The Peninsula Magazine September 2013 by The Antithesis

September 2013

marc jacobs stores worldwide

www.marcjacobs.com

edie photographed by juergen teller

From The CEO

elcome to this issue of The Peninsula magazine. With the construction of The Peninsula Paris at an advanced stage and recently announced deals for the development of Peninsula Hotels in London and Yangon, Myanmar, it seems fitting that the theme of this issue is travel. We take you on a journey through exotic and fascinating locations across the Continents, showcasing the very best that these places have to offer. With the 2014 opening of The Peninsula Paris on Avenue Kleber in a magnificent historic building, we take you to the streets of Paris and go shopping, where a host of uniquely striking window displays await, in true Parisian style. Further south, 30 kilometres outside of Lyons, we travel to the majestic Château de Bagnols which towers over a tiny village nestling amongst the Beaujolais vineyards in the Pays des Pierres Dorées, the land of golden sandstone. Over to Italy, our next port of call is the cliffside fishing village of Positano on the Amalfi Coast, possibly one of the most enchanting places in the world, and the ‘Jewel of The Mediterranean’ and home of photographer Antonio Saba, Sardinia. Our final destination in Europe is Berlin, which over the last decade and more, has emerged as one of Europe’s most culturally vibrant cities. Our compass then leads us to Jordan, a land of beautiful and varied terrain, to explore the ancient city of Petra, the Red Sea and the sandy dunes of Wadi Rum’s desert wilderness. In the United States, home of three Peninsula Hotels, we venture to the neighbourhood of Harlem, which is undoubtedly very different to what it used to be, and is now a vibrant centre of culture, restaurants and historic landmarks. Our itinerary ends in Asia, in the rapidly emerging country of Myanmar, where our next Peninsula journey is set to begin... With all this and more, I hope you will enjoy this global adventure and indulge in the world of travel.

Clement K M Kwok Chief Executive Officer

contents september 2013

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From The CEO

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The Art of Intuition Paul Kasmin Gallery in Chelsea, New York’s art epicentre, is a prime example of how going with your gut and trusting your personal style or taste, can lead to great things.

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Wanderings of the Consciousness Novelist Lawrence Durrell once wrote that, “Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will - whatever we may think.” Sharing this stream of consciousness is French born artist JeanFrançois Larrieu, whose colourful canvases artistically roam free of constraint, dimension, boundary and location, and are created by the will to explore the boundless possibilities of his personal journey.

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Sticking Out Patrick Dougherty gives sculpture a new take. From seemingly mundane materials of sticks, branches and saplings, he creates breathtaking works of art that sends the imagination into a flight of fancy, to a world of nests, lairs and cocoons. The sculptor opens up to The Peninsula.

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Reflections Glamour, romance, beauty and sensuality...adjectives that seem almost inadequate when describing Europe’s fashion and shopping capital. Parisians have the ultimate sense of style that not only permeates their appearance, but also the way their shop fronts are presented. With the opening of The Peninsula Paris on Avenue Kleber in 2014, The Peninsula magazine takes to the streets of Paris and goes window shopping.

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THE LADY AND THE CHÂTEAU Towering over a tiny village nestling amongst the Beaujolais vineyards in the Pays des Pierres Dorées, the land of golden sandstone, is the majestic Château de Bagnols. The Peninsula discovers its charms.

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SUCCUMBING TO THE SIRENS The cliff side fishing village of Positano on Italy’s Amalfi Coast is possibly one of the most enchanting places in the world, where historically ships and marriages have been wrecked, decadent debauchery has been the order of the day, and millions of people have fallen in love. The Peninsula travels to this tiny corner of the world and visits ‘Le Sirenuse’ to discover what made Positano what it is today.

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JEWEL OF THE MEDITERRANEAN Photographer Antonio Saba was born on the island of Sardinia, arguably Italy’s most beautiful island. Th rough his images and words, he describes why he is so passionate about the place of his birth.

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CENTRE OF ATTENTION Over the years, Berlin has emerged as one of Europe’s most culturally vibrant cities, infused with a unique blend of Western and Eastern European cultures. A centre of ideological crossroads, the city has become the driving force for Germany in the 21st Century.

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PERSONAL VENTURES AND ADVENTURES Jordan is a land ensconced by some of the world’s most notorious boundaries. Not to be missed, The Peninsula ventures into the country’s beautiful and varied terrain to explore the ancient city of Petra, camps with Bedouins, the Red Sea and the sandy dunes of Wadi Rum’s desert wilderness.

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Cool In A Kaftan Mention the word ‘kaftan’ and it may conjure up memories (for those old enough to remember) of Greek singer Demis Roussos in what closely resembled a diaphanous flowing tent or his bespectacled female counterpart Nana Mouskouri crooning away on stage in similar attire. However, the kaftan is as “iconically hippie now as it was in the ‘70s,” according to Shop Til You Drop’s article ‘Fashion Icon - The Kaftan’. Wherever or however you wear it, the kaftan gets the vote for versatility. The classic cover-up has staged an uprising and is back in all manner of styles.

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Heart and Sole “Making shoes in Spain does not disclose any unique secrets. Their talent and experience work well for me,” says Stuart Weitzman, shoe designer and Executive Chairman of his eponymous label. Every pair of shoes is crafted from start to finish by shoemaking masters in the city of Elda, Spain, which has been Weitzman’s base of operation since 1971.

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The Harlem Shuffle Next time you’re in New York, take a taxi or a subway ride over to Harlem, whose new residents are strikingly diverse: straight and gay, African-American, Asian and European. They’re here for the neighbourhood’s history and the immaculate houses on Strivers Row - plus fixer-upper brownstones that cost 20 percent of what they would a mile to the south. Harlem is undoubtedly very different to what it used to be, and is chock full of culture, restaurants and historic landmarks.

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THE ROAD TO MANDALAY In May this year, The Peninsula Hotels struck a deal to build a new luxury hotel out of the former Burma Railway Building in Yangon, Myanmar, close to the famous Scott’s Market. Adventurous photojournalist Morgan Ommer takes something of an unusual trip - a creative writing tour of the city and its surrounding area.

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GRAPE EXPECTATIONS From London to Hong Kong, there is an exclusive and personal service directly on hand to assist in the organisation of your wine life. Sarment offers privileged access to wine and winemakers across the globe. Totally unique and designed for those who have a true passion for wine, the world’s best sommeliers have been rounded up and with their vast knowledge and impartial attitude, they are on hand seven days a week, contactable from anywhere in the world, to aid in all wine-related matters and more.

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PAIRING AND SHARING The Peninsula Hotels in China - Hong Kong, Shanghai and Beijing - have partnered with Pernod-Ricard to bring PerrierJouët’s ‘Enchanting Tree’ sculptures and the Martell Trunk to Asia and China for the fi rst time this autumn, together with ‘The Art of the Vintage Bar’ - a collection of cocktails using unique cognacs from the trunk together with exceptional cognac-pairing dinners hosted by Martell Ambassadors.

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CONTRIBUTORS CAROL CHAN The Peninsula Hong Kong Salisbury Road, Kowloon, Hong Kong Telephone: (852) 2920 2888 Facsimile: (852) 2722 4170 E-mail: phk@peninsula.com The Peninsula Shanghai No 32 The Bund, 32 Zhongshan Dong Yi Road Shanghai 200002, The People’s Republic of China Telephone: (86-21) 2327 2888 Facsimile: (86-21) 2327 2800 E-mail: psh@peninsula.com The Peninsula Tokyo 1-8-1 Yurakucho, Chiyoda-ku Tokyo , 100-0006, Japan Tel: (81-3) 6270 2888 Fax: (81-3) 6270 2000 E-mail: ptk@peninsula.com The Peninsula Beijing 8 Goldﬁsh Lane, Wangfujing, Beijing 100006, The People’s Republic of China Telephone: (86-10) 8516 2888 Facsimile: (86-10) 6510 6311 E-mail: pbj@peninsula.com The Peninsula New York 700 Fifth Avenue at 55th Street, New York, NY 10019, U.S.A. Telephone: (1-212) 956 2888 Facsimile: (1-212) 903 3949 E-mail: pny@peninsula.com The Peninsula Chicago 108 East Superior Street (at North Michigan Avenue), Chicago, IL 60611, U.S.A. Telephone: (1-312) 337 2888 Facsimile: (1-312) 751 2888 E-mail: pch@peninsula.com The Peninsula Beverly Hills 9882 South Santa Monica Boulevard, Beverly Hills, CA 90212, U.S.A. Telephone: (1-310) 551 2888 Facsimile: (1-310) 788 2319 E-mail: pbh@peninsula.com The Peninsula Bangkok 333 Charoennakorn Road, Klongsan, Bangkok 10600, Thailand Telephone: (66-2) 861 2888 Facsimile: (66-2) 861 1112 E-mail: pbk@peninsula.com The Peninsula Manila Corner of Ayala & Makati Avenues, 1226 Makati City, Metro Manila, Philippines Telephone: (63-2) 887 2888 Facsimile: (63-2) 815 4825 E-mail: pmn@peninsula.com

Carol was born in Macau but grew up in Hong Kong and in 2008 she graduated from Hong Kong Polytechnic University with a degree in Multimedia Design & Technologies. Her interests cover all fields of design and art as she takes inspiration from exhibitions, music and travel. Carol is the Chief Designer for The Peninsula magazine.

composition. The results are soulful, mystic, deeply creative and are testament to his enduring interest in both technical and aesthetic innovation. His work has been featured in countless high-end magazines. He has also received more than 25 Honorable Mentions at the International Photography Awards, New York and has staged numerous solo exhibitions.

