Signe - Edition 34 by Signé

AED 30 KWD 2.5 QAR 30

S I G N É

THE ICONOCLAST

LIFE A ND TIMES OF K AR L L AGER FELD

DELIVERING UNCOMPROMISING LUXURY

SOBHA REALT Y ON LUXURY REAL ESTATE

THE PRACTICAL GRAND TOURER

AMG E53 COUPÉ IS THE LATEST IN THE 53-SERIES TRILOGY

HOROLOGICAL HIGHLIGHTS Discover gems from the latest edition of Baselworld

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HAPPY DIAMONDS COLLECTION

Life and times of the world’s most prolific Fashion Icon, Karl Lagerfeld

Our top product pick is a Brunello Cucinelli weekender bag

THE ICONOCLAST

44 THE PRACTICAL GRAND TOURER

LATEST

Pierpaolo Piccioli recognized as one amongst the 2019 Time 100

Highlights from the 56th edition of the Ermenegildo Zegna “wool awards”

Our review of the new AMG E53 Coupé, the latest debutant from the 53-series trilogy

THE FINEST MERINO

Bringing you key trends from the largest watch fair on the planet

The best Espadrilles shoes from MR PORTER that every man should own

Stay on trend with the best sneakers to own this season

The CEO of Montblanc shares insights into its disruptive drive for innovation

STANDING OVATION

ESPADRILLES

SPECIALS FROM BASELWORLD 2019

SNEAKER PICKS

THE MAN WHO WANTS TO BE KING

OF COURAGE UNDAUNTED

GO BOLD THIS SUMMER A brief look at some of Tateossian’s latest offerings for Summer

A look at the phenomenal growth of Philipp Plein in the last 20 years

REFRESHING ONE’S DNA

FRAGRANCE FILE

THE STYLE EDIT

Fashion-forward buys, picked by Signé for you

Editor’s selection of fragrances for the season

RJ watches charts a new course under Marco Tedeschi, the new CEO

Aston Martin ‘DBS 59’, a limited edition to commemorate a legend from the past

Alexandra Llewellyn turns her passion for games into luxury board games

QUEEN OF BOARD GAMES

REMEMBERING A LEGEND

FUR BALL

Discover the purity and strength of the world’s finest wool, the Angora

FOR THE LOVE OF ART AND ARCHITECTURE

Poltrona Frau Group launches its Cockpit oﬃce chair collection in Dubai

Discover Hunt Slonem and his passion for conservation of historic buildings

NEW PATTERNS AND HUES FOR SPRING

A PRANCING HORSE IN THE OFFICE

UNDER THE SAKURA TREE

Armani/Hashi celebrates the season of cherry blossoms with seasonal flavours

A brief look at Christian Lacroix’s SpringSummer 2019 collection

OBJECTS OF DESIRE

The Landmark Mandarin Oriental launches its Connoisseurs’ Escape experience

LUXURY AT A HIGHER LEVEL

We bring you a selection of our favourite must-have possessions

HOMAGE TO THE OLD MASTERS Louvre Abu Dhabi welcomes Masters of the Dutch Golden Age

DELIVERING UNCOMPROMISING LUXURY

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Tirtankar Ganguly, CMO of Sobha Realty on how luxury translates into real estate

WHEN COLOUR OVERTAKES TECHNOLOGY

Dolce & Gabbana and Smeg bring forth their fourth and latest collaboration

NURTURING CREATIVE MINDS

Cheoy Lee of Hong Kong, debuts two new luxury yacht models

PATRON OF THE ARTS

THE CULINARY JOURNEY

The Peninsula Hotels Group unveils its new ‘Art in Resonance’ campaign

Akira Back brings his culinary skills to W Dubai, Palm Jumeirah

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A NEW BOXER IN THE RING

LOEWE FOUNDATION announces finalists for the 2019 edition of its Craft Prize

BEST IN CLASS

REVITALIZE YOUR QI

The second custom bike built around the BMW Motorrad’s new Boxer engine

Experience traditional practices of mind body wellness at Caesar’s Palace

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FA S H I O N • T H E I C O N O C L A S T

“When I took on Chanel, it was a sleeping beauty. Not even a beautiful one. She snored.” Karl Lagerfeld

SIGNÉ • EDITION 34

THE ICONOCLAST A look back at the life of a prolific Fashion Icon

“To do this job, you must be able to accept injustice. There are other careers. You can work for social security. Get promoted and work behind a counter. It’s a safe bet. If you want social justice, be a civil servant. Fashion is ephemeral, dangerous and unfair.” These words by Lagerfeld, spoken in the 2007 documentary film ‘Karl Lagerfeld Confidential,’ in a way, and unapologetically, sums up the man who was one of the most iconic and prolific fashion designer the world has ever seen. Lagerfeld passed away on February 19, in Paris, at the age of 85, thus bringing to an end a career that lasted over six decades. In a profession that was “ephemeral, dangerous and unfair,” he not only survived but was at its leading edge through most of it. Dubbed ‘fashion’s ultimate free-agent’ by the industry press, he was at the helm of not one but three global luxury brands, all of whom delivered positive results in 2017: Fendi, owned by LVHM, “continued to grow strongly,” according to the group’s annual report; Lagerfeld’s eponymous label delivered a 30 percent growth; Chanel, meanwhile, released the firstever financials in its 108-year history which reported a revenue of 9.62 billion,

an increase of eleven percent from the previous year. This should come as no surprise to those who observed him as he had become increasingly prolific with age, rather than slowing down. For Lagerfeld, being creative was equivalent to breathing, and so would often say “if I can’t breathe, I’m in trouble,” whenever anyone would bring up the topic of retiring. In the documentary ‘Confidential,’ he gives a surprising insight into his creative process: “The best things I’ve ever done have come from dreams. Unfortunately, you cannot rely on it. Sometimes it is a whole show, including the sets. I filled in the details, but I had seen the basic thing [in the dream]... It is rather surprising because I don’t fall asleep thinking about dresses, my head teeming with ideas. I’m not that obsessive. I love the job but its no more important to me than photography, books, etc. It’s part of my life. Two hundred percent apparently, since my sub-conscience is overloaded. But it is not something I ponder.” Another aspect of his creativity that seemed to increase with his age was the extravagance of his runway productions which, not only cost millions of dollars to produce each season but seemed more like

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grand theatrical sets rather than a stage to present his latest creations. Chanel’s Fall 2018 show, for example, transformed the Grand Palais into the woods with the brown leaves of fall covering the floor and leafless trees lining the runway; where models unveiled an astonishing total of 80 looks that included classics such as Chanel’s tweed, fur coats, lace gowns, and oversized scarves. The Lagerfeld story began in 1933, in Hamburg, Germany, when Karl Otto Lagerfeld was born to Elisabeth and Otto Lagerfeld. His father made his fortune from importing evaporated milk while his mother was an accomplished violin player. As such, Karl, his older sister and half-sister from his father’s earlier marriage, grew up in a wealthy home where intellectual activity was encouraged, liberal values were espoused, and religious dogma was not enforced. The family wealth allowed them to move to a small northern town near the Denmark border “where nothing ever happened;” which meant they were able to escape the worst ravages of World War II. “The few people who knew me as a child say I was like a male Shirley Temple: rather unbearable and spoiled. I always

FA S H I O N • T H E I C O N O C L A S T

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CHANEL Fall-Winter 2019/20 Ready-to-Wear Collection

felt hard done by! I never considered it was enough,” says Lagerfeld in ‘Confidential.’ When asked about his ambitions he adds: “I had a vision of what I wanted to do, and how I wanted to do it. An idea, a vision for which I was prepared to make any sacrifice but not any compromise. I was born determined.” In school, Lagerfeld spent a great deal of time making sketches no matter what was being taught in class. In fact, Lagerfeld has even claimed that he learned much more from his frequent visits to the Kunsthalle Hamburg museum than he ever did in school. He was also a Francophile at heart. He drew inspiration from French artists and admitted he only stayed in school to learn French. At the tender age of 14, Lagerfeld made the bold decision to move to Paris where he joined the Lycée Montaigne school to focus on drawing and history. Just two years later, in 1955, came the pivotal moment in Lagerfeld’s professional life. He submitted a series of sketches and fabric samples to a design competition sponsored by the International Wool Secretariat and won first place in the coats category. The event led to the commencement of two important chapters in Lagerfeld’s

life. First, the event introduced him to the winner of another category in the same competition, who would become one of his closest friends - Yves Saint Laurent. Second, the win led to him being hired by French designer Pierre Balmain, with whom he worked as a junior assistant and later as his apprentice. In 1958, he became the artistic director for Jean Patou. In 1964, he moved to Rome to study but freelanced for a number of brands including Tiziano, Chloé, Charles Jourdan, Krizia, and Valentino. Then in 1967, he was hired by Fendi to modernize their fur line and thus began his lifelong association with the brand. Lagerfeld’s designs, while being innovative, also introduced new materials such as mole, rabbit, and squirrel pelts into high fashion. These hallmarks defined Lagerfeld throughout his career. His other great lifelong association, with Chanel, came in 1983. The Wertheimer family who own the house that Coco Chanel built, had waited 12 years to find a successor to its charismatic founder. By then, however, the house was considered by many to be as dead as its founder. “When I took on Chanel, it was a sleeping beauty. Not even a beautiful

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one. She snored. But the owners knew that. That’s why they called me. They saw that respect doesn’t sell. So I was to revive a dead woman whom most people believed to be definitely dead. I was told: don’t do it, It will never work. Because the notion of revitalizing brand names didn’t exist in 1983. What I am saying isn’t arrogant, it was the reality of the times. Also, people said: Chanel will turn in her grave. That was a good thing too. It proved she wasn’t dead. A violent reaction is a reaction. No reaction at all is death,” says Lagerfeld in ‘Confidential.’ Now that Lagerfeld has himself moved on, the Wertheimer family recently ended succession speculation by announcing Virginie Viardas as the new Creative Director of Chanel. Viardas, who had a 30-year working relationship with Lagerfeld, was widely regarded as Lagerfeld’s “secret weapon.” Her appointment, therefore, signals continuity, and according to an official statement, she has been “entrusted by Chief Executive Alain Wertheimer with the creative work for the collections, so that the legacy of Gabrielle Chanel and Karl Lagerfeld can live on.”

F A S H I O N • A S T A N D I N G O VA T I O N

A STANDING OVATION Recognition as one amongst the 2019 Time 100, is no surprise for those who are familiar with the triumphs of Pierpaolo Piccioli

Time magazine has named Pierpaolo Piccioli, Creative Director of Valentino, to the 2019 Time 100; its annual list of the 100 most influential people in the world. The list, now in its sixteenth year, recognises “the activism, innovation and achievement” of the world’s most influential individuals from all walks of life, from politics to activism, sports, art and more. The finalists are chosen by Time’s editors from a list of nominations proposed by Time 100 alumni and the magazine’s international writing staff. Piccioli was nominated to the list by actress Frances McDormand, one of the few to achieve the Triple Crown of Acting – the Academy Award twice, Primetime Emmy Award twice, and a Tony Award. Piccioli, known for his humble demeanour, is not one who is afraid to shun groupthink or to express his individuality, while at the same time, holding true to Valentino’s heritage. “From the first days, the most important task on Valentino’s heritage has been to accomplish the perception, the idea and the essence of the Maison rather than reproposing pieces of its archive. It has been a creative process that took as a model the modus operandi of the Atelier of Couture. In other words, the human excellence portrayed in every single detail. From the fashion shows, to the collaborations, to the stores,” says Piccioli. When he, along with Maria Grazia Chiuri, took over the helm of the renowned brand in 2008, it was in troubled waters. Alessandra Facchinetti, the successor to the brand’s founder Valentino Garavani, had resigned as the creative head after only a year at the helm. The brand itself, although still much respected, had lost some of its sheen and its market share was in decline. Piccioli and Chiuri breathed new creative energy into the brand by bringing the glamour back to its haute couture, delivering growth in the menswear and accessories divisions; the Rockstud collection of shoes being a prime example. Piccioli has just completed his twentieth year at Valentino. Since 1989, Piccioli and Maria had worked together designing Fendi’s accessories range and had stood out from the crown thanks to their countering of the minimalist trend of the 90s. They instead focussed on sophistication and style which led to the creation of some of Fendi’s most celebrated bags. Both graduates of the Istituto Europeo di Design in Rome, they had

met through a mutual friend in the early 1980s and had become close friends. In 1999, they were approached and recruited by Valentino himself to take charge of its accessories. The pair successfully refreshed the luxury brand’s handbag and eyewear collections, followed by the diffusion line Red Valentino, and then the entire accessories range. Piccioli famously wore slippers on his first day at Valentino, a place where people were expected to wear suits even in the height of Summer. Ten years later, Valentino is a much more relaxed place. Piccioli also insights on giving recognition where it is due. He insists on honouring the craftspeople in his atelier by sharing with them a meal after a couture event. “Working closely with the artisans and with the Italian expertise has been fundamental. It has allowed me to understand and perceive the rules in order to break them and rewrite them. Savoir-faire is the base of the designer profession. It is the base from which each creative process begins,” he says. In 2016, the 20-year working partnership with Chiuri was broken when she became the first woman creative head in Christian Dior’s 69-year history. Losing his creative partner seems to have done Piccioli no harm, in fact, the contrary appears to be true. After positive reviews and being named Designer of the Year at the InStyle awards in 2017, his AutumnWinter 2018 haute couture and the subsequent Spring 2019 Valentino show received standing ovations. In Piccioli’s Spring-Summer 2019 Men’s Collection, “the street encounters Couture, in a clash.” In a nod to the rise of streetwear into the luxury sector because of the growing presence of Millennial and Gen Z in its customer base, the collection features Bombers, trench coats, tracksuits and suits. Accessories include baseball caps, cloche and feathered sneakers. The VLTN logo is magnified and is writ large, cut out and duplicated. After spending twenty years in one of the most successful working partnerships in the fashion industry, Piccioli has now proved his mantle as a solo artist, and he has also proven his versatility; delivering acclaimed collections from haute couture fit for the red carpet to luxury streetwear fit for the Gen-Next.

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Pierpaolo Piccioli, Creative Director of Valentino

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Valentino Men’s Spring/Summer 2019 collection

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FA S H I O N • E S PA D R I L L E S

GUCCI

Featuring large vintage logo, they are made from hard-wearing canvas and have collapsible leather heels printed with a signature gold bee. USD 491

ESPADRILLES

Originally worn by the

is stitched to a sole made from

They are stylistically versatile

peasants of the Basque country,

Jute coiled rope; hence the name

enough to be worn with a wide

espadrilles are today a staple of

derived from ‘esparto’ or grass.

range of summer casuals from

the French Riviera summers.

