Economy. Now in its third year, the four-day event saw local dignitaries and over 400 visiting delegates from the UAE attend the conferences and seminars that covered a range of topics including sports, business, culture, tourism, fashion and design, social responsibility, PR, and entertainment. Taking place in numerous locations in and around the Marche region, the event’s overall aim is to promote mutual economic ties as well as the high quality products made in both territories. However, while these conferences are designed to bring two cultures together in the spirit of cooperation and mutual respect, it is the equestrian element of proceedings that is the centrepiece of the entire event. Displaying feats of exceptional fortitude, the Marche Endurance Lifestyle event attracts the best horsemen from across the globe to participate in the three endurance races that run alongside the economic forums and seminars. Considering endurance riding is a key element of Arabian equine culture, this year’s event welcomed HH Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, who witnessed Dubai Crown Prince Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum take top honours in the 120km Conero Endurance Cup in Numana for the second consecutive year with a time of 05:20.53 hours.

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Le Marche Covering nearly 161km of Adriatic coastline, Le Marche is a wonderfully evocative region of Italy with vistas and hilltop towns to rival any in Tuscany or Umbria – and yet, it remains relatively unspoiled by the ravages of mass tourism. However ‘the Marches’ (as it is otherwise known) should not be overlooked. The region is renowned for being home to some of Italy’s finest cultural jewels – palazzos, squares, castles, fortresses and important religious sites are dotted throughout the area, making it a wonderfully charming destination for any grand tourer to explore. The town of Urbino is a favourite for visitors. A stunning hilltop town whose architecture is grand and splendid, it was built in the 1400s as the heart of a powerful dukedom. Today, it offers visitors a stunning glimpse into living history. The town’s artistic pedigree is world-class and plays a major part in its cultural landscape. There are spectacular frescos such as those in the Oratorio di San Giovanni as well as a stunning variety of masterworks, particularly to be found at the Palazzo Ducale. The Galleria Nazionale delle Marche houses works by the masters of Renaissance art Raphael (born in Urbino), Paolo Uccello, Titian, Timoteo Viti and Piero della Francesca amongst others in a distinguished collection of international importance. Should you be keen to take in some of the region’s beauty spots, the rolling hills that decorate the landscape offer exciting trekking opportunities above ground, while the subterranean Frasassi Grottos are among the most beautiful Karst complexes in Italy. This complex system of caves offer a spectacular labyrinth of chambers, tunnels, halls, crystalline lakes and alabaster stalactites formed roughly 1.4 million years ago. They are a wonderful place to visit during the scorching summer months as the constant 14-degree temperature offers a welcome respite from the heat above ground. For those who are more inclined to sit back and watch the world go by, the coast is dotted with small seaside resorts for visitors to take advantage of the beach and enjoy a classic Italian summer with the usual ice cream shops, pizzerias and spots for an evening passeggiata.

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Dubai’s Crown Prince Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum took top honours in the 120 km Conero Endurance Cup 2014 in Numana, Ancona province for the second consecutive year with a time of 05:20.53 hours

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b erlut i.c om

A B U D H A B I , T H E G A L L E R I A , S OW WA H S Q U A R E - D U B A I , M A L L O F T H E E M I R AT E S - D U B A I , D U B A I M A L L , L E V E L S H O E D I S T R I C T