MORGAN OMMER WILLIAM FURNISS The work of Hong Kong-based William Furniss soulfully elevates the science of classic photography to an art - in particular through a hyper-repetitive approach to his subjects that makes being in the right place at the right time inevitable, given his extremes of patience. After the initial visualisation, some of his images take decades to achieve before the elements fall into place.

Having successfully taught himself how to hold a camera, Morgan discovered an alternative to working in an office. He prefers to take pictures using a rangefi nder, so as to avoid the Canon-Nikon debate. He strives to one day accomplish some quiet subtle thing that people would deem worthy. Morgan’s work has appeared in such publications as Travel + Leisure, Time, Vogue and Monocle.

ANTONIO SABA ALEXANDRA HAMLYN Brought up in Hong Kong, Alexandra is a graduate of St. Andrew’s University with an MA Honours Degree in English Literature and Art History. She has spent several years travelling in South America and Europe whilst working as a freelance writer for various publications and books. She is now a full-time teacher based in the UK.

COCO MARETT A Chinese-French hybrid, Coco has spent her life living between Hong Kong and Melbourne and travelling the spaces in between. She began chasing the dream of becoming a writer at a young age and her work has since been published in the US, Australia and Hong Kong. She credits her love of words to her Dad - also a writer - and fi nds inspiration in people, places and food.

OLAF MULLER Mueller’s captivating work displays a powerful duality between the real and the imagined, between conjured images and visual apparitions and between serene stillness and dynamic

Antonio Saba had already earned a reputation as a leading talent in the advertising sector by the age of 21. Trained as an observant exponent of still life, today Saba is a very interesting figure in world photography, with a particular focus on the pictorial element of the shot and its iconic composition. Th is marked compositional approach, his signature means of expression, has enabled Saba to gain exposure on an international level. A permanent exhibition by Saba on the subject of his birthplace, Sardina, can be found in the head offices of the Bank of Cagliari.

ANN TSANG Ann Tsang is the Editor-In-Chief and Creative Director for The Peninsula Magazine, as well as several luxury custom publications in Asia and the United States. She began her career in television, working for many of the world’s biggest broadcasters, and also ran her own marketing consultancy before founding The Antithesis, a bespoke, luxury publishing venture in Hong Kong.

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The Art of Intuition Text: Coco marettâ&#x20AC;&#x192; Images: courtesy of paul kasmin gallery

Gas Station, David LaChapelle

Gas Station 2, David LaChapelle

Paul Kasmin Gallery in Chelsea, New York’s art epicentre, is a prime example of how going with your gut instinct and trusting your personal style or taste, can lead to great things.

ondon-born Paul Kasmin has never shied away from taking a chance on art he loves and advocating the underdog. As a result, he has earned himself the reputation of somewhat of a “man who finds it first”. Since moving to New York in the 1980s and opening the first Paul Kasmin Gallery in 1989 – he recently opened a second location on Chelsea’s 27th Street, taking over what used to be the infamous Bungalow 8 nightclub - Kasmin has been the driving force behind transforming unfamiliar artists with little to no public interest into some of the most soughtafter names on the market. “I get a lot of amusement out of putting what’s downtown, uptown and what’s uptown, downtown,” he has been quoted as saying. However, credit is due for Kasmin’s connoisseurship. He had an unconventional upbringing in an exceptionally eccentric environment, thanks in part to his father John Kasmin, who was one of London’s leading art dealers in the swinging 60s and 70s and who has been named responsible for launching the careers of artists such as John Latham and David Hockney. Kasmin remembers being constantly surrounded by quirky characters and, in his words, “empty bottles lying around everywhere.” And while most children were out playing or at summer camps, Kasmin spent his summers with his parents, vacationing in France with artists such as Hockney or travelling to New York with his father, who took him to places such as The Factory (Andy Warhol’s studio) and introduced him to the hip New York art crowd and scene one which he would come to dominate. Today Paul Kasmin Gallery is one of the world’s most revered galleries, representing artists such as Walton Ford, Nir Hod, David LaChapelle, Mark Ryden and the gallery’s latest acquisition, Turkish artist Taner Ceylan, whom Gallery Director Bethanie Brady describes as “equally celebrated as he is censored”.

“He’s had his share of abuse in the Turkish press,” Brady tells me of the controversial Hyperrealist painter when I meet her at Art Basel Hong Kong. She’s holding down the fort at the Paul Kasmin booth, which is garnering an overwhelming amount of attention for its eclectic collection of some of their artists’ best works, including a Kenny Scharf sculpture, an Ivan Navarro light installation, and a stunning rhinoceros painting by Walton Ford which dominates an entire wall. “We chose the best representation of each artist,” says Brady. “The work has to flow nicely together. A fair like Art Basel is a very commercial environment, so it was important for us to not just think of it as putting inventory on the wall, but to send a message and also maintain integrity, making sure the art is still what the artist would envision in this environment.” Brady appears young for a director of a gallery of Paul Kasmin’s calibre, but is passionate and seasoned in the art world, having previously worked at art PR firm Fitz & Co., whose clients include Gagosian, at the Queens Museum of Art and Art Basel. “I was introduced to the side where you bring business and art together,” she says. “That got me really interested in seeing the bigger picture in the art world; not just creating art, but working with others and with artists to create a bridge to the rest of the world.” Armed with expertise in balancing art and business, and now with just Paul Kasmin Gallery under her wing, Brady’s focus is building the names of artists under the Kasmin umbrella. It’s easy to envy her; having landed a stellar title so young and hanging out with artists in one of the most exciting cities in the world. Highlights of her career already include working alongside Kenny Scharf to produce his book ‘Kolors’ in alignment with his exhibition of the same name, and traveling to Istanbul where she went around shooting inspiration with Taner Ceylan. “Istanbul is the most beautiful place. There’s so much history, you can’t even fathom how long ago everything was created,” Brady tells me of the experience. “It has been maintained so perfectly and beautifully.”

Loss of the Lisbon Rhinoceros, Walton Ford

Deceased abstract painter Simon Hantai, whose works were recently shown at the Centre Pompidou in Paris, will be showing at the gallery later this year in an exhibition that will feature never-before-seen works by the artist, brought out by his family. Without a doubt, it will be interesting to see how Paul Kasmin Gallery will continue to grow given the international art market’s recent meteoric boom, and it will be especially intriguing to see what artists Kasmin himself will decide to pick up along the way. “Just buy what interests you,” he told the Wall Street Journal in an interview when asked what advice he would give to novice collectors. “Fear of being wrong is the single greatest obstacle to educating yourself and building a good collection.”

While

most children were out

playing or at summer camps, Kasmin spent his summers with his parents, vacationing in France with artists such as Hockney or travelling to New York with his father, who took him to places such as The Factory.

25 Hours, Makoto Saito

Wanderings of the Consciousness Text: Alexandra Hamlyn Images: Courtesy of Opera Gallery

Novelist Lawrence Durrell once wrote that, “Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will - whatever we may think.” Sharing this stream of consciousness is French born artist Jean-François Larrieu, whose colourful canvases artistically roam free of constraint, dimension, boundary and location, and are created by the will to explore the boundless possibilities of his personal journey.

hen in 1960, Jean-François Larrieu was born on February 28th in Tarbes (high up in the Pyrénées), the altitude of his birthplace set the standard for his artistic ambition. Showing phenomenal talent from a tender age, Larrieu is a self-taught artist who now lives and works in Paris. By undertaking the daunting task of selfexploration and expression, Larrieu’s creative catharsis of this journey trough self-discovery is what gives way to his fragmented images of colour, life, shape and form. Pivoting outwards from the central axis of Larrieu’s canvases are bustling scenes of cities and towns, teeming with the metaphorical, symbolic, and figurative inhabitants of a daringly rich imaginative force. In many ways, Larrieu’s approach to his art is mediumistic, acting as the means between which his cathartic progression of nearing his aesthetic on canvas simultaneously draws him closer to his inner-self. Looking at Larrieu’s colourful

collection of works, it is a coherent compilation that is collectively built out of fragments of reality and snippets of the imagination. As each canvas makes up a journey in itself, what emerges from the viewing experience is a journey of journeys with the guide of altered consciousness and alter-consciousness. Larrieu attributes this quality of his work to his personal development as a self-taught painter. “[It] allows me to have a lot of freedom and liberty – I don’t have to conform to rules and I can be detached from imposed schools of thought,” says the artist. “Sometimes my figures can interpenetrate geometric shapes and patterns, through necessity or by chance, to create a new and universal harmony. In fact, through my work I would like to combine elements of Western and Eastern faiths to give birth to hope, and as a blend of contemporary cultures perhaps new perspectives can begin to give way to a new world and rebirth. “Technically I use the sharp and vibrant colours that primitive civilizations used in their art. These colours remind humanity of the ephemeral optimism that is both the light and the life.”

Like a kaleidoscope, each section of Larrieu’s canvases contains pieces of other forms – at times architectural, and at others representational. As the eyes travel through this visual journey in celebration of life and instinct, new visions of psychedelic realities and sensations burst forth out of the subconscious. Larrieu explains his unique creative process. “When I paint, I enter into a second dimension that I am not the master of, and I embark on a voyage with a feeling of excitement and the unknown. My paintings are the results of these voyages,” states Larrieu. “If the public, by looking at the paintings, takes this journey with me, then together we can discover thousands of realities which came to me to uncover consciously, but often also unconsciously. Each painting represents an effort and energy and they contain within them the creative processes that can come about only under certain conditions: the free spirit without constraints. My creative process can be compared with that of the child who draws and paints: the spirit without preconception is free to celebrate colours and forms in their essential purity and beauty.” Transcending reality through his application of paint, Larrieu feels that each work he creates is a result of introspection and inspiration. “Colour enables me to make visible what is invisible in reality, and to make a source of vital energy spill outwards and overflow into my art. My inspiration is varied and open – sometimes it comes from animals, landscapes, trees, objects... but these things are just the starting point for my personal search where there are no borders, no time – they comprise a footbridge that crosses the real with the imaginary where I am free to present a more abstract lyrical expression of reality,” says the artist. “I have now realised that human expression does not have to comply to such grandeur or attention to shadow and physiology – I have gradually become aware that not so much attention needs to be paid to the body or the corporeal – and that to enter my subject I have to pay attention to the spirit. Consequently my paintings do not need so much of a formal or rigid framework, because I want to describe the spirit of man and his desires, and not just his image.”