The sole may be fortifi ed by some

shorts to three-fourths and even

Slotting in between casuals like

brands rubber or other synthetic

summer suits.

loafers or canvas shoes and

materials.

Here is a selection of some of

slippers, it has a simple two-

Most often espadrilles are slip-

the fi nest examples of espadrilles

part construction. A one-piece

ons, but lace-up are available

we found on the Mr Porter

canvas forms the upper part that

as well as platforms for women.

website.

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Bottega Veneta

TOM FORD

Bright yellow jute is coupled with a rubber-sole and features signature intrecciato detailing at the heels. USD 492

LORO PIANA Made from soft navy suede with collapsible heels and durable rubber backing on the hand-woven jute soles. USD 540

Crafted from dark-brown suede with rubber soles and collapsible supple leather heels. USD 420

Ermenegildo Zegna

Made with Zegna’s signature Pelle Tessuta, a robust and flexible material, that can withstand plenty of wear. It features rubber soles and collapsible heels. USD 703

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F A S H I O N • T H E M A N W H O WA N T S T O B E K I N G

THE MAN WHO WANTS TO BE KING A look at the phenomenal growth of Philipp Plein in the last 20 years

On a wall within his Cannes residence are mirrored letters that read: “The Jungle of the King.” There is nothing subtle about the self-proclaimed “King of Bling,” be it his comments, ‘blinged-up’ residences or his fashion shows. Philipp Plein, the founder of the eponymous Philipp Plein International Group which now includes Plein Sport, Plein Junior and Billionaire Couture brands, is high-fashion conservatives’ biggest nightmare. He is an outsider, independent, self-funded, growing at a phenomenal rate, has a partisan band of fans, is blunt and opinionated, has a disdain for the industry’s critics and has likened its established order to the mafia. Plein did not graduate from a reputed fashion design institute nor is he a man of the streets. Born in Munich to middle-class parents who are both doctors, he was sent to Schule Schloss Salem, an elite boarding school in Switzerland. By the age of 15, he was dating an older woman and frequenting nightclubs. He liked the glitzy lifestyle, so he decided to become an entrepreneur. He noticed that a lot of CEOs had been to law school so he enrolled in one to study Business Law, all the while looking for business ideas that would make him rich. One day he came across an article about the pet industry and its resilience to a recession. So he quit law school, borrowed some money from his grandmother and started

manufacturing luxury dog beds in the basement of his parents’ house. It was a low-risk and high-rewards business as customers always prepaid, and his only cost was that of raw materials. He has claimed that he was making over 2,000 Deutsche Mark per piece. By the age of 23, he had bought and crashed his first Porsche. As time passed, along with his turnover, he expanded his portfolio and began making luxury furniture for humans under Philipp Plein International AG, first registered in 1998. From the excess materials left from furniture making, such as leathers and other exotics, he fashioned handbags and accessories which he sold along with his furniture at trade fairs. By 2003, his reputation had grown such that Moët & Chandon entrusted him with designing their lounge at that year’s CPD Düsseldorf fair where he claims to have sold over 100,000 euros worth of accessories. The switch to fashion came shortly thereafter at a Paris trade fair where one of the items he was selling was a steel clothes rack. He needed clothes to hang on the rack as display, so instead of just buying some, he decided to go about it the Philipp Plein way. He procured some army surplus coats and embellished them with some of the Swarovski crystals that he was using on his furniture. The jackets, each of which cost Plein around 12 Euros, were sold for around 204 Euros. In 2004, the Philipp Plein fashion brand was launched, and in

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Philipp Plein

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F A S H I O N • T H E M A N W H O WA N T S T O B E K I N G

Philipp Plein at his SS19 Show 26

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Interior of the Mansory ‘Star Trooper’ AMG G63 designed by Philipp Plein

2008 it was upgraded to include luxury wear. In 2009, the first stores were opened in Monte Carlo followed by Milan. When he first arrived in Milan to promote his wares at the Fashion Week, he was given the snub, and when he persisted, they gave him a late night slot when few, if any, critics would show up. Plein, who has never cared much for industry critics, turned his show into one big party and one big success. Big, brash and ‘bling’ have been the hallmarks of his events ever since: a symphony orchestra performing in an artificial cave, full-size rollercoasters, monster trucks, jousting on jet-skis, performances from the likes of Snoop Dogg, Rita Ora or Theophilus. Each show, estimated to cost in the millions, was topped by an over-the-top party. 2019, marks the 20th anniversary of the Philipp Plein brand. In this time period, Philipp Plein’s brand value and his company have grown at a rate that can only be described as phenomenal. He now employs nearly 500 individuals, with over 40 stores worldwide, seven of them in China alone. In May of 2016, Plein became the majority shareholder in the Flavio Briatore founded Billionaire couture.

What makes this phenomenal growth rate even more remarkable is the fact, according to Plein, that he is entirely self-funded, no banks and no investors. He insists that he is following his father’s advice of never spending what he does not have in his pocket. Philipp Plein has kicked off the 20th birthday celebrations of his namesake brand with two high-profile, limited-edition collaboration with Mansory, the luxury car modification specialist. One is the ‘Star Trooper’ AMG G63, and the other, a Billionaire branded Rolls-Royce Cullinan. This was followed by the SS19 collection as a tribute to one of his lifelong heroes, Michael Jackson, with a military-meetsRock’n’Roll motif. It features some of Plein’s favourite fabrics like distressed leather, denim, shiny latex and goldleafed python, embellished with paillettes, precious stones, fringing, studs, skulls and crystals in black and white gold. While his detractors foretell his impending demise like others before him, Plein has never been one to bother with the naysayers nor is likely to tone down his glitter to fit into the crowd.

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THE STYLE EDIT

EDITOR’S PICKS

Sunglasses, Dolce & Gabbana

Cube Calf Leather Travel Bag, Berluti

Oversized-Fit Wool Blazer, Paul Smith

Slim-Fit Wool Pants, Paul Smith

Denim Shirt, Brunello Cucinelli

Leather Belt, Hackett London

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Sunglasses, Ermenegildo Zegna

Shoehorn Necklace, Berluti

Jacquard Camouflage Bomber, Philipp Plein

T shirt, Ermenegildo Zegna Couture

Slim Trouser, Billionaire

Messenger Bag, Bally

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FA S H I O N

THREADS

FUR BALL

The world’s finest wool comes from the Angora rabbit, also known for its purity and strength

Blessed with softness, warmth, fluffiness and silky texture, the Angora fibre is almost six times warmer and much lighter than sheep’s wool because of its hollow core and fine structure. Produced from the fluffy coat of the Angora rabbit, which comes in a variety of natural colours such as white, tan, grey, brown and black, is mostly used in sweaters and suitings, and in the manufacture of knitting yarn, and felting. The Angora rabbits are domestic animals bred solely for their soft wool- so they are found throughout the world. Although it is believed that the Angora rabbits originally came from Ankara, Turkey – the city used to be called Angora, which explains the name.

Most breeds of Angora rabbit naturally moult about every four months. This is when the Angora wool is harvested. The best quality fibres come from plucking the fur as it minimises the amount of coarser guard hair and matting. The fur is moulting when plucked, therefore falls out easily and causes the rabbit no pain. The second grade of wool is harvested by shearing. Shearing is also done in the case of some breeds of Angora rabbits which do not moult. To prevent the fur from matting and felting, each rabbit must be groomed at least once or twice a week. The unique fi bres of the Angora wool gives it a characteristic `fl oating’ feel. It is luxurious and lustrous. It is these sought after characteristics and the time

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consuming manufacturing process that also means that Angora wool is often very expensive. Pure angora fi bers are rarely woven into fabric as it is considered too warm and the fi bres too fi ne to provide density. Rather, they are blended with other wools to improve their elasticity and wearability. The Angora fi bre absorbs twice as much moisture compared to sheep wool. It possesses the best moisture-wicking properties of any natural fi ber. Therefore, used in the making of thermal base layers and sportswear. The most common use of angora wool is in the production of clothing, high fashion and knitwear such as pullovers, scarves, socks and gloves. It is also preferred by people suff ering from wool allergies.

LATEST

BRUNELLO CUCINELLI Weekender Bag Canvas and grained calfskin AED 22,790

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FA S H I O N • T H E F I N E S T M E R I N O

THE FINEST MERINO A firm believer and supporter of ethically produced wool of the finest quality, Ermenegildo Zegna hosted the 56th edition of its prestigious wool awards in Melbourne dubbed ‘the Oscars of the wool world’ For the past 55 years, the top brass at Italian luxury fashion house Ermenegildo Zegna has been travelling halfway around the globe, all the way to Australia, to organise and host an exclusive gala dinner, where they present the “Superfine Wool Trophy.” It was instituted by the company to recognise and incentivise growers to produce the best quality superfine merino wool. A second trophy, the “Vellus Aureum Trophy” was instituted in 2002 to recognise the finest woollen fleeces measuring 13.9 microns and finer. The relationship between Ermenegildo Zegna and Australian merino wool dates back to the early years of the 1900s when the company began sourcing merino wool from the local farmers. To this day, the exceptional quality and unique characteristics of the superfine wool has been the key to creating many of the company’s most exclusive garments.

The finest example being the Vellus Aureum suit, of which only 60 to 80 are made to order in a year. The company was founded in 1910 by a young entrepreneur named Ermenegildo in the Biella Alps region of Italy, “whose vision was to ethically create the world’s finest textiles through innovation and the sourcing of the noblest fibres directly from their markets of origin,” according to the brand. Not surprisingly, Ermenegildo Zegna was the first company to believe in and recognise the importance of supporting the growers, and in particular, the Australian Superfine Wool Growers Association (ASWGA). Although there has been a recent trend toward vertical integration within the luxury industry, with several brands buying python, crocodile and other raw materials producing farms, tanneries and ateliers, Zegna has been at it since the

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late 1980s, when the company implemented a comprehensive strategy of verticalization, which now ranges from fabric to clothing to accessories. The advantages of vertical integration for a luxury brand are obvious. In addition to giving a brand a competitive advantage, they also allow it to secure, in a sustainable manner, the precious raw materials along with the expertise to produce it. It also allows the brand to convey its commitment to quality and sustainability. Managed today by the fourth generation of the Zegna family with Gildo Zegna as CEO, the company has accelerated its verticalization drive. In July 2014, it acquired a majority stake in the Achill wool farm, an Australian property located in the New South Wales region, where Merino sheep are bred. The Group has also acquired a majority stake in Bonotto SpA, a textile manufacturing company based in Molvena (Vicenza); Pelle Tessuta, which specialises in woven leather; and Cappellificio Cervo, a historic hat producer from Biella. The Superfine Wool Trophy and the Vellus Aureum Trophy are very much in line with Zegna’s long term strategy to “ethically create the world’s finest textiles through innovation and the sourcing.” While the acquisitions focus on the sourcing, the two trophies focus on the innovation part. Both trophies are intended to encourage and reward breeders for their commitment to quality, in Australian and New Zealand. “We’ve been honouring the best quality wool for over 50 years now and especially this year, the results of the Ermenegildo Zegna Wool trophies are excellent, not only in terms of the number of farms participating in the competitions, but also in

terms of the high quality achieved. Despite having very difficult weather conditions with persistent and tough draught, which harmed some areas of Australia,” said Paolo Zegna, President of the Ermenegildo Zegna Group. The 2019 Superfine Wool Trophy was won by David and Angie Waters who own Tarrangower Merinos in Hillgrove, NSW. In second place were Allan and Carolyn Phillips of Glen Stuart, Deddington, Tasmania. In third place was Ed Hundy of Windradeen Mudgee, Pyramul, and NSW. The winners, David and Angie Waters, took first place for the third year in a row while the Phillips and Hundy families have been among the winners for the last seven editions. Two farms made it to the final ranking for the first time this year, and both were from Tasmania: Rose Villa of Ross and Snowhill of Avoca The winners of the Vellus Aureum Trophy were David and Susan Rowbottom of Rowensville, St. Helens, Victoria. In second place were Aaron and Rebecca Rowbottom of Myndarra, Orford, Victoria, while Robert McClenaghan from Rockvale North, Armidale, NSW, came in third. The awards were presented by Paolo Zegna himself at Luminaire Hotel, Melbourne on April 16. In attendance were representatives of the major institutions associated with the world of wool. The awards have achieved their primary objective of being a driver of innovation in the production of merino wool. Dubbed the ‘the Oscars of the wool world,’ they have become a source of great prestige for the winners and a motivator for the runners up and finalists. All this while ensuring that there is a sustainable supply of the finest wools for Zegna’s clients to appreciate.

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FA S H I O N

FENDI These made in Italy lace-up running sneakers are made of black leather and stretch tech knit with a contrasting FF motif and a neon bubble on the sole.

CHRISTIAN LOUBOUTIN The Louis Junior Spikes Orlato is an iconic pair inspired by the creative frescoes of street art defi ned by calligraphy-printed calfskin and handplaced black spikes.

LANVIN Made in two-toned matte calfskin leather, these trendy sneakers feature 100% calfskin leather lining, a contrasting sports sole, and all-new color combinations.

TOD’S KENZO The Klimb sneakers are inspired by mountain shoes and are made of mixed material upper with suede insert and a thick sole that softens the dynamic lines of the model. 34

Created by Korean designer Yong Bae Seok, the ‘Shoeker’ is a perfect hybrid of shoes and sneakers that blends comfort and style seamlessly into everyday life. With its flexible knitted sock construction and lightweight rubber sole emphasized by iconic, embossed rubber pebbles it can take you from day to night almost effortlessly. Combining modern aesthetic with high-quality construction and allday comfort, these sneakers are a must have in your closet.

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DOLCE & GABBANA

These super popular Super King sneakers are made in Italy from two-toned Nappa calfskin with contrasting details. It features multi-colored micro sole, rubber logo details and leather pull tab with logo label. The chunky geometric soles add comfort and cushioning.

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FA S H I O N • G O B O L D T H I S S U M M E R

GO BOLD THIS SUMMER A brief look at some of Tateossian’s latest offerings for Summer The balmy, breezy days of Summer are here. It’s time for those light fabrics, loose cuts, bright colours, loafers and espadrilles. The colourful attires are an invitation to accessorise, particularly with the ones that are versatile, durable and effortless to travel with. Accessorizing should always be an extension of

one’s personality, but in summer, it is essential that they are lightweight, functional and stylish. Tateossian of London, a premium name in men’s fashion accessories, has unveiled a range of exquisite watches, necklaces and bracelets - to embellish one’s self this summer. Here is our pick of some of the standouts.