CMY

“Technically

I use the

sharp and vibrant colours that primitive civilizations used in their art. These colours remind

humanity of the ephemeral optimism that is both the light and the life.”

Larrieu’s paintings are animated by the dichotomy of an object, liberated through this free-style approach and emotive perspective of travelling through the feats of the imagination, but they also bring aspirations of liberty and freedom into a single canvas for the rest of the world to enjoy. But this is all part and parcel of the eclecticism that this artist interprets in all his sensory surroundings. “I understand the surrealism in my surrounding world to have given birth to a truth within. Pictorially I would say that I have established an essential dialogue between Paul Klee and Douainier Rousseau. Musically I have done the same between Jimmy Hendrix and Mozart, and spiritually between religion and astronomical physics.” With such a broad expanse of appreciation for the dichotomies that surround us, Larrieu’s works are not only a triumph of the imagination, but also a celebration of the contradictions that makes us human.

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here’s the circle of life and there’s the cycle of a Patrick Dougherty installation, which is where the true beauty of his work lies. Born of a pile of sticks, crafted into a stunning work of art that conspires to amaze and inspire, over time, it once again returns to a pile of sticks. But in its two to three year lifespan, a Dougherty installation takes on a half life of its own. Beyond being visually impressive, it’s a challenge to wrap one‘s head around the idea of the construction of the sculpture as well as the simplicity of the raw material. From college campuses to museums and even Max Azria’s Melrose Avenue boutique in LA, these are installations in high demand, especially as only eight to ten are created on a yearly basis. Though their numbers may not be huge, Dougherty’s works are simply speaking, truly memorable and although their existence may be fleeting in the grander scale, they will never cease to leave an impression. The Peninsula: Your talent in sculpting with natural materials is truly unique. What’s the story and inspiration behind this? Patrick Dougherty: It seems to me that the key to a sculptor’s choice of materials can often be found in his childhood. I grew up in the woodlands of North Carolina which are overgrown with small trees and forests and are a tangle of intersecting natural lines. I have always loved the quality of the winter landscape, and I used to imagine fantasy shapes drawn into the upper branches of trees. But when I turned to sculpture in the early 1980s, I had to rediscover what birds already knew, that branches have an infuriating tendency to entangle with each other. It is this simple tangle that holds my work together. TP: How did you come to start working in this genre? PD: A late bloomer, I enrolled in sculpture and art history classes at the University of North Carolina in Chapel Hill, in 1980. Prior to that I spent a good bit of time as a house husband and worked as a carpenter. Eventually I finished my course and decided to build a studio and get to work. The first sculptures were modest efforts that used sticks to build objects scaled to my own height. But as opportunities presented themselves, I began to attempt to integrate my work into architectural situations and then to play sapling sculptures off against natural settings. Through experimentation, I was able to upscale my efforts and build work that seemed to spin across the tops of buildings and f low through groups of trees.

TP: Which three words best describe your work? PD: ‘Installation’ is a buzz word in sculpture circles, and at its best, it means finding a special place, a space where the sculpture blends and resonates with the site in a way that excites the imagination of all those who pass that way. ‘Temporary’ would be another word. The use of such ephemeral materials means the sculpture has the same life cycle as the sticks themselves, and ultimately it disintegrates and fades back into the landscape, becoming mulch for new life. In the beginning the sculptures have the vigour of their teenage years with the hubbub of ‘dating’ and winning new friends. They mature into their sites and become companions for the inquisitive. Sadly, two years down the road, the lines of the sculpture begin to droop and, in subsequent years, they shed, until they become just an unnoticed heap of sticks. ‘Accessible’ would probably be the third. During the construction, there are no studio doors to close; there is no place to hide. The public has access to the process and the work is completed in full public view. This means that I receive a tremendous amount of feedback from the people who become visually involved with the work and share the drama of the construction. Many people talk to me throughout the installation about the sculpture, about themselves and their associations with the work. Maybe this exchange is the most profound reward for doing my best and making something which uses a space to its best advantage. TP: What’s the most common reaction, both positive and negative that you get from fans and detractors alike? PD: As mentioned, I generally work in public, and passers-by have access to the process of building the sculptures. It seems that people enjoy the drama of seeing something being constructed over a period of time. When I begin unloading the first trailer packed with sticks, I often notice looks of uncertainty on peoples’ faces. As the form develops, I generally see more smiles, and when the sculpture has taken on its full form, people tend to stop and share their comments. I hear many stories about sacred trees and childhood adventures; about birds that build hotels and gorillas that make nests. But underneath it all, I sense in the comments a profound connection between humans and the plant world which surrounds them. Time and again, I hear a well-dressed man say to his wife, “Listen honey, we could live here...no I mean it, it would be perfect for us.” For a moment, they walk away from the solid geometry of being city dwellers and fade back into the forest.

TP: What do you make of the fact that in your genre, the construction of the sculpture is as integral and can bring as much enjoyment as the finished product? PD: At the most basic level, handling the material, the repetitive act in building the sculpture, may be my primary compulsion. The way a sapling feels in my hands causes my thoughts to dance and allows the secure feelings of habit to flow through me. With branches and saplings however, the line between trash and treasure is very thin, and the sculptures, like the sticks they are made from, begin to fade after two years. Often the public imagines that a work of art should be made to last, but I believe that a sculpture, like a good flower bed, has its season. In my mind, most professionals do temporary work and ideally people in the workplace enjoy the process of doing their jobs. Rarely do we rewrite yesterday’s novel or reread last week’s report. As a sculptor, I enjoy forging ahead to solve the problem of today’s work and relish the opportunity to plan a very different sculpture for the next site.

TP: Bearing in mind the biodegradable nature of the raw material, how do you ensure that your work increases in value? Or is that not much of a consideration? PD: I believe that artists should follow their compulsions and make the objects they dream about. Art history has always taken care of itself and will find ways to discuss stimulating art work. My effort has been to make a living and be able to afford to work every day as a sculptor. In that day-to-day challenge, I enjoy representing the making of art in a positive way and reminding people that artists are just normal people looking for their rightful places in the world of work. I do temporary work which flies in the face of the traditional assumption that art should accrue monetary value and last forever. But I think my tradeoff is worth it. A fleeting childhood experience can produce an enduring memory, and I hope these works will endure in people’s imaginations in the same way. I know it happened at least once. Not long ago, I followed a group of strangers down a street on which one of my sculptures had once stood. As we approached the site, I overhead someone make a remark about “the amazing stick thing that once stood on the corner just ahead.” I was thrilled when someone in the group answered: “I don’t know what it was, but I absolutely loved it.” That comment made me feel that my last two decades of making sculptures has been worthwhile.

Reflections of Paris Images: William Furniss

Glamour, romance, beauty and sensuality...adjectives that seem almost inadequate when describing Europeâ&#x20AC;&#x2122;s fashion and shopping capital. Parisians have the ultimate sense of style that not only permeates their appearance, but also the way their shop fronts are presented. With the 2014 opening of The Peninsula Paris on Avenue Kleber, The Peninsula magazine takes to the streets of the City of Light and goes window shopping...

â&#x20AC;&#x153;A

designer knows he has achieved

perfection not when there is nothing left

to add, but when there is nothing left to take away.â&#x20AC;? Antoine de Saint-Exupery

“Fashions

fade, style is eternal.” Yves Saint Laurent

“Tell

me what you eat and I will tell you

what you are.” Anthelme Brillat-Savarin

“Buying

is a profound pleasure.” Simone de Beauvoir

â&#x20AC;&#x153;Wine

is one of the most civilized things in the

world and one of the most natural things of the world that has been brought to the greatest perfection, and it offers a greater range for enjoyment and appreciation than, possibly, any other purely sensory thing.â&#x20AC;? Ernest Hemingway

The Lady AND The Château Towering over a tiny village nestling amongst the Beaujolais vineyards in the Pays des Pierres Dorées, the land of golden sandstone, is the majestic Château de Bagnols. The Peninsula discovers its charms.

n the middle of green fields, olive groves and vineyards sits a castle of unadorned beauty, like a stone crown atop a venerated king, dominating the picturesque hamlet of Bagnols, 30 kilometres outside of Lyons. It was originally constructed as a fortress and looks as if it belongs in a richly wrought medieval tapestry or illuminated manuscript instead of modern day France. The Château de Bagnols is, in fact, far removed from much of modern day France and the rude intrusions of contemporary existence. Approaching it from a looping, single track, country lane surrounded by venerable vineyards, fields of yellow rape and creamy Charolais cows resting contentedly amidst rolling hills, it is easy to forget highway traffic snarls, and the invasive Internet/ Blackberry/cellphone world in which we live. Here, one is transported back in time to an age when knights in shining armour clattered across the ancient drawbridge whilst maidens in wimples listened to troubadours strumming their lutes. This mood is all-pervasive at the Château de Bagnols. The first thing one sees on arrival is a magnificent cuvage which houses the huge presses once used for wine in the 19th Century. There is indeed a moat, albeit a dry one, which is enormous, and the heavy, ivy-laden portals lead in to a reception room filled with rare antique furniture and Louis XVIII chaises. Before its rescue from obscurity, the Château was left to ruin, like so many others. Its history reads like a fairy tale. Once upon a time, the Château de Bagnols stood proud and haughty, a medieval fortress built to protect its people and the surrounding villages. In 1221, under Guichard, Lord of Oignt, it rang with the sounds of drunken revellers and the clashing of swords and shields. Princesses and their ladies-in-waiting inhabited the first three of its round towers completed by Guichard. Over the centuries, the monumental fortress protected first the chivalric Oingts, then Geoffroy de Balzac, one time page to Charles VIII enlarged it to the present five-towered castle in the 15th Century when the King himself visited in 1490. Noble Renaissance merchants and wealthy bourgeois dynasties then took it over and decorated it with ornate fireplaces, pastel wall paintings and other rare decorative treasures.

Since

it opened, the Château has welcomed a number of

royalty and titled guests, not just celebrities and film stars. Helen de Rothschild, a great chatelaine herself, visited three times in the first few months of its opening, and others followed.

After the fall of the ancien régime, the Bagnols castle’s fortunes fell into decline although there is no evil witch in the story upon whom to place the blame. It tottered, skidded and finally slid down the slippery slope to ruin, to be practically abandoned in the 20th Century. But like all fairytales, this one has a happy ending. The castle was rescued by a good prince and a fairy godmother and restored to larger-than-life perfection by English publishing mogul Lord Hamlyn and his intrepid, tireless, energetic wife, Helen. It wasn’t with a wave of her magic wand that Lady Hamlyn transformed a decrepit ruin into a wondrously beautiful château hotel with blossoming trees, landscaped gardens and splendid interiors, but with a great deal of hard work, vision and even more sweat, blood and tears. Resuscitating the castle involved bitter, protracted battles with the Monuments Historiques, France’s landmark guardian, and required the skills of over 400 craftsmen working day and night during the four year restoration period, which is rumoured to have cost around US$12 million in the 1980s. But the result was the return of the crumbling castle to its former Gothic and Renaissance glory and from there into a five-star luxury retreat. “It was an absolute ruin!” Lady Hamlyn explains emphatically. “It had no roof, there was water pouring in everywhere, and the garden had overgrown into something that resembled a jungle! The cobbled courtyard looked like a bombsite - it had been a bombsite actually! The place was a mess, and I absolutely fell in love with it. I knew it had to be saved and it was just the project I had been looking for. But the amount of work…!” Lady Hamlyn was undeterred. She sensed that there was more to the Château than met the eye, and she was right. As layers of moulding plaster fell from the walls and ceilings, stunning wall paintings and delicate murals, beamed ceilings and Gothic doorways appeared. “To be honest, when we started to restore it, we really didn’t expect this,” she admits.

“It was a complete wreck and although I did think there might be beautiful treasures lying somewhere, I had no idea that I would find such lovely 17th and 18th Century wall paintings hidden behind layers of boisserie, paint and wallpaper.” This is when the fights with the Monuments Historiques began. Having classified the later décor, the bureaucrats were adamantly opposed to peeling it away to reveal the earlier work. Nonetheless, the formidable Lady Hamlyn got her way and even went a step further. Instead of trying to restore the Château to a single era, such as the Renaissance or 18th Century, she decided to highlight the best elements of each of its great periods. “You cannot imagine the work it took to do so,” she says. “I searched all over the world to find craftsmen and artisans to produce what I needed them to re-create. The water goblets in the bedrooms look like they are sterling silver – and they are! The crystalware and f latware is the genuine thing. It was time-consuming and expensive but worth every effort. I didn’t want anything to look fake or be fake.” The results have paid off – handsomely. The widow of the philanthropic publishing magnate, sold her 13th Century Château to Von Essen, the luxury hotel group that owns some of Britain’s swankiest hotels, for a cool £17 million. This is no ordinary multi-million pound property deal though, as the Château de Bagnols has a regular guest list that reads like a who’s who of international celebs. Tom Cruise and his ex-wife, Nicole Kidman used to rent out the entire property for holidays back in the 1990s and Naomi Campbell, the Clintons and Barbara Streisand have been seen strolling the gardens or enjoying a vintage Beaujolais in front of the huge fireplace. Recalling the painstaking care with which she restored the Château, Lady Hamlyn remembers the difficulties she faced: “Unlike other restoration projects, I wanted the craftsmen to use genuine historic materials at all times. The rooves were repaired using old wood and all the tiles are period tiles.” Every attention to detail has been taken care of, from the timeworn terracotta tiles to the exquisite dowry chests, tooled leather chairs and Louis XIII-XV writing desks, chests of drawers and chaises. Impeccably restored trompe l’oeil paintings grace the walls and antique velvet hangings overlay the four-poster beds.

Each room is different and there are 22 altogether including the 15th Century Mews Residences each bearing names associated with the history of the Bagnols. In one of the round towers is the Geoffroy de Balzac Suite with a yellow and terracotta striped battle tent painted on the wall, while the bedroom of Joseph Hessler opens onto a corner of a terrace with a belvedere where one can breakfast. In the Guichard d’Oignt room is a 16th Century Bruxelles tapestry, and the Madame de Sevigne Suite honours the French woman of letters who spent a night there in 1673. Since it opened, the Château has welcomed a number of royalty and titled guests, not just celebrities and film stars. Helen de Rothschild, a great chatelaine herself, visited three times in the first few months of its opening, and others followed. But one doesn’t have to be a baroness to enjoy the Château de Bagnols’s charms, though you may well feel like one as you are spoiled and pampered. A chambermaid unpacks for you, champagne awaits in the room, the baronial bathroom may well boast a solid marble Napoleonic bathtub, and tea is served in the Grand Salon on Edwardian pink rosebud porcelain in front of a carved stone-and marble Renaissance fireplace in a room furnished with 17th Century sofas covered in red silk brocades.

The Château provides all the resplendence of the Renaissance without its inconveniences. The antique beds are huge and comfortable and were sourced personally by Lady Hamlyn, covered in antique fabrics, made up with Swiss bedlinens with Jour de Venise embroidery. In the enormous Salle des Gardes, the table linens are from Liddell, the Irish supplier to Buckingham Palace, who were shocked when Lady Hamlyn ordered napkins larger than those used by the Royal Family. The Georgian-styled knives were made in Sheffield after an 18th Century design, and the rest of the cutlery fabricated in India to an English standard but plated three times heavier. Exquisite blue and white china is made in Limoges by Reynaud and emblazoned with the Château de Bagnols crest, while hand blown goblets from Austria are copies of an 18th Century Burgundy style. “I never wanted the Château to feel like a hotel,” explains Lady Hamlyn. “It has been restored like a private mansion and I have set the standards to my own. I wanted the most beautiful things created the way I insisted upon. I am sure none of the craftsmen would ever want to work with me again because I was exigent and I was on their backs all the time – but I got what I wanted!” Today, there is a circular Roman swimming pool, the restaurant is Michelin-starred, the cellar is stocked with the finest vintages and the Château has become the ne plus autre of boutique hotels where both celebs and civilians can eat, drink and sleep like European royalty of a bygone era. A tall order it may have been, but it seems like the Lady indeed got all that she wanted…

Succumbing To The Sirens Text: “Riviera Memories” by Palazzina Productions and Ann Tsang Images: William Furniss Special thanks to Franco and Antonio Sersale

The cliffside fishing village of Positano on Italy’s Amalfi Coast is possibly one of the most enchanting places in the world, where historically ships and marriages have been wrecked, decadent debauchery has been the order of the day, and millions of people have fallen in love. The Peninsula travels to this tiny corner of the world and visits ‘Le Sirenuse’ to discover what made Positano what it is today.

n the days of ancient Greece when ships came into the vicinity of the Siren Isles, that was the end of their voyage. Lured by the enchanting song of the fatally beautiful sirens, they steered too close to the rocks and were shipwrecked. Sailors of the Mediterranean have since learned their lesson, but this spot on the Italian coast is still so enchanting to visitors that it will never let them go. Positano, the fishing village on the Italian mainland facing the Isles, has throughout the centuries grown into one of the most extraordinary seaside resorts in the world. Once you’ve been here there’s a good chance you will find yourself under the spell of this town and its inhabitants. Today’s residents are in fact descendents of the old Romans. Positano gets its name from Posidas, a freed slave who was the first to build his summer house here. The Roman villas vanished long ago beneath the volcanic ashes of the erupting Mount Vesuvius, but noble families from nearby Naples built new ones.

Far removed from the constricted propriety of the city, the élite could unabashedly succumb to the pleasures of life, and Positano proved to be the ideal spot in which to do just that. Here love affairs occurred that would have been unthinkable elsewhere, as if the sirens were still alive, but now no ships were wrecked, only marriages. Wealthy families regularly set off with their domestic staff to Positano. During the day they enjoyed the sea and the peace and quiet, but in the evening people met each other at luxurious dinners or grand parties where alcohol flowed abundantly. The consequences were not only limited to hangovers, one prominent family gradually went through all of its capital. The Sersale family has for long been prominent in Positano, and in order to try to recoup its lost capital, Paolo Sersale turned the large family house into a hotel in 1951. The family business got off to a modest start with only six rooms and the name ‘Le Sirenuse’. Today the hotel has 62 rooms, and is run by Antonio Sersale, the founder’s nephew. It has also built a very high reputation for itself. “We’ve had the best accolades,” says Paolo’s brother and Antonio’s father, Franco with great pride. “Conde Nast has listed us as the best place to stay in Italy, and we’ve also been named as number one in the world by various publications.”