Prezioso Steel & Lapis Watch

Prezioso Rose Gold IP & Tiger Eye Watch

Watches should be simple, sleek and versatile for those days on the beach, or on a yacht or for dinners by the sea. The Prezioso line of watches by Tateossian are extremely stylish and have a profile that is ideal for everyday use. With a dial made from natural semi-precious stones that are skilfully cut and highly polished and a concentric raised steel circle, these watches can take your outfit from day to night almost effortlessly. Having water resistance of 3

ATM, the case is stainless steel, the cover is crystal glass, the strap is leather, and the movement is reliably Japanese. The Prezioso Rose Gold IP & Tiger Eye watch features rose gold plated stainless steel case. Inside is a dial featuring the Tiger Eye gemstone which creates a dramatic sunset sky effect. Another variant combines a stainless steel case with a deep-blue Lapis dial and black leather straps.

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Black Chain & Sodalite Coco – Silver

Millefiori Semi-Precious Bracelet

Rhodium & Roman Glass Pompeii Silver Beaded Bracelet

Rhodium & Red Tone Cobra Masai Silver Bracelet

Stack them or wear them single, bracelets have gained a lot of popularity in men’s fashion. The stunning options of bracelets available at Tateossian make accessorizing with bracelets easy like a breeze. Bracelets come in leather, knitted or beaded with beads made out of glass or semiprecious stones. Beaded ones are versatile and look great stacked with other beaded varieties or mixed with leather or knitted bracelets. The colourful and vibrant Milefiori semi-precious bracelet from Tateossian’s latest collection is made of a mix of blue gemstone and multi-colored beads that are created using a traditional Italian glasswork technique

Formentera Silver Layered Necklace in Tiger Eye

named ‘Millefiori,’ which produces distinctive decorative patterns on glassware. The Cobra Masai Silver bracelet, inspired by Masai Tribe of Kenya features a colourful string wrapped around a band of black leather with a signature Tateossian sterling silver clasp. The Coco Silver Beaded Chain Bracelet combines the masculinity of a matte black chain with matte semiprecious Snowflake Obsidian beads stacked with a leather bracelet. While the Pompeii Silver Beaded Bracelet is made out of Roman glass - over 2000 years old, polished by nature into a smooth finish – which has been cut into disc beads by Tateossian’s skilled “lapidarists.”

Double Bolt Silver Necklace

Summer is the perfect time to include necklaces to your everyday style. They might not be the first choice of accessories for most men but adding them to your summer wardrobe can take your outfit to the next level. The Double Bolt Silver Necklace inspired by industrial design features double screws with rotating mechanisms. The grey tones of the rhodium plated sterling silver make it neutral enough to be worn alone with several fabric colours, or as part of layering to give a distinctive masculine touch to an everyday outfit.

Formentera Silver Layered Necklace in Blue Sodalite

Formentera, the tranquil sister island of Ibiza, inspires its namesake collection of bead necklaces. The chain of beads are separated by Tateossian’s signature handmade silver elements such as coloured knots, mini discs, sterling silver mesh beads and gears. The perfect beach accessory, the 82cm long necklace can be worn alone with other blue shaded fabrics, while also being ideal for layering. Natural stone is a beautiful and durable material for beaded necklaces. Tateossian offers a wide variety of other colours and designs to choose from.

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FRAGRANCE FILE

EDITOR’S PICKS

Pure XS Night, Paco Rabanne Spicy and oriental – a sensual harmony of ginseng and vanilla with spicy salted caramel that melts into the smooth heat of cinnamon and bittersweet cocoa 100ml - AED 425

Light Blue Sun pour homme, Dolce & Gabbana A cocktail of Italian bergamot and juicy frozen grapefruit with a spicy tang of ginger and the warmth of woody oakmoss, sensual white musk, earthy vetiver and vanilla 75ml - AED 250

Gentle Fluidity Silver, Maison Francis Kurkdjian Top notes of bergamot and warm ginger exposes the ﬂoral heart composed of tuberose, jasmine sambac against rich woodiness from cedarwood and santal 100ml - AED 625

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Essenze - Italian Bergamot, Ermenegildo Zegna Zegna’s exclusive Italian Bergamot is heightened by the energy of spicy pepper with mid notes of crisp neroli and rosemary and base notes of warm vetiver and tonka bean 100ml – AED 1,040

N°11 de Sacha, Henry Jacques Opening notes of bergamot, lemon verbena and lavender transcend into the heart of tonka beans, orange blossom and patchouli ending in a sultry trail of cloves and sandalwood 30ml – AED 3,160

Very Musc, Mizensir The freshness of clary sage gives way to a wild animal musk, with a carnal trail, softened by chords of Madagascan vanilla and incense to reveal its darker and heady facets 100ml – AED 832

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AUTOMOTIVE • REMEMBERING A LEGEND

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REMEMBERING A LEGEND Aston Martin has unveiled the very limited edition ‘DBS 59,’ to commemorate a legend from the past

In 1959, the 24 Hours of Le Mans generated a lot of interest among manufacturers and drivers which led to a total of 97 applicants for the event but had only 54 starting places. Of the 54 that started on June 20, which included some of the biggest names in motorsports, only 13 cars made it across the line on June 21. The first to cross the line, a lap clear, was an Aston Martin DBR1/300 driven by Roy Salvadori of Britain and the American legend Carroll Shelby. In second place were their compatriots in another DBR1/300. Both cars were resplendent in their British Racing green. To celebrate this victory, one of the most illustrious moments in Aston Martin’s motorsport history, Aston Martin of Cambridge commissioned ‘Q by Aston Martin’ - the luxury brand’s personalisation service – to build the DBS 59; a 24-units special edition of the DBS Superleggeras. The 59 obviously refers to the victorious year while each of the 24 cars represents each lap of the gruelling race. The DBS 59 also honours the DBR1 through specially engineered styling cues. Aston Martin Racing Green was chosen for ‘DBS 59’ in honour of the DBR1’s exterior paint while a gloss finish carbon fibre on the roof panel offers a striking juxtaposition against the lustrous green. Bronze details, a nod to the bronze switches and dials of the DBR1, are to be found on the bonnet badging, front grille border, brake callipers, the 21” forged Y spoke satin duotone wheels. Other details include the individually numbered roundel painted on the fender and the bespoke tyre wall arrow decal. On the Aeroblade is a foil inlay in bronze that outlines the original shape, chassis number and engine number of the victorious DBR1. The homage continues into the interior space where the original seat material used on the DBR1 was recreated, including the weave. Each seat back and door insert were trimmed in heritage style material. Bronze details continue found on the shift paddles and on a bespoke ‘59 Edition’ logo embroidered on the seatback.

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AUTOMOTIVE • REMEMBERING A LEGEND

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A combination of Obsidian Black and Chestnut Tan leather creates a calm yet sophisticated space that includes embroidery of the 1959 Le Mans circuit on the rear speaker cover. On the sun visor is embroidered the date of the race and “323 laps” that were completed within the 24 hours. Above them is a silhouette of the DBR1. Accessories include a replica heritage racing helmet, 1959 blue race suits and replicas of Carroll Shelby’s race gloves. The DBS Superleggera, launched in 2018, features a 5.2-litre V12 engine and can reach a top speed of 211mph making it the fastest Aston Martin series in production. Extremely stylish with exhilarating performance is the Superleggera’s hallmark, making it a highly desirable car. The ‘DBS 59’ adds a layer of history to an already exceptional automobile. Speaking of the ‘DBS 59’, Aston Martin Director – Q and VIP Sales, Simon Lane said: “The DBS 59 strikes a careful balance between a timeless design that respects our history and a modern take that celebrates our future. The DBS Superleggera is the most powerful production car ever produced by Aston Martin, and so it is fitting that the ‘DBS 59’ special editions have been commissioned to mark sixty years since our iconic 1-2 win at Le Mans.” The ‘DBS 59’ follows in the successful footsteps of other ‘Q by Aston Martin’ commissions such as the Red Arrows Edition Vanquish S, the Cygnet V8 and the North Coast 500 series of six DB11 GTs.

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AUTOMOTIVE • THE PRACTICAL GRAND TOURER

THE PRACTICAL GRAND TOURER Our review of the new AMG E53 Coupé, the latest debutant from the 53-series trilogy

The E-Class Coupé, one of the trio of models in Mercedes-AMG’s new 53-series – the others being the CLS and the E-Class Cabriolet - “are extending our portfolio in a first step towards a hybridised future with a leading-edge combination of sporty design, performance and efficiency,” explains Tobias Moers, Chairman of the Board of Management of Mercedes-AMG GmbH. “The basis for this is a contemporary drive configuration in the form of a six-cylinder in-line engine with electric auxiliary compressor, EQ Boost starter-alternator and 48 V onboard electrical system. The very spontaneous response to accelerator pedal input, the precision and the design focusing on driving dynamics are hallmark features of AMG. As such we are providing an additional lifestyle-oriented customer group with a further attractive offering from Affalterbach.” The E53 Coupé, like its series siblings, is a beautiful thing to behold with a smooth profile featuring uncomplicated flow-lines and a tapering rear end. The pillars are minimised to maximise visibility. The front end is graced by the twin-blade radiator grille in silver chrome and is contrasted by the black lattice pattern of the grille. Below that is the A-wing design front apron which is equipped with black flicks and a front splitter in silver chrome. The rear end has a redesigned apron complemented by round twin tailpipe with high-gloss chrome trim elements. The mud flaps have also been redesigned to improve the aerodynamics at the rear. The two-section tail lights visually reinforce the sense of width of the rear while also providing the additional benefit of allowing for the large boot opening.

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AUTOMOTIVE • THE PRACTICAL GRAND TOURER

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Under the hood is the “contemporary drive configuration” that Moers was referring to. The 3.0-litre, six-cylinder, in-line engine’s performance is boosted by “intelligent electrification” in the form of the EQ Boost starter-alternator. It combines a starter motor and alternator in a powerful electric motor which is fitted between the engine and transmission. The EQ Boost in conjunction with the intelligent charging via an electric auxiliary compressor and an exhaust gas turbocharger deliver enhanced performance and driving dynamics, while at the same time, reducing fuel consumption and emissions. For a coupé that weighs in at just over 2,000 kilograms, it can deliver a dramatic acceleration from 0-to-100 kmph in 4.1 seconds, all the while accompanied by the distinctive gurgling of the six-cylinder. Conversely, it can decelerate from 100 kmph to zero in about 50 metres — all this while riding on 20-inch wheels wearing Pirelli P Zero PZ4 Run Flat tires. The transmission is 9-speed automatic with manual shifting mode coupled with all-wheel-drive. The space in front of the driver is dominated by the two 12.3inch two high-resolution screens displayed under one shared glass cover making them blend into a unified Widescreen Cockpit display. On the screen in front of the driver, the virtual instruments are displayed in three different display styles “Classic”, “Sporty” and “Progressive.” The second screen is more centrally located above the centre console and can be used to control a seemingly endless list of options. The touchpad controller in the centre console and the Linguatronic voice control can also be used to control the infotainment system. Voice control has been extended to now include vehicle functions, air conditioning, seat heating, ventilation, interior lights and the optional head-up display. A fourth input option is the touch-sensitive Touch Control buttons which respond to swiping movements and are located

on the AMG Performance steering wheel. They enable the driver to control the entire infotainment system without having to take one’s hands off the steering wheel. A network of LEDs create a cabin ambience to suit one’s mood. Edge-lighting glows at three levels: beneath the dash and door trim, behind the in-dash screens, and in the footwells. The illumination of the dash vents can match the chosen motif, or briefly respond to the climate-control adjustments. The power front seats are a synthesis of exclusivity and sportiness. Along with the integrated head restraints, they are designed to cradle the driver and front passenger effortlessly through the curves. Meanwhile, the pneumatically adjustable lumbar, side and shoulder supports offer custom-tailored comfort. Four massage programs are available for the back and shoulders. The seats are upholstered with the leather-like MB-Tex and are accented with Dinamica microsuede seat inserts. Red topstitching runs tastefully throughout the seats and the cabin. Red seat belts are standard while black seat belts are optional. The seat-shaped controls on the door for each front seat recalls three stored positions, plus the settings of the 4-way power steering column and side mirrors. The twin rear seats, generous by grand touring standards, have a similar design. They can fold down in a 40/20/40 split, offering a variety of cargo and passenger configurations. The release handles for the seats are conveniently located in the trunk while the trunk itself can be accessed via the hands-free access which is operated by a gentle kick under the rear bumper. The Mercedes-AMG E53 Coupé is, therefore, a car for the grand tourer at heart. However, it is just as suited for the city square as it is for the open road. It is stylish while being practical, and dynamic while also being measured.

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BREITLING Navitimer 1 Automatic 41

SPECIALS FROM BASELWORLD 2019 Bringing you key trends from the largest watch fair on the planet

BELL & ROSS

BVLGARI

CARL F. BUCHERER

CHANEL

BR V3-94 R.S.19

Octo Roma Tourbillon Sapphire

Manero Flyback Rose Gold

Monsieur Edition Noire

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ROLEX Oyster Perpetual Yacht-Master 42

The popular Yacht-Master series has been extended with the launch of the new Oyster Perpetual Yacht-Master 42. A new diameter on the Yacht-Master range, the 42 mm offers a larger option for those who find the 40 mm too conservative. Featuring an elegant combination of a black dial and a brilliant bi-directional bezel made of white gold and matte black 60-minute graduated Cerachrom insert. The hands, indexes and inscriptions are rendered in a crisp white color, creating a sharp juxtaposition against its black dial. The case is made of 18 ct white gold, a precious metal used for the first time on a Yatch-Master model. The Oyster Perpetual

Yacht-Master 42 is equipped with caliber 3235, a first for the Yacht-Master range. This self-winding mechanical movement with a power reserve of approximately 70 hours, incorporates the new Chronergy escapement patented by Rolex. The Yacht-Master’s new Oysterflex bracelet, developed and patented by Rolex, offers a sporty alternative to metal bracelets without compromising robustness, waterproofness or reliability. The Oysterflex bracelet is provided with an Oysterlock safety clasp in 18 ct white gold, like the case material, with the addition of the Rolex Glidelock extension system.

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CZAPEK & CIE

DE BETHUNE

Place Vendome Tourbillon Etincelles

DB28 Yellow Tones

FERDINAND BERTHOUD

NOMOS

Chronomètre FB 1L

Club Sport Neomatik 42

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PATEK PHILIPPE Grandmaster Chime 6300G-010

The Grandmaster Chime 6300G-010 with grande and petite sonnerie is, according to Patek Philippe, the “most complicated piece in the regular collection.” It has two faces, and both can be worn face up. It has no less than twenty complications that include five chiming modes, of which two are patented - an acoustic alarm that strikes the preselected time and a date repeater sounding the date on demand. Both dials are blue opaline with white gold pear-shaped hands. The dial plates are 18K solid gold. The time side features gold applied Breguet numerals and hand-guilloched hobnail centre. It displays the on/off indications for the acoustic functions, time, a second time zone, the moon

phases, the date, and the power-reserve indicators for the movement and the strike work. The Second dial is for the perpetual calendar, with four subsidiary dials indicating analogue date, leap-year cycle, day, month and 24-hour indicator. In the centre is a four-digit year display. Within the white gold case is the calibre 300 GS AL 36-750 QIS FUS IRM manually wound movement comprising 1,366 parts. The strap is hand-stitched, shiny navy blue Alligator leather with square scales. The 6300G-010 is accompanied by matching white gold cuff with matching blue opaline and decorated with a hand guilloched hobnail pattern.