Antonio’s goal is to combine modern money making with maintaining the old family values, thus continuing the tradition begun by his uncle Paolo. This charismatic man not only founded the hotel but he was also mayor of the town, and it is thanks to him that Positano has retained its old character. “I don’t know, the place is very beautiful but it could have been spoiled I think, and people might not have protected it. Another mayor may have allowed skyscrapers to be built and this would not really have helped in maintaining Positano as it is,” notes Franco, who although his looks belie his years and continues to play a major role in the existence of ‘Le Sirenuse’. The way Positano was 50 years ago is the same way it is today. Whereas in other sea resorts the beaches are lined with colossal white hotels, in Positano, time seems to have stopped. A road was constructed after the war and as a result day tourists could and still do come by bus from Naples. But when Positano was still difficult to reach by car, the occasional visitors were a welcome change. At first these were mostly artists who came

here to work, including painters, choreographers and the author George Bernard Shaw. They were all inspired by the magic of Positano and the downto-earth wisdom of its inhabitants. “To be able to meet real fisherman and have real friendships with the people cultivating land once was great fun. It was not just about excesses which people always like and everything was sort of permitted,” stated costume designer, Raimonda Gaetan, whose fabulously wealthy grandmother bought a house in Positano in 1915 after falling in love with the town. Regular guests at her home included actor Sir Lawrence Olivier, composer Leonard Bernstein and dancer Mikhail Baryshnikov. Author John Steinbeck was also fascinated by Positano. He was a guest of the Sersale family during the 1950s, and it is clear from the account of his travels published in Harper’s Bazaar that he considered Positano’s isolated geographical situation a decided advantage. He wrote: “This alone eliminates one kind of tourist, the show tourist. (Another) deterrent to the great influx of tourists lies in the nature of the Positanese themselves. They just don’t give a damn. They have been living here since before they called it history and they don’t intend to change now. They don’t have much but they like what they have and will not move over for a buck.”

Positano

gets its name

from Posidas, a freed slave who was the first to build his summer house here. The Roman villas vanished long ago beneath the volcanic ashes of the erupting Mount Vesuvius, but noble families from nearby Naples built new ones.

But those days are over. Instead of artists, rich tourists now come to stay in the former private houses of noble families. The seductive charms of the sirens now in the form of room service, heated swimming pools and pageboys, are affordable only for them. “There are still quite a lot of artists, writers and movie stars and such that still come to this area, but the thing is that in the old days it was much, much cheaper to come to a place like this,” states Antonio Sersale. “Artists were traditionally people that were very bohemian and that’s no longer possible here, so it’s now successful and wealthy artists or writers that come and stay now.” Money or no money, everyone meets everyone else in Positano. Romance is inevitable and rank and class go unheeded. Love is just as much a part of life here as eating and drinking. “I think it’s the size of the town which makes it happen,” notes Raimonda Gaetani. “I mean you can get out of it, but if you’re out there under the rays, whatever is there has to happen.” While the residents of Positano and their wealthy guests are sleeping in late after a night full of romantic encounters, the Siren Isles are still softly murmuring in the sea. The myth is that sirens once lived there - gorgeous women who cast spells on sailors with their alluring songs so that their ships wrecked against the rocks. They then mercilessly slaughtered the men and ripped their bodies to shreds.

The Greek Hero, Ulysses, who took 10 years to find his way back home, was warned however, and had himself tied to the mast while his men with wax plugs in their ears rode onwards. Seeing Ulysses escape from their call, the sirens, according to the myth, threw themselves into the sea and were turned into the rock formations that stand in the middle of the sea facing Positano today A sea resort like Positano, where everyone is bound to run into everyone else in the narrow streets or on its little beaches, is a veritable love trap. Innumerable weddings have followed upon the heels of romance between the tourists and the Positanese. Guilia, the daughter of Paolo Sersale, is living proof of this. “My mother came to Positano with her first husband and her sister and her husband and they all went to the opening of another hotel. She saw my father and told her sister ‘that’s going to be my second husband’ and it was. She left England after four years of seeing my father off and on and came to live here in Italy,” she recalls. Raimonda Gaetani often leaves Positano to work on films all around the world, but she always returns to the place where her exciting youth was. “There is a tower where we fought the pirates who came from Africa in the 12th Century and this is where I like to come and think over my world and others’ worlds, and also maybe think about my work of art or just next year’s tax!” she says. Old friends who shared so many wild adventures long ago still see each other every summer. But there’s no more jumping drunk one after another into the sea. Now it’s just delicious food and a good glass of wine. For some, sociability is not the only reason to come back here, and as far as many are concerned, it’s pure necessity. Although they may be too old to act wantonly every summer, they still can toast to the past you share with friends. Ever since antiquity, Positano has enticed people to come and enjoy life with style and passion and this unique town of the sirens will invariably continue to do so for as long as there are people and the sea.

Jewel of The Mediterranean Text and Images: Antonio Saba

Photographer Antonio Saba was born on the island of Sardinia, arguably Italyâ&#x20AC;&#x2122;s most beautiful island. Through his images and words, he describes why he is so passionate about the place of his birth.

here is an island, right in the centre of the Mediterranean sea. It can be reached in one hour by air from Rome, Barcelona or Tunis. This island is made up of white sand, clear turquoise sea, harsh mountains and over 4,000 years of history. It is here that I was born and continue to spend as much time as I can, when my work allows. Here the winter is mild, and during my lunch break I can walk to the beach where stalls sell sea urchins eggs, bread and wine. Or I can choose to go to the finest trattoria and eat the freshest seafood, cooked Sardinian style. In summer (here summer begins in April and ends in late October) we bask on our fabulous beaches, renowned throughout the world for their beauty. The beaches are far better described through my photographs. Our history is long and encompasses many races and cultures: the people of the Nuraghes, the Phoenicians, and

then Punics, Romans, Arabs, Spaniards (for over 400 years) and finally the Italians, to whom we still belong. So our culture is a mix of all these cultures, a Mediterranean melting pot. You can listen to Sardinian people speaking or singing in a language that sounds like a mixture of Latin and Spanish. Our genes are also a mix, although in the mountains most of the people have straight black hair and blue eyes. We still enjoy the custom of ancient feasts such as Sa Sartiglia or S’Ardia,where the atmosphere allows us to reminisce on times gone by. We feast on proceddu arrostiu (roasted suckling pig) and seadas (sweet fried dumplings filled with sour fresh cheese and topped with honey). It is for these reasons, and many others that I love my island. I invite you to visit, only, be careful! You may fall in love with it as well, and never leave…

Centre of Attention Text: Rebecca Walkerâ&#x20AC;&#x192; Images: Wolfgang Mueller

Over the years, Berlin has emerged as one of Europeâ&#x20AC;&#x2122;s most culturally vibrant cities, infused with a unique blend of Western and Eastern European cultures. A centre of ideological crossroads, the city has become the driving force for Germany in the 21st Century.

erlin has changed. No longer the politically, economically and culturally divided city it once was, the city is a picture of history and modernity all rolled into one. In recent years, Germany’s capital has become the focus of an artistic renaissance and it has re-emerged as the country’s largest cultural centre. Thanks to a government that values art, music, fashion, club culture and lifestyle as much as business, science, media and politics, an influx of talented artists from all over the world have moved to the capital. After an extensive phase of urban renewal, Berlin has given birth to a new cultural era and the German capital has become the place to be for a new generation. Historically a city of conflict and polarisation, Berlin has endured a multitude of social hardships over the last 100 years. Before the construction of the Berlin Wall in 1961, the city was known as one of Europe’s most distinguished

artistic centres. However, during the Cold War, the capital’s cultural identity was ripped apart and it remained stagnant until the former Soviet Union’s grip weakened and a pro-Democracy movement spread across Eastern Europe in the late 1980s. In 1989 the Iron Curtain crumbled as did the Wall and the two halves of the city became physically integrated again and Berlin was once more declared Germany’s capital. Over the last two decades, Berlin has been restructured from the inside out and a period of urban renewal has resulted in some significant aesthetic and social transformations. Berlin has undergone enormous changes since the fall of the Wall. The most important event is the resurgence of the former centre called Mitte (middle). This area has become the centre of Berlin with the Brandenburg Gate, Reichstag and Unter den Linden Boulevard with its many historic palaces and the smart Friedrichstraße as main attractions. The other major development is that some parts of the east have decreased populations, because people can now go wherever they please.

Over

the last two decades,

Berlin has been restructured from the inside out and a period of

urban renewal has resulted in some significant aesthetic and social transformations.

A hub of contrasting styles, Germany’s capital contains an over-abundance of old-meets-new structures. Steeped in a rich cultural history, Berlin’s compact city centre boasts some of Europe’s most glorious old buildings and castles alongside some of the world’s most modern architecture. You can take a walk through history in one of the most victimised, but resilient capitals of Europe. The various layers of German and European history as well as architectural history are showcased through the city’s structures. They range from Gothic to Baroque, Rococo to Classicism, Empire, Art Nouveau, Art Deco, Bauhaus, and Post-War Modernism in various shades, from Mies van der Rohe to Stalinist architecture in Berlin’s grandiose Karl Marx-Allee.

Over the last decade and more, creative souls have flocked to Berlin in swarms and the city has become the modern capital of creative inspiration. By embracing all forms of art, it has re-asserted itself as one of Europe’s most vibrant cultural centres. Countless dilapidated buildings have been restored and turned into trendy boutiques, galleries, cafés, nightclubs and lofts, much to the delight of the artistic community. Subsequently young creatives from all over the world have moved to the city, drawn by exciting developments in fashion, music and architecture. In fact, nearly half of Berlin’s 3.4 million residents are under the age of 35, making the city Europe’s youngest capital. Where art goes, fashion generally follows, and in recent years Berlin fashion design has come to the forefront. All around the city, German and foreign designers are busy sketching, patterning and sewing, inventing new labels and renting shared studios. As opposed to the perhaps more glamorous fashion capitals, Berlin has taken an understated approach to presentation and innovative designers have earned cult followings by breaking traditional retail conventions. Their approach is to sell their creations in anonymous shops instead of big-name boutiques, transforming subway vaults, abandoned factories and tunnels into trendy showrooms. The mentality: if the clothes are good enough, people will find you and your label, no matter how obscure your location. Berlin’s cultural identity is ever-transient and the most fitting description of the city and the changes that have taken place there is one offered by art critic and German historian, Karl Scheffler, who in 1910 said: “Berlin is a city that never is, but is always in the process of becoming.” Still becoming, not quite being, Scheffler’s words seem even more appropriate today than when he wrote them more than a century ago.