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FREDERIQUE CONSTANT

GRAND SEIKO

Slimline Power Reserve Manufacture

Spring Drive Thin Dress SBGY003

GREUBEL FORSEY

GUCCI

GMT Quadruple Tourbillon

Grip

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HUBLOT Classic Fusion Ferrari GT King Gold

The Classic Fusion Ferrari GT, the latest in a series of collaboration between Hublot and Ferrari that began in 2011, pays homage to the spirit of “Grand Touring” cars with a design that is both traditional and modern, in line with the stylistic codes of the GT universe. The Classic Fusion is available in three diff erent case variants: Titanium, limited to 1,000 pieces; King Gold, limited to 500 pieces; 3D Carbon, also limited to 500 pieces. 3D Carbon is a polymer matrix composite made of three-dimensional fi bres and is very popular in motor-sport because of its outstandingly lightweight yet strong qualities. In all three variants, the case is a “true concentrical suspended element” while also resembling

a race car tachometer. With a thickness of just 13.15 mm, it is a rarity for an integrated flyback chronograph. The sapphire crystal dial is transparent and has an antireflective coating. The Prancing Horse sits proudly at 12-o’clock and beneath it is revealed the workings of the UNICO HUB1280 calibre, which for the first time, has been integrated into a 45mm diameter case. The self-winding movement, with 4-Hz frequency and a column wheel that can be seen from the dial side, has a thickness of only 6.75mm. It has a 3-day power reserve. The straps are black rubber dressed in Schedoni leather, like those on the seats of the Maranello race cars.

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TAG HEUER

TUDOR

Autavia Isograph

Black Bay Bronze

URWERK

ZENITH

UR-111C Black Cobra

Defy El Primero 21 Carbon

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CHOPARD L.U.C Perpetual T Spirit of the Dragon and the Pearl

Chopard’s latest one-of-a-kind creation, the ‘L.U.C Perpetual T Spirit of the Dragon and the Pearl’ tells the tale of the very origins of China. Two dragons, serving the emperor, are depicted on the case middle. They are on a quest for the sacred pearl, which leads to wisdom and knowledge, which is depicted on the crown. The task of engraving the 18-carat rose gold case was entrusted to the Mains d’art of the Maison. This exquisitely

refi ned fi gurative work, embodying 200 hours of meticulous workmanship, has been crafted using the fi ne line engraving technique. The scrolling patterns on the rose gold bezel and buckle, also handengraved, is matched by engraved motif on the dial which draws inspiration from traditional Chinese iconography. The 353-part movement is equipped with a tourbillon regulator whose carriage, carrying the small seconds indicator, rotates once a minute beneath

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its polished steel bridge at 6 o’clock. The calendar indications are spread over two dials, one at 3 o’clock for the month and leap years and another at 9 o’clock for the day and the 24-hour indication. At 12 o’clock is the large twin-aperture date. The perpetual calendar requires no correction until the year 2100. The L.U.C is fastened with a handsewn black alligator leather strap with alligator lining, and an 18-carat rose gold pin buckle.

WA T C H E S • O F C O U R A G E U N D A U N T E D

Known for its disruptive drive for innovation, Montblanc continues to be the Maison that dares to enter uncharted territory every time. Nicolas Baretzki – CEO of Montblanc, gives his insights in an exclusive chat with Signé

“How many brands have three founders from completely different fields who had a shared idea and then worked to bring that idea into reality. Honestly, it’s almost a miracle that this company even started. That spirit has never changed at Montblanc even after a hundred and thirteen years. That is why, I think, when we set out to disrupt the market place, it did not feel like a big challenge from our point of view. It feels like we are doing what our founders did.” - Nicolas Baretzki, the CEO of Montblanc told Signe in an exclusive interview during a recent visit to Dubai. The three founders referred to by Baretzki - Wilhelm Dziambor, Christian Lausen and later Claus Johannes Voss – took over from the original founding pair of Alfred Nehemias, a Hamburg banker, and August Eberstein, a Berlin engineer. The trio is credited with laying the foundations of what was to become today’s Montblanc - manufacturers of high-class writing instruments as well as watches, jewellery, eyewear, and leather goods. The company began life as ‘Simplo Filler Pen Co,’ the manufacturers of Simplicissimus pens which had a new ‘simple’ pen design and included a built-in ink-well. In 1909, the ‘Rouge et Noir’ model was launched and given the nickname ‘Montblanc’ for being ‘the pinnacle of writing instruments.’

These two characteristics, functionality and high-quality, would become the hallmark of all Montblanc products. There is something else at the heart of Montblanc’s success according to Baretzki: “The Maison has grown to what it is today because throughout its history a lot of people decided to take the risk to go beyond whatever the current positioning was at the time. They took the risk to go from writing to leather, from leather to watches, from wholesale to retail, going to markets where there were no luxury retailers. We are, for example, the first Maison to officially import luxury goods in India. So, being bold is very much the spirit of Montblanc. We are bolder because we believe in what we do.” Here’s the rest of the interview. What does it take to be the CEO of a company that is known for being bold? Montblanc is a complex Maison to work for because there are so many different categories and territories. I feel like I’m taking a million decisions per day and they cannot all be good decisions. But because we are Montblanc and because we were built on innovation, it is legitimate to try. Sometimes you fail, sometimes you succeed. In the last few years, we have many examples of some disruptive, and some not that disruptive decisions

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that have been taken but they were all quite extreme. For example, in 2015 we decided that we would have full competence in watchmaking by creating a whole department with a large atelier. Three years later, we have achieved full integration [between Montblanc’s watchmaking division in Le Locle and the Institut Minerva de Recherche en Haute Horlogerie in Villeret], and now everything starts from the Minerva story; in terms of inspiration, aesthetic and exceptional finishing. Today it’s obvious that the decision has been a success, but at the very beginning, it was a very bold decision. How do these ‘bold’ and innovative idea come to life, and how is it evaluated? Quite often, it is the result of natural evolution as there is a need to change something to take a product to the next level. Two and a half years ago, we found in our inventory some big diamonds, nearly 12-carat, with the Montblanc cut. They were from 12 years ago when we tried to do high-Jewellery, which was not very successful. Coming from a jewellery background, I said: these are amazing stones, we can really showcase our exceptional craftsmanship in stones which no one would expect on a writing instrument. For once, it was my idea that led to a completely new collection called High

Nicolas Baretzki

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Artistry where the beautiful diamond piece sat on top of the pen. It was so well appreciated by our collectors that it encouraged us to come up with subsequent offerings such as the Ibn Sina or the more recent Emperor Kangxi Limited Editions. So a Montblanc product is not just about the precision of its functionalities but also about its design, its story, and its scarcity. The examples you have mentioned seem relatively easy decisions when compared to Montblanc’s smartwatch. Could you elaborate on how that came about? The Montblanc digital watch was more than a disruption. It was the result of a bet that the world was changing and things would become more digital. That connectivity would become so essential that, in the end, there would be no reason why people would want to wear something ugly, and that there would be a clear luxury segment. This is about to become a reality. I remember the very first time we ventured into the digital world with

the e-strap. It was quite thick and not a pleasant way of displaying time. When you attached it to an exceptional watch, you lacked the link between the two because they were from two different worlds. At that time, it was quite new and elaborate but it never really found a client base. We developed the Screenwriter, to write on the tablet. It was quite amazing, but again, who would carry a writing instrument just to use on a surface that is very reactive to your finger. Even though they were failures, they were the first step in the right direction. We were just not clear on how to go about it. By then we had also realised that the digital market was so much bigger with tremendous potential. So, we started to think about the smartwatch which led to a big tussle because we had to convince our group that it was the right way to go. Then we had to hire the right people; who knew how to talk to Google and such, or know how to enter a digital heart into a watch. We put together a very small department, like a start-up

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within the company, hired new people with the right skill sets, and also began a collaboration with Qualcomm. This resulted in the development of new technologies and eventually the first Summit which was quite successful. From the very beginning, we did not want to make a watch; we wanted to make a smart connected device while keeping what we know, which is creating beautiful objects using the Swiss watchmaking codes. We never pretended that they were the same. So it was very disruptive in the way that we approached it. Some brands approach differently; you can buy one type, and later on, transform it into the other type. At Montblanc, if we do something we believe in it, we go for it fully. In fact today, three years later, we have a proper department for all our tech devices with a small team of engineers and digitally savvy guys. We even have a marketing person coming from a tech company. On top of all this, we bring luxury, design and our own codes. Maybe that is the recipe for success.

Montblanc StarLegacy

How do you see the relationship between the Smartwatch and the traditional watch? I truly believe that digital and analogue don’t oppose each other but are complementary. The two can be used in different moments by the same customer without compromising between the two. For example, if you are going for a jog, you’re not going to wear your high-end watch on your wrist, but a digital watch makes a lot more sense. I’ll give you another example. The world is definitely becoming more and more digital. Students today use laptops and tablets instead of writing. At the same time we have never sold as many fountain pens as we do today; a lot of them to young customers. Why? Because they want to experience traditional fine writing mode which is with the fountain pen. Also, if you see the success of vintage watches today, time is definitely not the main purpose of these watches because my phone is more precise than my watch at telling time. So it is

more about the heritage, the engine, the manufacturer, the stories, the craftsmanship and so on. It doesn’t mean that the people who buy these watches are out of touch with today’s world. So you see, the two segments can exist parallelly. Do you think that some of your earlier digital innovations were ahead of their time? I think so. Sometimes it’s ahead of the time, or the idea is good, but the execution is bad, or because it’s still in the development when launched, and so on. In the case of the Screenwriter, our thinking was that since we dominate the high-end writing instruments world, we should also occupy the high-end of the digital writing devices market. I do believe that when we launched the Screenwriter, it was ‘cool’ but not big enough or bold enough, nor did the appropriate technology exist at that time to make it an interesting offer. In the future, I would only consider such a project if it is

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disruptive and meaningful enough. So I do believe that there is a need for a digital writing instrument and that is definitely something I would like to work on. Other than the digital space, where else can we expect to see Montblanc’s bold and disruptive presence? I think Montblanc is very much a Maison that can play a big role in travel. Today’s traveller takes with him his luggage, semi-clutch, headphone, iPhone and so on. I want Montblanc to be the first Maison that people think about when they travel. In the coming years, that is what I want the Maison to be able to go into, which is why we had the big launch of our luggage collection last year. We definitely wanted it to be a real alternative in that word with a proper collection. So it was not just a one year plan. It was part of a broader strategy on how to conquer the travel segment. We have plans to create more disruptions later this year.

WA T C H E S • R E F R E S H I N G O N E ’ S D N A

Signé had a chat with Marco Tedeschi, the new CEO of RJ watches, on the sidelines of SIHH 2019 to find out where the brand is headed under his stewardship

RJ is the high-end Swiss watch manufacturer known for creating watches inspired by iconic superheroes such as Batman and Spider-Man, or icons of video games such as Super Mario, Space Invaders or Pac-Man, as well as the DNA collection featuring materials that have made history such as the steel from the Titanic or genuine moon dust. Last year the brand appointed the Geneva native Marco

Director of the Geneva-based independent brand RJ. Here is an excerpt from our interview with Tedeschi.

Tedeschi to refresh the brand. Marco was born in 1985 to a watch and jewellery store owner. Watchmaking, therefore, is not only Tedeschi’s passion, but it is also in his blood. A graduate of the Technical School in the Vallée de Joux and the Geneva School of Engineering, he began his career in 2004 under the stewardship of Jean-Claude Biver at Hublot. He went on to become the Global Creative Manager as well as being the Regional Director for the Middle East and Africa. Because of his experience in product, marketing and commercial development, he was appointed CEO and Creative

You have completed your ﬁrst year with RJ. What were the main challenges you faced? It has been a very exciting year and a very busy year because we have completely changed the brand identity, I have overseen the creation of the ARRAW product line, the first product to feature our first in-house manufactured movement and the backbone of RJ’s future developments. For this, I had to create a new and highly experienced team. After all this, we are now releasing our collection for this year. Was it a challenge to come from a big organisation like Hublot to an independent boutique like RJ? Yes and no. When I started at Hublot, we were only 40 people, 20 of them were with production. So, I was already used to,

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Marco Tedeschi

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WA T C H E S • R E F R E S H I N G O N E ’ S D N A

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RJ ARRAW The Joker

and I am more comfortable with a small organisation where everything has to be built. So, this is the main challenge, and this is what attracted me the most. Tell us more about the rebranding and what it means for the new strategy you have implemented. We wanted a break with the past and to relaunch ourselves for the future, but at the same time, we also kept several elements of the previous brand. Our name is now merely RJ. While earlier they were initials for Romain Jerome, now there they are only letters. However, we have kept two of the main pillars of the pWrevious product strategy: one is the DNA range featuring materials that are a part of history, like the steel from the Titanic or the moon dust. The other is the collaboration because we are the only luxury brand that has a partnership with both DC Comics and Marvel at the same time. But what was missing from the brand, for me, was that we did not have our own horology. And for me, it was important to be able to create our own movement and to gain a legitimately in this field, while developing further our two pillars. Given that RJ has a young audience, what is your communication and retail strategy to reach them? The audience is in a way young, but we know we are reaching, especially with the collaborations, people who are between seven and seventy-seven. The idea is also to be creative with icons like Batman, Mario Brothers, Pacman

and so on. So, while we are reaching out to new audiences, we are targeting the younger audience in general. In terms of our retail-strategy, we don’t do e-commerce ourselves because our production is too small for it to be worth it. Currently, we produce around 1,000 pieces. My plan is to increase it to 1,200 pieces this year (2019). The idea is to keep it very exclusive. So, we are launching seven watches in two different collections, all of them limited to 100 pieces and this is where we want to navigate. Social media is a key pillar in our communication strategy because we want to interact directly with our audience, and this is very important. We don’t have critics. We don’t do e-commerce. We sell our products through multi-brand retailers or concept stores. But we want at the same time to be able to interact directly with the customer. What are the markets where you are strong and where you are looking to expand geographically? Our three strongest market are Mexico, Japan and the Middle East. This year our focus was on developing the US market. It was completely closed when I arrived because we wanted to change the distribution and now, we have reopened with some of the previous retailers along with some new ones. So, we have quite a lot of events planned for this market this year. The reason we are focusing on the US is because, if you look at the traffic on our website, 20 per cent of it comes from the US. I really believe in the potential of this market and the few meetings we had this week shows that we are going in the right direction.

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ART & DESIGN • QUEEN OF BOARD GAMES

Alexandra Llewellyn, founder Alexandra Llewellyn London

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QUEEN

OF BOARD GAMES Her passion for games turned Alexandra Llewellyn into the creative force behind some of the most fascinating handcrafted luxury board games and bespoke furniture pieces

Backgammon, whose 5,000-year history has its origin in the Middle-East region, was something Alexandra Llewellyn’s family has always indulged in. She does not remember how she learned to play. However, one such game of Backgammon that she played as a child on the streets of Cairo, Egypt while on a trip, left a lasting memory. Her opponent was ten times her age, and although they had nothing in common, neither language nor religion and yet they laughed and played and were able to communicate through their shared love of the game. That moment inspired Alexandra’s love for backgammon. Alexandra has been a maker since childhood. Amongst many things, she made a backgammon board and fell in love with creating games. Thus began a journey that has led Alexandra to create some of the most exceptionally designed and highly decorative backgammon boards ever seen. “They are beautiful objects and conversation pieces but they are also games and they bring people together. That adds a really important dimension to my work,” says Alexandra. The eponymous atelier

she founded also specializes in the manufacture of bespoke board games of other varieties, humidors, watch boxes, jewellery boxes, unique presents and custom furniture pieces. A business that began from designing backgammon boards quickly transformed into an enterprise offering completely bespoke one-off commissions. Many of the bespoke pieces are like visual biographies that tell the story of the client commissioning the piece. Alexandra works closely with each client to refine the content and design what they want to see on the board, which is then realized into a finished piece using different materials and manufacturing techniques. Impressed with Alexandra’s exceptionally unique designs, high-quality craftsmanship and attention to detail, clients began requesting for her designs and knowledge of materials to be applied to other forms of decorative objects. Alexandra’s bespoke creations have found homes in far-flung places around the world, among royalty and celebrities such as Richard Branson, Mark Ronson, and Elle Macpherson. She has also been commissioned to

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ART & DESIGN • QUEEN OF BOARD GAMES

Limited edition backgammon board featuring photographs of celebrities from the archives of Terry O’Neil

Poker set created for the Eden Rock St. Barths Hotel in collaboration with the Oetker Collection

The Palm Games Table The playing board flips to become a chess board

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Limited edition special marquetry design “Flamingo” Backgammon inspired by the vibrant city of Miami

produce themed collections by global brands such as American Vogue, the Oetker Collection, and Sony Music, among others. Alexandra has also collaborated with the iconic photographer, Terry O’Neill to create a limited edition of 20 pieces of the backgammon board in which photographs of celebrities such as Audrey Hepburn, Goldie Hawn and others from Terry’s archives have been used to create an inlay of the photographs on to the board with playing pieces made of red glass and mother of pearl encased in brass. To achieve a high level of excellence, Alexandra has built a network over the years comprising of some of London’s finest craftsmen in various disciplines, such that each board is painstakingly created by hand. Most of her work is made in the UK and she finds herself extremely privileged for having access to such master craftsmen who inspire her along the way. The signature savoir faire found on Alexandra’s boards and other creations are marquetry; the ancient and highly skilled technique that involves cutting and assembling pieces of woodveneer to form a unified design. Alexandra chooses each piece of wood based on its color and grain to best fit the individual design elements. The wood is then cut out by hand or using a laser cutter, and then put together like a giant jigsaw puzzle, pressed, and then hand lacquered until glass smooth. The meticulous craftsmanship is an impressive sight to behold and is given an added dimension by the grain and movement of the

base woods such as London Oak, European Olive, Macassar Ebony, and Ziricote. Alexandra’s signature backgammon board designs are available with select and online retailers and are complemented by weighted wrapped leather or weighted Aluminium pieces, calf leather shakers, calf leather doubling dice and precision laser cut casino quality dice. Customization offers pieces featuring polished metals that are topped with precious stones such as Lapis Blue, Turquoise, Carnelian Red, White Jasper, Mother of Pearl, Malachite, Black Marble, Black Veined Marble or Tiger Eye. She is also an innovator. With the Palm Games Table, she has re-imagined a backgammon board in a radial design which is presented on a round table made of high gloss ebony Macassar and decorated with hand-drawn inlaid sycamore palm marquetry and inlaid brass triangles. The playing board flips to become a chess board. A removable circular box contains semiprecious tiger eye and mother of pearl playing pieces encased in brass, ebony dice shakers, precision cut quality dice, and KEM poker cards. “Time is now our greatest luxury,” says Alexandra, “and games create a space in which we can enjoy time with our loved ones.” No doubt that she has taken the joy and luxury of playing a board game to the next level by adding an aesthetic dimension to the experience.

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ART & DESIGN • FOR THE LOVE OF ART AND ARCHITECTURE

FOR THE LOVE OF ART AND ARCHITECTURE A look inside the life of one of the most renowned names in the world of Art and Design. Signé had the pleasure of speaking with Hunt Slonem in an intimate setting at Maison Assouline regarding his life and his love for historic buildings

In a burly, laid-back tone that closely resembles a movie star, Hunt Slonem told us “I never think of what I do as a career, I think of it as following my passion. It’s not that I’m looking from outside and saying: I want to do this and so-and-so. It’s all from within.” The American painter, sculptor and printmaker was kind enough to talk to us after the launch of his latest book, ‘Gatekeeper: World of Folly.’ It is the second book by Hunt to be published by Assouline; The publishing house renowned for collectable books on fashion, design, art, travel, and epicurean arts among others. Part of Assouline’s Spring 2018 Classics collection, Gatekeeper: World of Folly is a room by room and object by object journey through Hunt’s latest historical house restoration project: The Colonel Louis Watres Armory in Pittsburgh, built in 1900 and listed on the National Register of Historic Places. Through the course of its hundred-plus years, the 102,000-square-foot space has served as an armoury, a performance hall for Russian composer and pianist Sergei Rachmaninoff, as a whistle-stop for campaigning presidents, and even briefly as a clinic. The book showcases the artist’s signature eclectic take on interior design for the armoury, featuring vibrant, multicolour interiors with a bricolage of historically potent and rare items found from around the world. “It’s very hard,” says hunt, about the creative process that went into putting the book together, “because you take photographs for years and then at the last minute, you’re told the quality is not good enough, it’s not digital, the resolution is not high enough and so on. So, they have to be re-photographed at the last minute. I worked a little bit with Assouline on the design, but they have

got a great eye, and I’m quite pleased that I had to make only a few changes.” Hunt’s relationship with the founders of the house, Prosper and Martine Assouline, goes back some years. Hunt says, “they were brought to my studio, and Martine thought my sensibility was very unique and interesting. I mean they could have hated it. Not everybody loves what I do. But she’s been very sympathetic and wonderfully supportive.” Hunt’s system of “collectorating,” or collecting and decorating rare, historically significant or just unusual objects has become an integral part of his trademark decor found throughout his historical properties; buildings that he has saved from dereliction. “I have saved seven national landmark buildings so far. I just save. I don’t change anything; I just rebuild the four walls and don’t reconfigure things for any purpose. I have nothing commercial in mind,” Hunt insisted. “You have to put a lot of money into fixing them over time. I’ve had some of them for 16 years. Assouline did a book called ‘Art Meets Design,’ and it featured two of my plantations and one of my houses Up-State. And now they have done one on the Armoury.” When asked about his methodology for choosing a building, he states: “They pick you. I just bought the Madewood Plantation House which is Henry Howard’s masterpiece. It has a big ballroom which is almost as big as the State Dining Room of the White House. I studied it in college and in Tulane University in Louisiana. I wanted that house for 30 years. The owners decided to sell it, and I was called. I didn’t think I could do it, but by some miracle of grace it worked out, and now I’m restoring it.” As a painter, Hunt is considered a Neo-Expressionist, known

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ART & DESIGN • FOR THE LOVE OF ART AND ARCHITECTURE

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for his exotic and colourful paintings of birds, rabbits, butterflies and portraits among others. His works have been displayed in private and public galleries around the world such as the Guggenheim and the Met in New York, the Smithsonian and the National Gallery of Art in Washington, D.C., Fundació Joan Miró in Barcelona and the Würth Museum in Germany. Art is in Hunt’s blood. His Minnesota-based grandfather was an amateur artist. His father was a Navy officer, and his mother was a homemaker; both of whom dabbled in painting. Hunt, the eldest of four children, says: “my brother spoke eight languages, painted and was a brilliant musician, but I could do just one. So, there wasn’t a lot of choice in the matter. I was so excited by art history and the act of creation that nothing else got in the way. When people ask me: how long did it take you to find your artistic signature? I say sixty-seven years.” It all began “when I was three and bedridden with pneumonia. I was put in my grandfather’s studio with all the paint and the brushes. There was one painting in particular above my head, and somehow it etched into my being that I was going to be a painter. I inherited that painting and its hanging in front of my bed today. So, I started painting as a child. I drew a picture of myself in first grade and won a lot of awards over the years in school. I was fascinated by Gauguin as a child and by the idea of the exotic and tropical cultural world. I used to play hooky from school to go into the jungles and watch the butterflies and birds. I’m also very influenced by my travels in India. After I went to an art school in Maine, graduated from Tulane and had been an artist in residence at America the Beautiful Foundation, I moved to New York in

73.” It was in New York that Hunt was discovered as an artist and rose to prominence. Hunt spoke to Signé at Maison Assouline, located at Dubai Mall’s Fashion Avenue, and is emblematic of the brand’s expansion from a publishing house with a focus on the finer things in life, to becoming “the world’s first luxury brand dedicated to culture.” The venue could not be more appropriate to talk to a prominent artist about his passion for art, historical buildings and exceptional decor. The Dubai venue replicates the original concept first unveiled with Maison Assouline’s international flagship on Piccadilly Street, London, in 2014. Meticulously curated to resemble the library of a grand private residence, the store is a cabinet de curiosités for people seeking style, culture, and art de vivre. It features expertly arranged bookshelves, two long library tables from the 1900s, and a plethora of made-to-order items or antique divinités. The nucleus of the Maison is the glamorous Swans Bar which transforms throughout the day to provide clients with a wide range of gourmet offerings. The husband and wife team of Prosper and Martine Assouline, the brand’s founders, explained: “We wanted to create a place that embodies the spirit of the brand, and, like our books, tells a story; we wanted to share a place that would be an extension of our private residence. It’s a magical getaway for clients to escape to, a place where knowledge is infinite and where their hunger for it can be beautifully satisfied. The intricate surroundings coupled with the attractive menu will inspire and ensure good moments. It’s intended to be a place where fond memories are born, relationships initiated, and bonds formed.”

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A R T & D E S I G N • N E W PAT T E R N S A N D H U E S F O R S P R I N G

NEW PATTERNS AND HUES FOR SPRING A brief look at Christian Lacroix’s Spring-Summer 2019 collection

Entitled “Paradis Barbares,” Christian Lacroix’s Spring-Summer 2019 collection pays tribute to two figures heads of the ‘New Barbarians’ artistic movement of the 1980s who also designed the original interiors and furniture pieces for the couture maison. The collection was unveiled at architect Jacques Couëlle’s troglodyte villas, near Grasse in southern France. It comprises fresh fabrics for cushions, rugs, and beach towels, as well as wallpapers. These are complemented by a new porcelain tableware collection. The patterns that are found on the fabrics include: “Le Grès Plage” and “La Rocelle,” the two new plain fabrics with granite and lichen-like textures that are both rough and sophisticated; “Les Rosales,” a sumptuous Jacquard embroidered fabric with hydrangeas and wild roses sewn with gold thread; “Le Pas des Anges” is a cut-velvet Jacquard fabric reminiscent of an engraved stone path bordered by acanthuses; “L’Aveu” is the woven Persian mashrabiya; “Pietra Dura” is a flamboyant rug resembling marble marquetry; “L’Entrelacs” features woven ribbons and heavenly colours; “La Futaie” is a sheer linen muslin printed sparks; while the “Feu Follet” features arabesques embroidery.

Four of the patterns are offered on fabrics as well as wallpapers: “Bois Paradis” is a two-tone panorama in the style of an ancient fresco depicting a garden with fairytale fauna; “L’Eden” features the leaves of an orchard spreads across metallic and velvety Japanese wallpaper; “Cueillette” has berries laid out on velvety cotton; “Les Messagers” features woven butterflies with flashes of sapphire; “Les Centaurées” is bold with shimmering metal-stamped thistles. “Bosquet” appears on a woven wool rug featuring bountiful foliage while “Herbariae” is a wallpaper featuring a bouquet of delicate narcissus, lotuses and poppies. The new porcelain tableware collection “Herbariae,” a nod to the house’s iconic ‘‘Sol y Sombra’’ heritage, features five flowers - the poppy, narcissus, lotus flower, dahlia and thistle - drawn within stylised borders and edged with a black line. The images, inspired by herbarium collections and antique botanical prints, was created around two colour themes to be combined as desired. The first is the black and white duet that creating a graphic table of contrast. The second combines soft pinks, yellows, celadon green and peacock blue in the style of a watercolour painting to complement the lightness of spring.

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ART & DESIGN • HOMAGE TO THE OLD MASTERS

HOMAGE TO THE OLD MASTERS Louvre Abu Dhabi welcomes Masters of the Dutch Golden Age

A rare oil sketch on an oak panel titled ‘Study of the Head of a young man,’ by Rembrandt van Rijn, one of the most celebrated artists of the Dutch Golden Age, was acquired by Louvre Abu Dhabi in December. It is now on display at the LAD as part of a landmark exhibition titled: Rembrandt, Vermeer and the Dutch Golden Age featuring masterpieces from The Leiden Collection and the Musée du Louvre. It will be open to the public till May 18, 2019. The exhibition is the largest of Dutch Masters from the 17th century held in the Gulf region to date which includes 95 paintings, drawings, and objects. With more than 20 works from across Rembrandt’s career, the exhibition is a survey of the Dutch master’s artistic journey from Leiden and Amsterdam, as well as his relationships with rivals and peers of the Dutch Golden Age including Jan Lievens, Ferdinand Bol, Carel Fabritius, Gerrit Dou, Frans van Mieris, Frans Hals and Johannes Vermeer. The Dutch Golden Age was a brief period during the 17th century when the Dutch Republic, newly independent from the Spanish Crown, established itself as a world leader in trade, science, and the arts, and was regarded as the most prosperous state in Europe. In the arts scene, Rembrandt and Vermeer established themselves at the forefront of a new artistic movement characterised by a deep interest in humanity and daily life. Rembrandt van Rijn (1606–1669) was an innovative and prolific master in draughtsmanship, painting and printmaking. He explored a wide range of style and subject matter from portraits to

Biblical and mythological themes. He was one of history of art’s greatest storytellers, with an exceptional ability to capture the human soul in his artworks. Johannes Vermeer (1632–1675) specialised in domestic interior scenes of middle-class life. He worked slowly and often used very expensive pigments. Among the many highlights in the exhibition are two works by Vermeer, The

Lacemaker from Musée du Louvre and the Young Woman Seated at a Virginal from the Leiden Collection, that were painted on canvas cut from the same bolt. The two are on display side by side for what is thought to be the first time in 300 years. Another is the first-ever combined display of Rembrandt’s Bust of a Bearded Old Man from The Leiden Collection along with its custom carrying case commissioned by a previous owner of the painting, Andrew W. Mellon, the eminent early 20th-century financier and philanthropist.