Personal Ventures And Adventures Text: Alexandra Hamlyn Images: Courtesy of the Jordanian Tourism Authority and Eric Chang

Jordan is a land ensconced by some of the world’s most notorious boundaries. Not to be missed, The Peninsula ventures into the country’s beautiful and varied terrain to explore the ancient city of Petra, camps with Bedouins, the Red Sea and the sandy dunes of Wadi Rum’s desert wilderness.

ordan seems to be one of those places that everyone yearns to visit, and yet rarely do. Perhaps because it is somewhat off the beaten track, it is fast becoming part of the tourism route that has bombarded Egypt and Israel for years. Jordan’s greatest asset is its size, and it is possible to drive down its entire length in just a single day. But months are insufficient to explore its varied and wondrous landscape, for Jordan’s hidden wonders lie in the unexpected, and the sense of self-discovery that accompanies the spirit of discovery in a land that encompasses the tranquil waters of the Red and Dead Seas, Bedouin deserts, lush mountains and verdant valleys. Although for many people, the main allure of Jordan remains the beautiful ancient city of Petra, with its ‘Rose Red’ walls and awesome façades, there is so much more to see, and Jordan is a place of boundless natural wonders, hallowed biblical sites, coral-filled seas, and of course its

people. Arabic hospitality is plentiful, from sipping sweet mint tea in the desert with Bedouin tribesmen, to the endless cups and heady aromas of cardamom roasted coffee that waft out of every storefront on every alleyway throughout the country. The larger cities have their own distinctive character, teeming with busy bazaars and activity bustling through stalls touting steaming falafels and beautiful handicrafts, all accompanied by the unmistakable beat of Arabic pop. But these will soon lose their novelty value the more time that is spent in the coffee shops where nargileh, the Jordanian water pipe that is smoked as a pastime, as you overhear the tales of yonder, and away into the unknown you go. Although you may arrive in Amman, Jordan’s capital city, with a well-constructed itinerary and desired route of travel, it is well advised to allow a bit of flexibility on your journey, for anything can divert your attentions and lure you away from the rigid organisation that we are all so preoccupied with in our daily lives.

With a highly comprehensive, but not always well signposted, set of maintained highways, there is no better way to see the country than by car. Whether you desire to hire a driver or brave the highways solo, it is the best way to absorb the breathtaking scenery and soak up the rich landscape as you will literally traverse wildly steep ravines, mountains and vast desert plains. It all sounds more treacherous than it really is, for the most admirable thing about braving the wild outdoors, is what good condition all the linking roads are in. There is a particular phrase in Arabic which really encapsulates the free spirit that effervesces out of Jordan, “Insha’Allah”, which literally means “God Willing”, and it is interchangeably used to communicate things loosely pertaining to maybe, yes and often disconcertingly, hopefully. “Insha’Allah”, in all its nuances, sums up the Jordanian experience, and as you explore the Hashemite Kingdom, you will really begin to vibe with this laissez-faire, go with the flow mentality. As ambitious a traveller you may be in other

locales, Jordan will entrance you with its magical natural mysteries and beautiful sites of historical interest. A great starting point for your journey is Mount Nebo, the site where Moses is reputed to have first sighted the Promised Land, after 40 years of leading his people through the wilderness. It is also where Moses is said to have died at the grand old age of 120. Perched at the top of the summit, an exquisite church is situated in the perfect location for panoramic views across vast desert, lush valleys, the Dead Sea and the Jordan River into Jericho and Jerusalem in Israel, just 46 kilometres away. The Moses Memorial Church is fronted by a huge bronze cross and serpent, to symbolise the death and suffering of Jesus Christ, as well as the serpent that Moses “lifted up” in the desert. There is also an impressive selection of mosaics and historical artefacts dating back to AD 597, comprising of old baptistry sites and a basilica where monks and priests still hold services as they have done for hundreds of years. Another memorable site of interest is Karak, the oldest and most famous crusade stronghold, it is a forbidding fort. Again, formidable views and an undeniable sensation that this location has seen great happenings make Karak a site not to be missed. Its walls ooze with historicism, its massive chambers

suggest by their very size that people from all walks of life and religious affiliations at one time communed in the huge vaults that comprise this impressive outpost. It is easy to feel as if you have been transported back in time when this triangular plateau was a place of holy triumph for Judaism, Islam and Christianity, at some time or another during its complicated history since 1140AD. Making Petra the central focal point of your journey is inevitable, for its expansive domain can certainly dominate your attention for a few days. Forever immortalised in Steven Spielberg’s ‘Indiana Jones and the Last Crusade’, who can forget those moments when a young Harrison Ford takes on the treacherous unknown as he enters the secret temple that holds the answer to immortal youth. Petra is a sight to behold, and after winding your way through the siq (shaft) which was formed by dramatic tectonic movements, 1.2 kilometres down this enchanting stretch of natural rock stratifications, you can really begin to imagine how this place was once verdant,

with sophisticated irrigation systems running as pipelines down the entire stretch of this alley and swarming with mercantile tradesmen. Opening out before you, the Treasury reveals itself, absolutely astounding in size and grandeur; it is 43 metres high and 30 metres wide. This façade is beautifully preserved, protected from the elements in its location, and indeed from the outside world until 1812. The Nabateans, Petra’s original inhabitants, were an ancient trading people who occupied this land, profiting from high levies and taxes that they imposed along the busy trade route between Arabia and Syria, and it once comprised a population in excess of 20,000. Various mausoleums of differing size and ornament, 13th Century shrines, obelisks, temples, sacrificial altars and colonnaded streets, and high above, overlooking the valley an impressive monastery which is only accessibly by foot, or by “taxi”(what we would call a mule), up 800 unevenly and at times steeply cut and poorly maintained rock steps there are endless nooks and crannies that steal your attention. Measuring a whopping 50 metres wide and 45 metres high, topped by a magnificent urn, the Treasury is arguably the most spectacular example of how the Nabateans carved this city straight into the rock demonstrating incredible technical know-how and staggering architectural imagination, and ability.

An unexpected surprise for many is the magic that Wadi Rum’s red desert beholds. Offering you an alternative and immediate context where you can directly commune with nature, the hospitality of the Bedouin people who live here will overcome you with warmth and tradition. The pink dusky sands that unfold into the boundlessness of the desert landscape looks ever more fantastic at dusk and dawn. This is not the usual type of camping, and accommodation is largely in permanent camps, many of which have hot water, shower facilities and flushing toilets. At night, your guide will provide you with musical entertainment, as well as a sumptuous Bedouin meal of sand-baked chicken or lamb for dinner – a Jordanian speciality. Day excursions exploring the seemingly endless realm that comprises Wadi Rum, T.E. Lawrence, or ‘Lawrence of Arabia’, navigated and inhabited the very sands that trickle across the plains in the wind at the turn of the 20th Century. There are various sites to be seen and explored, if not just to take in the unmistakable scenery of David Lean’s muchloved film version of Lawrence’s epic legacy. It is highly recommended and a reason to visit Jordan in and of itself just to dive in the Red Sea at Aqaba, where some of the world’s best underwater delights await. The temperate climate and gentle water currents are ideal, and have created an exquisite underwater dreamland teeming with colourful sea-life and coral reefs. The incredibly salty waters of the Dead Sea, rich in bromine and other minerals, are what many attribute the healing qualities of the mud and water. Attracting young and old, healthy and infirmed, Jordan is a place that will ignite the spirit of adventure and boundless discovery in everyone.

Cool In A Kaftan Images: Olaf Mueller Clothing, Jewellery & Styling: Sonjia Norman for Sonjia Makeup: Denise Siobhan Toms Hairstyling: Ray Chan for Ray Chan Hair Model: Maiza @ Model Genesis Photography Assistants: Jan Woo and Patrick Words: Ann Tsang

Mention the word ‘kaftan’ and it may conjure up memories (for those old enough to remember) of Greek singer Demis Roussos in what closely resembled a diaphanous flowing tent or his bespectacled female counterpart Nana Mouskouri crooning away on stage in similar attire. However, the kaftan is as “iconically hippie now as it was in the ‘70s,” according to Shop Til You Drop’s article ‘Fashion Icon - The Kaftan’. Wherever or however you wear it, the kaftan gets the vote for versatility. The classic cover-up has staged an uprising and is back in all manner of styles.

ft the subject of mockery (think Demis Roussos and B.A. Robertson’s 1980 hit ‘Kool In The Kaftan’) and a garment today associated with plussize women (although we will dispute this later), the kaftan’s origins are somewhat unclear, with various sources offering contradictory information. A number of seemingly reliable fashion history experts claim that it was originally a man’s full-length garment of ancient Mesopotamian origin, worn throughout the Middle East and as such, kaftan-like robes can be seen depicted in palace reliefs of ancient Persia dating as far back as 600 B.C. The kaftan, in its first incarnation, has been described as “an open, coat like garment, termed in ancient Persia a candys or kandys. Also worn extensively in the cooler climates of Mongolia and China, the style extended westward to eventually become the fashionable attire of the late Ottoman Empire.” One source states that between the 9th and 11th Centuries, the kaftan was adopted a form of European court dress with rich motifs, encrusted with jewelled embroidery and dyed in deep colours, especially purples and reds. Open down the centre front, this coat-like garment was shaped to fit at the back. For both sexes, the kaftan was accompanied by trousers, not full like the Middle Eastern version, but more elegant and close cut, especially on the legs, and were tucked into boots or worn over shoes. By the 13th Century, the ‘kaftan style’ had spread into Eastern Europe and Russia, where styles provided the prototype for a number of different basic garments well into the 19th Century. From there it apparently also came to refer to a black frock coat worn by Hasidic Jews since the European Middle Ages. The kaftan tradition was particularly elaborate in the imperial wardrobes of the 16th Ottoman Empire in Anatolian Turkey and garments of varying lengths were fashioned from rich satins, velvets and silks, shot through with metallic threads and were often worn to indicate status. The kaftans worn by the Sultans of the Ottoman Empire today constitute one of the most outstanding and eye-catching collections of the Topkapi Palace in Istanbul. The importance of these garments is also evidenced by the fact that they were given as gifts to important dignitaries and victorious generals during religious festivals.