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The ‘Head of a young man’ painting is one of the finest examples of Rembrandt’s seven surviving oil sketches from the Face of Jesus group which were objects of private reflection for Rembrandt and bear witness to his iconoclasm and his search for a meditative ideal. When viewed with the other surviving sketches, it reveals the way in which Rembrandt could find the best angle or profile to use light to portray Jesus. ‘’The exhibition Rembrandt, Vermeer & the Dutch Golden Age illustrates not only the importance of cross-border cultural collaborations, but also how artistic creativity has always been at the heart of great historic moments”, said HE Mohamed Khalifa Al Mubarak, Chairman of the Department of Culture and Tourism – Abu Dhabi. The exhibition is co-curated by Blaise Ducos, Chief Curator of Dutch and Flemish paintings at the Musée du Louvre and Lara Yeager-Crasselt, Curator of The Leiden Collection and a specialist in 17th century Dutch and Flemish art. It explores the evolution of Rembrandt’s career starting in his native Leiden where he created his early famed series of allegorical paintings of the Senses. These works demonstrate the artist’s youthful ingenuity and experimentation with expression, composition and colour. The Paintings are displayed alongside paintings by other masters from Rembrandt’s artistic circle, illustrating the influence that this remarkable group of artists had on each other’s work.

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A R T & D E S I G N • W H E N C O L O U R O V E R TA K E S T E C H N O L O G Y

WHEN COLOUR OVERTAKES TECHNOLOGY Dolce & Gabbana in partnership with Smeg recently unveiled their fourth and latest collaboration

Dolce & Gabbana is an Italian luxury fashion house founded in 1985 by Italian designers Domenico Dolce and Stefano Gabbana. Smeg is an Italian manufacturer of upmarket domestic appliances founded in 1948 by Vittorio Bertazzoni. These two icons, one of Italian fashion and the other of Italian design have come together for a fourth time to deliver a project they call “Made in Italy.” It is dedicated to the fascinating iconography of the Sicilian cart: “an unexpected and incredibly imaginative design that continues to fuel new stimuli and interactions between the two worlds,” according to Dolce & Gabbana. The objects displayed are everyday objects that have been turned into true objet d’art. Based in Guastalla, near Reggio Emilia in the north of the country, Smeg is a multi-award winning manufacturer for whom style “is a distinct concept: the way a product communicates with its surroundings and enables users to interact with it.” The company is best known for its FAB range of 1950s-style, retro refrigerators that have curved corners and come in a variety of non-traditional colours and patterns. It also manufactures dishwashers, washing machines, ovens, microwaves, cooktops, freestanding cookers, range hoods, refrigeration, wine cabinets, in-built coffee machines and small domestic appliances. The first collaboration between the two Italian brands came three years ago and was titled “Frigoriferi d’Arte,” or Art Refrigerators. Unveiled at the Salone Internazionale del Mobile 2016, 100 refrigerators were hand-painted in bright hues depicting Sicilian ethnic scenes and themes. Curated by Dolce and Gabbana, each of the fridges was the handiwork of artists including Salvatore

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A R T & D E S I G N • W H E N C O L O U R O V E R TA K E S T E C H N O L O G Y

Dolce & Gabbana x Smeg Coffee Machine

Dolce & Gabbana x Smeg Refrigerator

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Dolce & Gabbana x Smeg Stand Mixer

Sapienza, and the mother-daughter team of Adriana Zambonelli and Tiziana Nicosia, among others. “Each refrigerator features images by Sicilian artists: lemons, the trinacria symbol, cartwheels, medieval knights and battle scenes — all distinctive elements of the poetic marionette theatre and the Sicilian Cart as well as important aspects of the aesthetic of Domenico Dolce and Stefano Gabbana. The themes developed for each product are embellished with classic floral motifs,” read a statement from Dolce & Gabbana. The next collaboration, titled “Sicily is my Love,” was unveiled a year later at Milan Design Week 2017. This time, the smaller heroes of the kitchen like a toaster, juicer, coffee machine, kettle, and blender were given the Sicilian treatment; bright reds and yellows, deep purples, and shades of blue, citrus fruits and Mt Etna. The third collaboration came last and was titled “Divina Cucina” or Divine Kitchen. Once again presented during the Milan Design Week, it featured two sets of kitchen appliances. Each set comprised a Victoria range cooker, extractor hood, and

FAB28 fridge, and all three appliances had the same design pattern. One set had an orange-yellow base to which was added patterns inspired by those found in southern Italy. The other set had a white base decorated with blue tile patterns inspired by maiolica ceramic pottery. This year’s collaboration, displayed at the Salone del Mobile in Milan between 10 and 14 April, built on previous years’ presentations. It included large appliances like fridges, Victoria range cooker and matching extractor hood, as well as smaller ones like stand mixers, blender and a coffee maker. Complementing these one-of-a-kind appliances were brightly coloured and patternheavy costumes, shoes, jewellery and accessories from southern Italy; objects that served as inspiration for the artists. The Dolce & Gabbana and Smeg collaboration, which appears to be evolving into an annual affair, highlights the two pillars of Italy’s industrial strength - design and innovation, while also merging its tradition with its modernity. More than anything else, they are a visual treat to behold.

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A R T & D E S I G N • N U R T U R I N G C R E AT I V E M I N D S

NURTURING CREATIVE MINDS LOEWE FOUNDATION announces finalists for the 2019 edition of its Craft Prize, an award that aims to highlight the importance of craft in today’s culture

‘Mandala bowl’ by Giovanni Corvaja, Italy An ethereal and captivating piece made from 18ct gold that was transformed into a substance as fine as hair. This gold fibre is then spun together to create a bowl-shaped object evoking a sense of mystery, putting ancient ideas of alchemy in dialogue with cutting-edge technology.

The LOEWE FOUNDATION has revealed the names of the 29 shortlisted artists for the 2019 edition of its Craft Prize. The LOEWE Craft Prize seeks to support artisans from all over the world who exhibit exceptional craftsmanship in creating aesthetically superior objects of design. The Prize for the winning entry is 50,000 euros. The winning work, as well as the works of the finalists, will be included in an exhibition and accompanying catalogue “LOEWE Craft Prize 2019”, on view from June 26 to July 22, 2019 at Isamu Noguchi’s indoor stone garden ‘Heaven’ in Tokyo.

The finalists were selected by a panel of nine experts who convened in Madrid for two days to review over 2,500 submissions (an increase of 44 percent from last year) by artists representing more than 100 countries. “In a time when contemporary craft is constantly discussed, the LOEWE FOUNDATION Craft Prize sets the level of skills, will and artistic ambition for which craft should strive. The third LFCP exhibition is both a portrait of the best contemporary craft at an international level and a demonstration of what the LOEWE FOUNDATION considers craft to be,” says Anatxu Zabalbeascoa, the architecture and design correspondent for El País.

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The winner will be selected from among the finalists by a jury, also chaired by Anatxu Zabalbeascoa and composed of eleven leading figures from the world of design, architecture, journalism, criticism and museum curatorship, as well as Jennifer Lee, last year’s winner. This is the third edition of the LFCP and, as in previous occasions, it presents a diverse spectrum of techniques, media and modes of expression. The finalists also represent a diverse spectrum, from recently graduated and newly emerging artists to well-known names and leaders in their fields. Here is a selection of works by a few finalists.

‘Surface Tactility #11’ by Gental Ishikuza, Japan Through his expert use of lacquer, and humble materials such as styrene foam balls, two-way tricot and linen cloth, Ishikuza elevates the simple motif of a bag of oranges.

‘Geisha Handbag Series’ by Deloss Webber, United States A homage to Japanese weaving techniques this series of work uses traditional processes to recreate them anew, featuring materials such as granite, Susutake bamboo and rattan.

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A R T & D E S I G N • N U R T U R I N G C R E AT I V E M I N D S

‘The Moon Jar “The life of...”’ by Akiko Hirai, UK A gestural interpretation of the iconic form of the moon jar, this piece uses stoneware, porcelain, wood ash, white feldspathic glaze and shows an understanding and respect for the heritage of ceramics further reimagined with a highly personal approach.

‘Curved Block Seat’ by Jim Partidge and Liz Walmsley, UK Carved from a solid block of oak, revealing the inherent beauty of the materials the craftsman demonstrates the approach to making furniture: sculptural yet functional.

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‘Blue Velvet from the “Soft Accents” Series’ by Michal Fargo, Israel The artist starts the process by carving foam, which is then dipped in porcelain and fired. As a whole, the piece almost seems alive, as if formed from a plant or stone and gives no trace of its humble beginnings.

The LFCP is the brainchild of LOEWE’S Creative Director, Jonathan Anderson and was conceived as a tribute to LOEWE’S beginnings as a collective craft workshop in 1846. Anderson has placed a strong emphasis on art, design and craftsmanship in his rebuilding strategy of the house.

He stated at the award’s inception: “Craft is the essence of LOEWE. As a house, we are about craft in the purest sense of the word. That is where our modernity lies, and it will always be relevant.” The LOEWE FOUNDATION was established as a private cultural

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foundation in 1988 by Enrique Loewe. Today, under the direction of his daughter Sheila Loewe, the Foundation continues to promote creativity, organise educational programs and protect cultural heritage in the fields of poetry, dance, photography, design and craft.

ART & DESIGN • A PRANCING HORSE IN THE OFFICE

A PRANCING HORSE IN THE OFFICE The luxury Italian furniture maker Poltrona Frau Group in collaboration with Ferrari’s Design Centre, redefine comfort and ergonomics of an office chair

The ultra-luxury ‘Cockpit’ office chair was unveiled recently at a glitzy event at Dubai’s Bulgari Yacht Club. The chair is the result of a collaboration between two of Italy’s creative entities: Ferrari’s Design Centre and the Poltrona Frau Group. The chair is neither a car seat nor a standard piece of furniture, but rather a contemporary hybrid that brings together two brands, two imaginations, two industrial philosophies. The chair celebrates the 70th anniversary of the Maranello carmaker, as well as Poltrona Frau’s long-standing partnership with Ferrari whereby it has, for many years, upholstered the interiors of some of Ferrari’s most notable models. “We are very excited to witness the very special launch of the Cockpit Chair,” said Samer Alisis, CEO of Poltrona Frau Group ME, the Middle East arm of the Group. He added: “We truly believe this chair is going to be a groundbreaking design piece in the luxury interior and furnishing world.” Overseen by Flavio Manzoni, the team that conceived and designed the cockpit chair are also credited with the design of recent Ferrari models such as the LaFerrari Aperta, the GTC4Lusso and the 812 Superfast. The Cockpit was designed to offer “unprecedented comfort” for those spending long hours behind their desks, while also being a synthesis between the automotive design of Ferrari and Poltrona Frau’s expertise as the manufacturer of exceptional furniture. The design of the chair, therefore, connects with Ferrari’s DNA, with its ability to create a perfect balance between performance and timeless elegance. The armchair has a modular structure made out of rigid polyurethane with metal inserts. The external shell is moulded and comes in carbon or alutex while the padding is in polyurethane foam. The cast aluminium mechanism is the foundation of the Cockpit’s ergonomics and allows adjustments in the position of its backrest and the height of the seat. The swivel device sports the same design and mechanical elements as the steering wheel of a Ferrari while the two activation levers beneath the seat reference the steering wheel controls. The right lever

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adjusts the seat height with a gas spring that is hidden within special aluminium casings. The left lever activates the inclining and tilting oscillation movement thanks to designated leaf springs, with upright position locking system. The mechanism also facilitates a 360° rotation. The five-spoke base, also made from cast aluminium, is available in either polished aluminium or lacquered Racer Grey finish. The leather upholstery is the same as those used in Ferrari cars and, not surprisingly, the central band on the seat takes its cue from Ferrari’s racing seats. The design team has chosen shades and finishes inspired by the trim of the three tailor-made service lines, which allow for the customised configuration of the car: Scuderia, Classica and Inedita. The Cockpit chair can also be customised in terms of its colours and materials. All models and versions bear the Ferrari logo in relief on the front end of the mechanism at the top of the seat, as well as the Ferrari Design’s logo on the cover of the mechanism beneath the

chair. On the seatback, there is a metal tag bearing the Poltrona Frau logo. At the moment, two versions are available, the President and the Executive. Both offer the reclining base and seat, integrated with two different backrests. The President is the managerial model with a high backrest that provides generous support for the top half of the body and which is inspired by the ergonomics of competitive racing seats. This model bears the Ferrari horse in relief on the leather upholstery of the headrest. The Executive model is a chair that adapts to all work contexts, has a deliberately low and narrow backrest. The Cockpit promises to be another significant feather in the cap of the Poltrona Frau Group, which has been “nurturing Luxury Since 1912.” In addition to the founding Poltrona Frau brand, the group also has the Cassina and Cappellini brands under its wing since 2005. The group’s foundation is built on its patented leather production method which comprises 20 different phases, double of what is

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typically used by other manufacturers. This process comes after the leather passes a series of tests to evaluate its touch, colour, appearance and choice, followed physical and mechanical tests that guarantee its impermeability, breathability and resistance to rubbing and stains. In addition to Ferrari, Poltrona Frau has worked with a long and diverse list of illustrious brands such as Bugatti, Rolls Royce, BMW, Ferretti Yachts, and Queen Mary II to name a few. Closer to home, the group has worked on Etihad’s First Class Suites, First & Business Class Lounges and Executive Offices; the Royal Boxes at Sheikh Zayed Stadium and Mubadala World Tennis Championship; and Dubai Opera’s master seats, among others. Referring to the company’s successes in the UAE, Alisis added: “I feel honoured to be a part of such a dynamic country that brings us great drive and passion. To be in the UAE at this time compliments us as a brand as we are both fast moving and ambitious, with strong goals for the near future.”

OBJECTS OF DESIRE

IXION MAESTRO MKII BY IXION A 22cm-cubed speaker handbuilt in Norway, it comprises of two powerful 2.75″ front speakers, a 5.5″ subwoofer, four amplifiers and a Quad-core processor housed in a specially-built acoustic cabinet to minimise resonance and ensure optimum sound quality. It features a Touch Screen display on the outside and a number of builtin streaming options including Tidal, Spotify, TuneIn and others. Music can also be streamed via a smartphone, iPad or laptop. It also features USB and an ethernet port for a wired internet connection.

Smart Audio of Norway. IXION is a trademark owned by T-Radio

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DARTBOARD SET BY JONATHAN ADLER New York designer, Jonathan Adler’s posh take on a pub classic. The black and white lacquered Op Art dartboard is a playable piece featuring a hand-glossed finish. The bullseye is painted cork with six steel-tipped darts. Scoreboard essentials such as two erasers and two chalk sticks are included. This luxury dartboard set with magnetic closure in high-contrast lacquer glossed optical art patterns on the outer cover makes a perfect gift. Measures 15.25” W, 3.25” D, 15.25” H.

iSOMMELIER PRO BY iFAVINE

BEOPLAY H9i BY BANG & OLUFSEN B&O’s top-of-the-line, wireless headphones with an over-ear wearing style and soft leather cushions. It combines Active Noise Cancellation, an innovative aluminium touch interface, and Bang & Olufsen Signature Sound. It can deliver up to 18 hours of playtime. Stylish and eye-catching headphones that scream premium quality and fi rst-class construction. As part of the limited edition SS19 collection it appears in clay and pine colour options.

GOLF SET BY RENZO ROMAGNOLI Leathersmith Renzo Romagnoli, renowned for his use of precious materials and attention to detail offers an elegant handmade golf set. The wood and leather case with handle contains a gold club that can be disassembled into three pieces and stored on one side of the case. On the other, are four golf balls, a leather target hole and a putter head. A special edition with croc-embossed leather is also available. Dimensions in cm: W34 x D24 x H7

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A smart decanter that uses a patented molecular filter technology to isolate oxygen from the air and then circulates it throughout the wine contained in a unique carafe. The system reduces decanting by a factor of 1 to 60 and thus can bring a wine to a level of maturity that would otherwise take years of cellaring. The fi lter reduces carbon dioxide, nitrogen, dust particles, traces of methanol, acidity, and other harmful substances while maximising the levels of aroma and flavour and softening tannins. The free downloadable app has a database that currently contains 550,000 diff erent wines and spirits from across the globe. The app fi rst identifi es the wine and then communicates with the “iSommelier Pro” to send optimum preset decant times, along with food pairings, winery information and history.

L A D O L C E V I TA • D E L I V E R I N G U N C O M P R O M I S I N G L U X U R Y

DELIVERING UNCOMPROMISING LUXURY Tirtankar Ganguly, the man behind the recent rebranding of Sobha Realty spoke to Signé on how luxury translates into real estate

“I left the Taj Hotel at 8:45 pm. At 9:00 they enter the hotel. At 9:45 I was about to reach my home when I got a call from one of our interior designers, and she told me they were shooting in the lobby. I thought she was talking about shooting a Bollywood movie. And then all mayhem broke. It was a good three days later that we were allowed entry into the Taj,” says Tirtankar Ganguly, the then Senior Manager for Business Development at Mumbai’s landmark Taj Mahal Palace Hotel, when the city and the hotel fell prey to the 26/11 terror attacks. “We were told by the leadership,” he adds, “one does not mend luxury goods. Turn this tragedy into as an opportunity and do whatever it takes to rebuild this place for the next 50 years.” Tirtankar now calls Dubai home and has been the Chief Marketing Officer of Sobha Realty since May of last year. He has been on an interesting journey, to say the least. A graduate of IIM Bangalore, he was recruited by Tata Administrative Services as part of their Global Fast Track Management Program in 2004, where he was performing a wide range of functions. Then in 2007, after a short stint with Accenture as an analyst, Tirtankar joined what he considers “the only true luxury brand of India,” Taj Hotels Resorts and Palaces, where he rose to the position of General Manager

– Marketing for the Mumbai area. Tirtankar then had a three-year stint with the Lodha Group, “the largest real estate development company in India by sales,” as Vice President Marketing for the Mumbai Area. What is your personal perception of luxury and what do you think luxury means for consumers today? True luxury for me is a very personal affair and not something that the latest marketing campaign is talking about. True luxury is being able to enjoy my time on my own terms whether it is

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a holiday, or a piece of cloth, or an automobile. Being able to do something which feels as though it is curated for me is much more important than whether it is from the biggest brand and so on. There has to be a very strong element of individuality. In terms of how consumers approach luxury, there is a growing trend where luxury consumption is moving beyond being mere transactions. It is becoming extremely ritualistic. When buying a suit, for example, one can go to an upscale brand and buy one for a few thousand dollars. Nothing wrong with that. However, it is a very different experience from making an appointment with a Savile Row tailor, for example, where you are part of the creation process. That requires a completely different sensibility, and it is not just a transaction. You see this trend across product categories. Even in a sterile category like real estate, at the higher end, the entire experience is like acquiring an heirloom. It has been my experience, both here and in Mumbai. What are the principles on which Sobha is based, as a business entity and as a brand? Sobha as a realty brand is guided by principles. First is the legacy of the craft. We started as ballast contractors,

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so for this organisation, I would say front-end retail real-estate is a fairly new phenomenon, but Sobha is not a new phenomenon. It is more than 40 years old. Earlier it catered to the royalties and the maharajas as palace contractors, while today it caters to the modern-day maharajas or business tsars. Some of our customers may have changed, but their sensibilities have remained more or less the same. Then there is a passion for perfection. For Mr Menon, our founding chairman, from the time he started as a small furniture maker in Oman to his phenomenal growth across this region and in India, there has always been passion. Thirdly we have complete control over our projects. We can because we are the only backward integrated real estate company in the world. This did not start from day one, but because of the exacting demands of our high-profile clients meant that we could not rely on third-party contractors. Being able to control the entire process does not always make commercial sense, but it is essential in fulfilling our third

principle of delivering perfection. Sobhaâ&#x20AC;&#x2122;s aim in Dubai is not to change its skyline, but to ensure that no matter at what price point you buy from us you should get the signature Sobha quality. The rebranding exercise which you have overseen, has it yielded the desired results? It was a big challenge. There was a big gap between the products we were delivering and the perception of the brand. Also, the brand was not clearly defined on what its purpose was. Our objective was first to bring out the inherent strengths of the Sobha brand based on its 40-plus years of achievements. We wanted to speak a new language not spoken in the real estate sector, a language borrowed from the world of art, words like exquisite, flawless, crafted and so on because it reflects our approach to design and production. Today we have a clear and unified story to tell across multiple touch points. The proof of the pudding is in the fact that our message has started resonating with our customers.

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Sobha is developing District One and at its heart is your very own Heartland. Could you elaborate on it? In the world of luxury, there should be no compromises. Heartland is an eight million square feet of no compromise, luxury waterfront community comprising of spacious townhouses and villas at its core. The most important thing in real estate, and more so in luxury real estate is location. Heartland is the only gated community in central Dubai, just twokilometres from Downtown Dubai. The second most important thing in luxury real estate is space. When we design, we think in cubic meters instead of square feet. Most of our Villas have double the normal height and higher levels of natural light. So, at Heartland one does not compromise on location, space, or density. Around 30 percent of the total square-footage is open or green community space. There are two world-renowned schools within the community. Then you also have a host of world-class amenities as well as commercial and entertainment spaces.

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THE CULINARY JOURNEY The Michelin-Starred Chef Akira Back brings his culinary skills to Dubai at W Hotel, Palm Jumeirah

“Before I became a chef, I never cooked. I didn’t even touch water. Never did laundry. My mom did everything for me. So I was a very very spoiled kid. I still don’t do laundry,” says the Seoul, Korea born Michelin Star Chef Akira Back with a hearty laughter. Chef Back was in Dubai recently to launch his eponymous restaurant at W Dubai, Palm Jumeirah and was kind enough to share with Signé his story and the philosophy behind his restaurant in Dubai. “It is about me. When customers walk in, I want them to experience what I would like to experience, how I like to eat. The decor, the plates, the cutlery and others are all my mom’s art. I asked her to do it because that’s what I would like. She made me what I am. So, coming to my restaurant should

be like coming to my house. The only difference is that here I have to charge you,” says chef Back with a wry smile. “I grew up eating my mom’s food, and I still eat my mom’s food. So the base of my cuisine is very Korean but is blended with the Japanese techniques I learned, and with the American cuisine because I have lived there for a long time. Everything on the menu is meant to be shared and to make sure that everybody can eat. I don’t like it when one or two persons in a group have to compromise because they are vegan or prefer to eat fish or meat and so on. Also, the presentation is designed to make every dish easy to eat because I don’t want my customers overthinking about how to eat.” Born in 1974, Chef Back wanted to play baseball professionally in Japan.

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His father’s business, however, took the family to Aspen, Colorado, where he caught the snowboard bug and became a professional snowboarder. He even appeared in extreme sports moves. To make ends meet, he began working at local restaurants. After seven years on the pro-snowboarding circuit, Back decided to pursue a full-time culinary career as a chef. He studied at the International Culinary School at the Art Institute in Colorado, and in 1993, began working as a Sushi Prep Cook at Kenichi in Aspen. Through the next fifteen years, chef Back had appointments in locations all around the world under renowned chefs. Then in 2008, he opened his first venture, the famed Yellow Tail Japanese Restaurant by Akira Back at Bellagio Resort and Casino in Las Vegas.

The Michelin Star Chef Akira Back SIGNÉ • EDITION 34

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Private Dining room at Akira Back restaurant

Today, Chef Back’s portfolio includes thirteen restaurants including Kumi Japanese Restaurant by Akira Back at Mandalay Bay, Akira Back Restaurants in Toronto, Singapore, Bangkok, Seoul, Jakarta, New Delhi and Dubai with additional locations opening in San Francisco, Beverly Hill, Bali, San Diego, and Dallas. His newest concepts include AB Steak in Jakarta and ABar in Bangkok. “I have eight openings this year, and Dubai is the first. Nobody has ever done it. I’ve been coming here for seven years, looking for the right partners and the right place. Now we have a great partner and a great place,” says chef Beck when asked about his expansion plans. Then adds: “I’m really lucky that everything we did worked out well. Also, we’re very calculating in everything we do. We have a great team, and I truly believe in my team. Honestly, I don’t have to

worry so much. If I were so worried, I’d now be drinking somewhere. All I have to worry about is one thing: are we giving our best service.” Going by the accolades, one would have to concur. Chef Back’s famed Seoul restaurant DOSA was awarded one Michelin star in 2018. This was in addition to being named “Best Chef in Las Vegas” by Las Vegas Weekly and “Rising Star” by Restaurant Hospitality in 2008. He was also a finalist in Food Network’s “Iron Chef America.” What is chef Back’s secret to maintaining high quality during a period of rapid expansion? “We have a 100 percent scientific approach to preparing our dishes. Everything is accurately measured. But of course, science has to be merged with the heart. My mom is not a chef, and she never measures the ingredients, but how come her food tastes so much better.

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That’s where passion comes in. I have guys who love to cook, but if I find that passion is missing, I switch them around or ask them to take a break.” We asked chef Back to recommend some of the signature dishes on his menu. “Everything on the menu is a signature because nobody else has it,” he shot back with triumphant laughter. Then adds: “if you come here you have to order the tuna pizza or the mushroom pizza. Both are my mom’s favourite. If you don’t like the taste of raw fish in traditional dishes, then I recommend you try Jeju Domi, that’s how I learnt to eat raw fish. We have a different sauce for every variety of fish served. We extensively use natural seaweed to enhance the flavour of our sauces. I also recommend the Truffle Bomb which has Sea Urchin, Sweet Shrimp, Gejang, Smoked Potato Foam, and even Caviar.”

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REVITALIZE YOUR QI Experience traditional Japanese and ancient Egyptian practices of mind body wellness Qua Spa at Caesars Bluewaters Dubai is designed for a holistic approach to emotional and physical wellbeing by focusing on the five elements for perfect ‘Qi’ or energy. It has eight treatment rooms including two rooms for couples, signature facial and massage treatments, a relaxation lounge and male and female facilities with rock saunas, aroma steam rooms, experience showers and ice fountains. The lyashi Dome treatment, a Qua exclusive being offered in Dubai for the first time, is inspired by the traditional Japanese practice of ‘Suna Ryoho.’ It uses the patented Black Carbon technology to stimulate the body for 30 to 60 minutes with long-wave infrared rays eliminating up to 1200ml of water and unwanted toxins while burning up to 600 calories per session. Its benefits include weight loss, reduction of cellulite, improvement of the skin quality and anti-ageing effects. Qua Spa’s other groundbreaking treatment is the Psammo Concept Quartz bed based on hot sand therapy originally used in Ancient Egypt. Created by the Gharieni Group, it integrates the multiple benefits of sand therapy, aromatherapy, inversion therapy and wave-like massage. It is offered as a stand-alone treatment or integrated into a number of stimulating body therapies ranging from hot stones, singing bowls, wrapping treatments and exfoliating scrubs.

Through its partnership with Carol Joy London, Qua Spa brings her signature ladies facial products to Dubai for the first time. Guests will also have the chance to try luxury brands such as Elemental Herbology and Gentleman’s Tonic. The attached 24-hour Fitness Gallery is kitted out with the latest TechnoGym equipment, with personal trainers on hand. For those who prefer to get fit outdoors, Qua Spa offers a series of AquaFit sessions at the main pool and private beach.

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QUA SPA Caesar’s Palace Bluewaters Dubai +9714 556 6666

UNDER THE SAKURA TREE Armani/Hashi celebrates the season of cherry blossoms with the best of seasonal flavours Located in the world’s most iconic tower, designed by Mr.Giorgio Armani and fitted out with Armani/ Casa, the Armani/Hashi restaurant and lounge at the Burj Khalifa is one of the few places in Dubai where one can experience the best of Japanese cuisine in an exclusive setting. The award-winning venue delivers an imaginative twist on traditional and contemporary Japanese cuisine. The freshest fish is flown in daily from around the world and complimented by a selection of specialty beverages. Signe recommendations include the Teriyaki black cod with lotus root, kumquat and hajikami – The age-old dish is prepared using traditional cooking method. Black cod fish is marinated in teriyaki sauce and served with vegetable. We also recommend the Tajima wagyu beef rib eye, foie gras, maitake mushroom

and sansho miso – a Special wagyu beef grilled in robatayaki, served with unique Japanese pepper miso. With outdoor seating overlooking the Burj Khalifa Lake, panoramic views of The Dubai Fountain from the terrace and a resident DJ, the Armani/Hashi experience goes beyond plush interior appointments and signature dishes. As the sakura cherry blossoms start to fall across Japan, the restaurant pays

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tribute to the arrival of spring in the east with a multi-course menu that celebrates the best of seasonal flavours. This special menu features a duo of cold and hot sakura box delicacies for the definitive umami experience. Start off the experience with a cold selection that includes Japanese egg omelette, assorted sashimi, and deep-fried soy eggplant with basil miso and tuna tataki before switching over into a hot collection with tiger prawn tempura, miso black cod and tajima wagyu with maitake mushroom. Conclude the cherry blossoms celebration with an original dessert finale with an edible floral note.