The Turks adopted kaftans with open arms, so much so that they brought the style to Hungary and Poland when they conquered those lands. Subsequently, Turkish dress experienced waves of fashion popularity in Italy, Germany, and England, and the kaftan became the model for later Western garments featuring fitted backs and open fronts. By the second half of the 17th Century, the most exquisite materials bearing intricate embroidery and rich embellishments emerged in the fabrication of kaftans and generally these were manufactured in Istanbul and Bursa, but others came from as far away as Venice, Genoa, Persia, India and China. Many years later the kaftan resurfaced and was embraced by women as a reaction to the 60s mod style. “The kaftan is an item of clothing that has had a peculiar journey,” wrote Alexis Petridis in The Guardian. “It was a symbol of wealth and status in 14th Century Persia. It was a symbol of the counterculture in the late 60s, but by the 70s it had suffered a more grisly fate. In my childhood I seem to remember kaftans being worn exclusively by fat people apparently under the impression that if they dressed their bulk in sufficiently voluminous clothing, everyone would think they were a size 8. It was in this capacity that they played a substantial role in the wardrobe of my gargantuan countryman Demis Roussos, over whom we shall draw a discreet, if enormous, veil.” The kaftan’s popularity is due to its anytime, anywhere versatility and the fact that is suits all ages and body shapes. Today it can essentially be described as a long gown or robe sewn in a narrow v-neck fashion usually decorated with buttons, a toggle or a tie, with elbow length sleeves and a flowing border. However it is or has been described, the kaftan has evolved into one of fashion’s most ageless and timeless dress styles. One of the world’s most iconic fashion designers, the late Halston, put his own version on the fashion map in the 1970s when Jackie Onassis became one of his loyal customers. In 1976, the designer received a note from her which read: “Dear Halston, I love the white kaftan so much - could you dye me another white one, a beautiful clear yellow as enclosed, or maybe a cantaloupe melon colour - but I prefer yellow. I’d love to have it early December if possible. Could you let me know? Thanks so much, J. Onassis.” When a Halston purple kaftan, once owned by the designer’s friend, Liz Taylor, turned up at Decades, the framed Los Angeles vintage boutique, it generated more interest than any other item in the store’s history, according to The Chicago Tribune, and was sold to a celebrity. The lucky buyer got not only a kaftan, but also a piece of a fascinating and lost time.

HEART And SOLE TEXT: COCO MARETT IMAGES: COURTESY OF ON PEDDER AND STUART WEITZMAN

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“Making shoes in Spain does not disclose any unique secrets. Their talent and experience work well for me,” says Stuart Weitzman, shoe designer and Executive Chairman of his eponymous label. Every pair of shoes is crafted from start to finish by shoemaking masters in the city of Elda, Spain, which has been Weitzman’s base of operation since 1971.

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n Elda, Stuart Weitzman is kind of a big deal. He even playfully refers to the Alicante city as “Stuart’s little kingdom.” There, his company employs 3,000 of the city’s 55,000 population and 35 percent of the town’s shoe industry workers throughout his four factories – each one specialising in a different style of shoe. “I could have cheated and tried to make an evening shoe where they make moccasins, but they don’t have the hands for that,” Weitzman once said in an interview with DuJour magazine. “So every time I wanted to add something to the line, I had to build a new factory.” For Weitzman, having his product made in delegated factories in this small city in Spain was not for novelty value or boasting rights, he says that it is simply because “the Spanish manufacturing methods have taught me how to ensure the best quality and craftsmanship for each product.” Not to mention that along the way, he has helped create a lifeline for Spanish families struggling with the country’s underemployed and economic situation, often passing jobs down through generations, the same way Weitzman himself – who was an apprentice at his father’s footwear company, Seymore Shoes, in a mill town called Haverhill in Massachusetts - came to be the legendary shoemaker that he is today.

Weitzman took over the family business with his brother in 1965 following his father’s death and, feeling fed up with the instability of manufacturing in the U.S. decided to explore other avenues – European ones to be exact – in search of an existing company he could partner with. “Ever since a pair of shoes made in Elda caught my eye with their exceptional quality and workmanship… it became my home,” says the born and bred New Yorker who spends over six months a year in Spain. “Our entire team, from sewers to partners, give their all to the product and treats it as if it is their own. It’s unlikely that I could have established such camaraderie elsewhere.” In 1971, at age 29, Weitzman signed on with Spanish shoemaking company Caressa, for which he designed shoes under the label’s name until 1986 when he liberated himself from the brand and founded his own. Stuart Weitzman shoes took off like a shot and instantly became a household name for every shoe-loving fashionista around the globe. “Every woman should own at least one pair of stilettos,” says Weitzman matter-of-factly. “They can make a good pair of legs look great and great pair look fabulous.” Weitzman has dedicated his entire adult life to making women look and feel fabulous, and he has dressed the feet of the who’s who of Hollywood including Angelina Jolie, Kate Winslet, Eva Mendes and Beyoncé. When we asked whose shoes he’d like to walk a mile in he responds, “Beyoncé, as she has danced a thousand in mine.”

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The queen Bey even presented Weitzman with Footwear News’ Lifetime Achievement Award in November 2012. It’s safe to say that Weitzman has become a star in his own right. After all, he was the one who started the tradition of the ‘Million Dollar Shoe’ in 2002 when he designed a blinding pair of stiletto sandals adorned with 464 diamonds for ‘Mulholland Drive’ star Laura Harring to wear to The Oscars. Every year after that, one lucky up-and-coming actress is given a pair to grace the red carpet, upping the ante each year – his ‘Cinderella Slippers’ worn by Alison Krauss to the 2004 Oscars were embellished with 565 Kwiat diamonds and worth a cool US$2 million – but Weitzman pulled the plug on the tradition in 2010, saying that, “with so many people struggling financially, and unemployment at 10 percent, I don’t think it’s appropriate.” But what women love about Stuart Weitzman is his versatility. From red-carpet-ready strappy stilettos to wardrobe staples like boots or Oxfords, playing the roles of both Executive Chairman and Designer has given him a unique insight to his buyers. “I am inspired by everything around me. I believe creativity can be sparked by the simplest detail; past, present and future inspiration for me have been things I have seen on the sidewalks of New York City, the Spanish countryside, a favourite old movie and the changes in nature with each season,” he says. “When I create the

various ideas that make up a collection, I am thinking of the many diverse personalities of women – the fashionista, the celebrity, the career woman, and the bride. By embracing each one individually, I have been able to satisfy the desires of each.” Looking at his latest collection for Fall/Winter 2014, Weitzman certainly has toned it down and taken a more casual approach, specifically adopting the “women in men’s clothing” trend, featuring a stunning collection of meticulously crafted loafers, brogues and Oxfords amongst his signature knee high boots. “It’s all about boots, boots and more boots,” he affirms. Leading the campaign for this collection – and the face of Stuart Weitzman for the third time - is the effortlessly chic Kate Moss in a series of deliciously simple and seductive black and white photos taken by photographer extraordinaire Mario Testino, “She is an international style icon who women are inspired by and who emulates her own personal fashion choices,” Weitzman gushes of Moss. “She’s also a very nice girl. She’s got her feet on the ground.” She certainly does, and in Weitzman’s latest campaign her feet are looking pretty happy in his military-inspired lace-ups, suede boots and really, who else could make nothing but a tailored blazer and a sharp pair of patent leather brogues look so good? “What can I say, I borrowed from the boys,” says Wetizman of his latest collection. “I think the chic polished look of a good loafer or lace-up wingtip can easily be adopted into a woman’s wardrobe.” “What’s so sexy about a woman who can pull off more masculine silhouettes?” I ask. His one-word answer, “Everything!”

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The Harlem Shuffle Text: Ann Tsang Images: Lakshmi Harilela Producers: Patty Sicular and Anika Gibbons

Next time you’re in New York, take a taxi or a subway ride over to Harlem, whose new residents are strikingly diverse: straight and gay, AfricanAmerican, Asian and European. They’re here for the neighbourhood’s history and the immaculate houses on Strivers Row - plus fixer-upper brownstones that cost 20 percent of what they would a mile to the south. Harlem is undoubtedly very different to what it used to be, and is chock full of culture, restaurants and historic landmarks.

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f you’re a frequent visitor to New York City, you’ve no doubt seen most of it and done most of it, and the highlight of each visit now is a new restaurant discovery. You know where to go to shop, booked your Broadway tickets and know just how you’re going to spend those precious days. But give it a little more thought and hop in a taxi (15 minutes from midtown) or the subway (30 minutes) and discover the fascinating and cleaned up district of Harlem, home to some of America’s most historical sites and a veritable melting pot of architecture, food, music and culture. The East Harlem/El Barrio (Spanish Harlem) community stretches from First Avenue to Fifth Avenue and from East 96th Street to East 125th Street. Central Harlem stretches from Central Park North to the Harlem River and from Fifth Avenue to St. Nicholas Avenue. West Harlem stretches from 123rd to 155th Streets and from St. Nicholas Avenue to the Hudson River.