ARMANI/HASHI Armani Hotel Dubai Burj Khalifa restaurant.reservations@armanihotels.com +971 4 888 3666

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LUXURY AT A HIGHER LEVEL The Landmark Mandarin Oriental has unveiled its Connoisseurs’ Escape designed to take luxury to the highest level “True luxury is having every detail of your stay tailored to your hopes and dreams,” said Archie Keswick, the General Manager at Hong Kong’s Landmark Mandarin Oriental, during the launch of its “Connoisseurs’ Escape” package. “We have created this accommodation package to ensure our guests can fashion their experience with us based on their individual needs and interests.” Intimate, contemporary and ideally placed in the heart of Hong Kong’s financial and luxury shopping districts, the Landmark has been setting the standard for personal service and stylish sophistication since its establishment in 1963. Wellappointed luxurious interiors are complemented by State-of-theart technology in its 111 spacious rooms and suites; each one a tranquil retreat for business and leisure travellers. The Connoisseurs’ Escape package announced recently by the hotel, which is valid till September 30, 2019, aims to take the hotel’s renowned luxe experience a notch higher. It begins with accommodation in one of the luxurious Joyce-Wang designed L600 Premier Rooms: L600 Deluxe offers separate bedroom and living areas with a stunning round bathroom and spa tub; L600 Premier offers a spacious 56sqm room with separate living area

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Mo Bar

and a glass-walled bathroom; and the L600 Executive offers an Atrium view, separate living area and a spa-inspired sunken bath. Beyond the room, guests can enjoy priority reservations at three of the hotel’s most renowned venues: The two Michelin-starred Amber restaurant helmed by Chef Richard Ekkebus; MO Bar where well-known musical talents perform in an air of exclusivity; the PDT cocktail bar, housed within MO Bar, is the first international outpost of the PDT NYC and offers Connoisseurs’ Escape guests specially curated signature cocktails. Beyond the hotel, guests can choose to enjoy a champagne picnic during the day, or an antipasti evening course prepared by Richard Ekkebus which can be savoured either in-room or onboard a private yacht tour offered at privileged rates by Simpson Yacht Charter. Simpson is Asia’s most established Yacht Charter company, providing tailor-made, bespoke experiences with world-class service. Guest can also enjoy a guided gallery tour at Hauser and Wirth, or for those who prefer to stay in-house, a ‘Shake it well’ cocktail masterclass at PDT Guests can avail a range of other personalized experiences such as: portrait session with celebrity photographer Jason Capobianco, personal shopping experience with leading stylist Grace Lam, Feng Shui design service with Thierry Chow, private yoga lesson with master Yogesh Varun, private session in the Pilates Studio, personal training in the fitness centre, and chauffeur-driven limousine airport transfer.

For those guests reserving the Entertainment Suite, Apartment Suite or any of the L900 Suites will have the added treat of a priority access invitation for to the Cannes Yachting Festival, to be held between 10 and 15 September 2019, or the Monaco Yacht Show, between 25 and 28 September 2019. The Landmark Orient has always believed in offering luxury with environmental responsibility by implementing measures such as being the first hotel to ban plastic straws and using instead bamboo and stainless-steel straws, using reconditioned and recyclable furnishings in its PDT Bar, and serving sustainable seafood among others. Last year the hotel took this commitment to the next level by announcing two new initiatives. For one, the hotel has partnered with Swedish fresh water specialist, Nordaq Fresh, to introduce its own in-house, filtered and purified premium bottled water in the guest rooms, suites, bars, restaurants and spa. The eco-friendly glass bottled water is produced in-house to reduce their carbon footprint. Secondly, it has formed another partnership with the NGO Rooftop Republic to create a roof garden for growing fresh herbs, flowers and small vegetables. Organic matter normally disposed off in landfill will instead be used as fertiliser. A rooftop beehive will provide delicious honey and wax for candles. “Considering our impact on the environment is a natural part of The Landmark Mandarin Oriental, Hong Kong’s culture and values,” says Archie Keswick.

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BEST IN CLASS Cheoy Lee of Hong kong, a giant player in the shipping industry makes its debut in the world of luxury yachts with its two models: the CLA76 and CLB72 at this year’s Miami Yacht Show

The Hong Kong based Cheoy Lee Shipyards Limited, founded in 1870, commenced a new chapter in its long and illustrious history at this year’s Miami Yacht Show. CL Yachts, Cheoy Lee’s new subsidiary focusing on luxury yachts, unveiled its two debutant models: the CLA76 of the A series and CLB72 of the B series. A larger third model in the B series, the CLB 88, is currently in the design phase and is set to debut in the near future. Martin Lo, director of Cheoy Lee Shipyards Limited, said: “The profile of the luxury yacht buyer continually evolves, and CL Yachts is catering to the ever-changing needs and expectations of its clients. As we are always seeking out new opportunities and exploring new technologies, we are leading the way for new standards of quality and luxury.” CL Yachts teamed up with designer Jozeph Forakis for the development of all three of its models. In a career spanning over 15 years, Forakis has worked with several global brands including Foscarini, LG Electronics, Magis, Nemo, Philips, Swarovski and Swatch. Between 1999 and 2002 he was the European design chief at Motorola and gave us the iconic V70 swivel Mobile phone. The CL yachts were also a debut for the seasoned designer in the luxury maritime sphere. “We decided together to be very ambitious and to match this ambition with bold strategic moves. During development of the first boat we realized that if we truly wanted to push innovation, to create entirely new yachting

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designs and experiences, then it also made sense to start with a clean slate in terms of the name, brand identity, marketing, services – all the touch points that define a world-class, state-ofthe-art luxury experience,” said Forakis. The CLA76 is a sleek successor to Cheoy Lee’s popular Alpha Express Series. Fluid lines and a sharp silhouette define the exterior of the yacht, which is accompanied by thoughtfully designed modern interiors that exude comfort and elegance. The CLA76 claims to have good fuel consumption rate with an impressive top speed of 30 knots. The strategic use of carbon fibre and fibreglass fabrics throughout the structure adds strength while significantly minimising the overall weight of the vessel. The yacht’s thoughtfully considered layout allows for multiple social areas on board, well-proportioned indoor and outdoor spaces, and spacious cabins with en suite bathrooms for added privacy and convenience. The CLB72 is designed “for families with a heart for adventure,” according to CL yachts. Built upon the combined expertise

of naval architect Howard Apollonio, and leading marine structural engineers Gurit, the CLB72 has a very lightweight and aesthetically pleasing design without compromising the integrity of its structure. The yacht’s streamlined exterior is complemented by its modern interior, from its multiple lounging areas at the foredeck, fly lounge, aft lounge, and beach platform to its large staterooms below deck. The sense of space is enhanced by the expansive windows and contemporary detailing. The Miami Yacht Show delivered another first for the CL brand: its first sale. A CLB72 was sold to a family, we are told, that will be boating in Florida and the Northeast. Cheoy Lee may not be a widely known name outside the Far-East region, but industry insiders consider them a sleeping giant. It is estimated that about half the vessels in Hong Kong Harbour were built by Cheoy Lee. With China projected to become the largest purchasers of Luxury yachts in the near future, the sleeping giant, it seems, had its eye on the game all along.

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Earthtime 1.26 Artwork rendering on The Peninsula Hong Kong. (Image credit Janet Echelman)

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PATRON OF THE ARTS The Peninsula Hotels Group recently unveiled its new ‘Art in Resonance’ campaign, a bridge between guests and local artists

Through various initiatives over the years, The Peninsula group of hotels have become renowned for their commitment to supporting the contemporary arts and for enabling access to artworks of esteemed and emerging artists by displaying them at their properties around the world. The groups’ ‘Artist in Residence’ programme is one such initiative whereby each hotel in the group promotes the rich and vibrant cultural aspects of the city in which it is located by hosting the works of local artists. As a result, each property is able to offer a bespoke, aesthetically stimulating environment that invites the guests to venture on an exploration of the senses. “As a global luxury hotel brand with a 90-year legacy, we understand the important place that art holds for humanity – it’s an inclusive, universal language that crosses borders and builds connections,” says Peter Borer, Chief Operating Officer of the Hong Kong and Shanghai Hotels, Limitied, owner and operator of The Peninsula Hotels. This year, The Peninsula Hotel was the official hotel partner of Art Basel Hong Kong, held between March 29 and 31. Given its commitment to art, the group was never going to be a silent partner. In fact, The Peninsula kicked off the itinerary of Art Basel Hong Kong when it launched a new, multi-year, global campaign titled ‘Art in Resonance.’ It features newly commissioned, immersive installations by mid-career contemporary artists while offering new experiences.

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The Wonder Room by Minax In an unassuming room located off The Peninsula lobby, you can now indulge in a Private Dining

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Iván Navarro’s art piece Home located outside The Verandah at The Peninsula Hong Kong (Photo credit Simon J Nicol)

“We not only want to provide artists with a platform to exhibit, but we want to commission original pieces to support working artists and ensure the health of the cultural ecosystem within each of the hotel’s local communities,” added Borer. “To that end, we will also have robust programming around ‘Art in Resonance’ at each hotel that includes artist talks, studio visits and panel discussions with leading artists, creatives and thinkers.” To oversee the ‘Art in Resonance’ project, the group has partnered with respected curators, Isolde Brielmaier and Bettina Prentice. They have been entrusted to “seek out artists who are poetically pushing the boundaries of their mediums and engaging the senses in works that will inspire and enchant visitors,” reads a statement from the group. Prentice, the New York-based co-curator, said: “Isolde and I supported The Peninsula Hotels with their desire to specifically seek out art that requires the visitor to be present – physically

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and emotionally – in order to fully experience and commune with the work. From the beginning, we have had the support of The Peninsula Hotels’ leadership to create a cohesive programme that is multi-generational, cross-cultural and innovative.” At the Hong Kong property, three artists - Janet Echelman, Iván Navarro, and Timothy Paul Myers - and a Shanghaibased Chinese architecture collective called MINAX have been commissioned to produce bespoke pieces for the ‘Art in Resonance’ campaign. American Experiential sculptor Echelman seeks to make the invisible visible with her Earthtime 1.26 by capturing the movement of the air in the middle of the iconic ‘C’ shaped outer facade of the Peninsula Hong Kong building. She uses the simplest of materials like fishermen’s netting in combination with a sophisticated lighting system that was assembled by a team of highly skilled engineers. “I want art to become part of

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Art installation Alizarin part of Art in Resonance located in The Peninsula Hong Kong’s Lobby (Photo credit Simon J Nicol)

life, and I want it to be as accessible as the air we breathe. I want to make art where people live, so we work on the scale of cities,” says Echelman. Chilean artist Navarro’s HOME installation is an optical illusion where the letters ‘H,’ ‘O,’ ‘M,’ and ‘E’ form a downward vertical chain along the four sides of a square-shaped virtual hole that is seemingly endless. It is designed to draw the viewers in and encourage contemplation. Alizarin by Australian artist Myers is installed contrastingly in a corner of the hotel’s lobby. It features furniture and everyday items – from teapots to suitcases – that are wrapped in a deep red felt. “I think it’s most interesting when we encounter art in unexpected places,” says Myers. The Wonder Room by MINAX builds on the woodworking techniques of historical China to create a modern take on the traditional Chinese teahouse. While the exterior is a nondescript,

simple box, the interior envelops and cocoons the guests from the outside world within a complex egg-like structure. “I think that natural materials have a touch of warmth. They can better express our understanding of space and also create a better atmosphere,” says MINAX founder Zhi-gang Lu A selection of pieces from the Hong Kong launch, which runs until 23 June, will travel to The Peninsula Paris in the autumn of 2019, where they will be joined by additional, newly commissioned installations from local artists. This spring and autumn cadence will, in turn, be replicated each year, as the programme travels and grows between the ten locations of The Peninsula Hotels and three under development in London, Istanbul and Yangon. “Our great hope is that this multi-year programme will engage guests and the local public in a way that will bring a smile to everyone’s face,” says Borer.

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L A D O L C E V I TA • A N E W B O X E R I N T H E R I N G

The second custom bike to be built around BMW Motorrad’s new Boxer engine was recently unveiled

American motorcycle customizers, Revival Cycles, presented their latest creation at this year’s Handbuilt Show in Austin, Texas. The one-off bike, named “The Revival Birdcage,” is built around a prototype of the completely new BMW boxer engine. “The ‘Revival Birdcage’ turned out great and really showcases our Big Boxer perfectly”, says Timo Resch, VP Sales and Marketing, BMW Motorrad. “Following the ‘Departed’ from Custom Works Zon, this is the second fascinating custom bike built around the prototype of the BMW Motorrad Big Boxer. We will also be showing a BMW Motorrad developed concept bike featuring this engine in the fi rst half-year of 2019. BMW Motorrad will present a series

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production motorcycle with the Big Boxer for the Cruiser segment in the course of 2020.” Alan Stulberg’s team at Revival Cycles took around six months to develop the motorcycle that draws its inspiration from Ernst Hennes’ recordsetting machines from the late 1920s and early 1930s. “We had already dreamed about this bike for years, and in December 2018 we received the engine and could finally get to work”, says Stulberg. “I have always been a fan of the boxer engine, but the pure physical size and aesthetic appeal of this prototype really inspired us.” The “nearly transparent” frame of the “Revival Birdcage” is made of titanium and was developed in-house

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by Revival Cycles “to focus attention on the engine,” adds Stulberg. “You can easily view the engine and the drivetrain from all angles.” What’s more, almost every single other part on the bike such as handlebars, footrests, shift lever, seat and unique carbon suspension components were all individually crafted. The centrepiece of the bike, the largecapacity prototype engine, is reminiscent of the BMW Motorrad boxer engines that were built in the 1960s, particularly the exterior geometry and the visible elements such as the push rods running in chrome-plated protection ducts. However, the cubic capacity is now much larger, and a modern air-oil cooling system is used.

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