If you’re limited in terms of time, half a day is adequate to get a taste of this wonderfully diverse area, and to be in the best shape to explore on foot, start off with a traditional home style Southern brunch at the popular Amy Ruth’s at 113 West 116th Street. The always packed restaurant, opened in 1998, is named after Amy Ruth Moore Bass, a native Alabamian and mother of 10 children. She was a farmer, a gardener, the world’s best cook and apparently a very friendly person. It was the continuous love, nurturing, and direction that gave Carl Redding the inspiration to build and name this authentic Southern cuisine restaurant after his grandmother and today Redding, his mother Inez Bass and the rest of her family welcome hundreds of customers every day. This is a place to see real Harlem characters, enjoying real soul food, from the popular The Rev. Al Sharpton (chicken and waffles) to The Dr. Walter Delph (fried shrimp, catfish and crab cake) and the famous collard greens. Everyone from Alicia Keys to Spike Lee and even ex-President George W. Bush has stopped off here for a true taste of the South and a whole lot of Harlem atmosphere.

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You will be in dire need of a walk after eating at Amy Ruth’s, so turn right upon exiting the restaurant and head towards Lenox Avenue and the historic Lenox Lounge located at number 288. The historic Lounge and its Zebra Room have been significant in the Harlem community since opening in 1939, serving as the backdrop for many jazz legends including Billie Holiday, Miles Davis, John Coltrane, and countless others. It was also known to be a hangout for Malcolm X. The venue has been featured in magazines, music videos, photo shoots, and motion pictures and in 1999 it underwent a costly restoration process to bring it back to its original splendour. The Lenox Lounge was voted “Best of the Best” by the 2002 Zagat Survey Nightlife Guide and New York Magazine in 2001, proving that the Art Deco Lenox continues to shine as a Harlem landmark. Onwards to 253 West 125th Street (between Adam Clayton Powell, Jr. Blvd. and Frederick Douglass Blvd.), the world famous Apollo Theater is so much more than a historic landmark, it is a source of great pride and a symbol of the brilliance of American artistic accomplishment. With its rich history and continued significance, the Apollo Theater,

considered the bastion of African-American culture and achievement, is one of the most fascinating chronicles in American history. It all started in 1914 when the theater was constructed in the heart of Harlem. Originally, it was named Hurtig and Seamon’s New Burlesque Theater and African-Americans were not allowed admission. In 1934, the 125th Street Apollo Theater opened, presenting shows featuring the great band leaders and acts of the day: Cab Calloway, Duke Ellington and Jimmie Lunceford, Butterbeans & Susie, The Inkspots - and a chorus line of 16 of the most beautiful dancers in New York. Over the stage door a sign was painted, “Through these portals pass the most beautiful girls in Harlem.” They were the glue that held the shows together. While the headliners came and went, the chorus line rehearsed a new show each week, working 15 hour days, 7 days every week. The first show went up at 11am, and when the curtain came down at night, the chorus line rehearsed for another two to three hours preparing the new show. It is a little known fact that these dancers led the historic first strike by African-American performers. On Saturday night, February 23rd, 1940, they walked out of the Apollo Theater in a successful bid for higher wages (their salaries were increased by $5 a week) and established the American Guild of Variety Artists for performers nationwide.

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With

its rich history and continued significance,

the Apollo, considered the bastion of African-American culture and achievement, is one of the most fascinating

chronicles in American history.

In 1935, Bessie Smith made her Apollo debut followed by a then unknown vocalist by the name of Billie Holiday who graced the Apollo stage and mesmerized the audience with her undeniable style and talent. Soon after, the Apollo Theater quickly became known the place “Where Stars are Born and Legends are Made” and home to thousands of major performance artists, fans, and patrons of the arts from around the world. The legendary venue has launched the careers of icons such as Stevie Wonder, Michael Jackson, James Brown and Lauryn Hill and continues to maintain its position as the nation’s most popular arena for emerging and established African-American and Latino performers. Further down West 125th Street at number 144 lies yet more culture within the walls of The Studio Museum of Harlem. Founded in 1968 to exhibit work by AfricanAmerican artists and to promote local art, the Studio Museum considers Harlem to be more than just its location - the renowned neighbourhood is often the subject of its exhibitions. The Studio Museum is also the nexus for AfricanAmerican artists locally, nationally and internationally, and for work that has been inspired and influenced by AfricanAmerican culture. The Museum has played an historic role in redressing the lack of opportunities for African-American artists within the mainstream of American art and culture. Originally located in a rented loft at Fifth Avenue and 125th Street, the museum relocated in 1979 when the New York Bank for Savings donated its 60,000 square foot building. Inside, the two floors of gallery space have a polished generic feel, belying the political, provocative nature of the art on view, which reflects different strains of AfricanAmerican liberation politics and celebrates the neighbourhood’s ethnic roots. Works range from historically significant Harlem photographers James Van Der Zee and Aaron Siskand to more recently established giants like Fred Wilson and Kara Walker, as well as impressive emerging artists of African descent. The Studio’s Permanent Collection

houses over 1,600 paintings, sculptures, drawings, prints, photographs, and installations by artists such as Romare Bearden and Jacob Lawrence. Incorporating everything from tap dance to hip-hop, Abstract Expressionism to comic books, the museum seeks to open a dialogue on the changing nature of African-American aesthetics. The contradictions of Harlem’s cultural history and its gentrified present play out nicely in Hunter Tara and Jeannie Kim’s 2005 ‘I Can’t Afford to Live in Harlem’ postcard photographs, which depict apartments too expensive for Harlem’s new generation of artists. 13 blocks down lies the famous Strivers Row, an integral part of AfricanAmerican history as this is where the “strivers”, or people with ambition, have always lived. Its former residents have included performers Eubie Blake, Fletcher Henderson and Vertner Tandy, as well as many other AfricanAmericans who have excelled in law, dentistry, and the arts. The two rows of 1890s brownstones on 138th and 139th Streets were originally built for middle-class families, but in the 1920s and 1930s, they started attracting wealthy and influential African-Americans. Today, the renovated Georgian style homes that line the streets are much sought-after. Strivers Row is also noteworthy because the first African-American architect David H. King, who also built Madison Square Garden and the base of the Statue of Liberty, built them. The Row houses on these two blocks reflect the architecture of the period. The northern part of 139th Street group expresses the Neo-Italian style of McKim, Mead & White, an architectural firm that dominated New York at the turn of the 19th Century. Other designers that contributed to the building of Strivers Row include James Brown, Bruce Price, and Clarence S. Luce. Across on West 138th Street sits the Abyssinian Baptist Church. Founded in 1808, this is New York’s oldest African-American church which built its name through its visionary pastor Adam Clayton Powell, also a congressman and civil rights leader. Under Powell’s leadership this church became the most powerful African-American church in America. Today this fine example of Gothic architecture welcomes well-dressed worshippers every Sunday who come from far and wide to listen to its outstanding gospel choir. Whatever your interest - be it architecture, art, music or culinary exploration - Harlem has a little bit of everything. Give this neighbourhood the once-over and guaranteed it will open up a whole new world...

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The Road To Mandalay Text and Images: Morgan Ommer

In May this year, The Peninsula Hotels struck a deal to build a new luxury hotel out of the former Burma Railway Building in Yangon, close to the famous Scott’s Market. Adventurous photojournalist Morgan Ommer takes something of an unusual trip – a creative writing tour of the city and its surrounding area. The following is what transpired…

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ea for two?” I ask in what I wish was Burmese, causing immediate and noisy hilarity around us. The boy’s reply is instant and in impeccable English: “Do you want Myanmar tea?” It’s six o’clock in the morning. I’m sitting in a local tea shop on the corner of 19th and 65th Street facing the wall to the former palace in Mandalay. My brief for today is to write an interesting portrait of a local character. To do this I have been assigned a pen pal by the name of Bob. Bob is a marketing professor at a university in Singapore. He loves writing and wants to get some tips to improve his skills. Professor Bob and I have signed up for a creative writing workshop in Myanmar; eight days with five other amateur writers. We travel around under the guidance of a published novelist and actually have to write, every day. It’s a writer’s retreat, but on the road.

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We decide to get an early start, and while sipping on hot sweet milk tea, are devising our plan of action. The Professor and I are going through our options. I have an outdated edition of the Lonely Planet guide and the Professor is carrying around an iPad with the Frommer’s guide to Myanmar. The general laughter mentioned earlier is a good sign. We have succeeded in making friends with everyone in the tea shop. Old and young, everyone takes a turn at speaking to us. Where do you come from? How old are you? Is it your first time in Myanmar? Do you like our country? Where are you going? We are unable to answer the last question with any confidence and consequently receive an abundance of advice from everyone around. Koko, the boy who serves tea, thinks we should head for the pagoda on the hill. Szaw Szaw the taxi driver mentions something about U Bein Bridge. His friend Pyo Yoe Soe thinks it will be too late to meet anyone at the bridge by the time we get there, so maybe we should go there at sunset. Soe Soe and her mother, who own the tea shop, are advising us to go to the Mahamuni Pagoda and watch a game of chinlone (cane ball). The Cane Ball Festival is on this month and people from all over the country have travelled to Mandalay to participate. Each one of our new-found friends is defending their idea with such confidence and animation that we quickly forget about our guide books and decide to order another round of milk tea and ask more questions. After losing several games of checkers played on a piece of painted cardboard and using old coke bottle tops for the pieces, we decide to visit U Bein Bridge at sundown. But now it is time for check-in and maybe breakfast. Bob and I have reservations at the hotel by the Red Canal which is only two blocks down the road. The Red Canal is Mandalay’s prettiest hotel. My room’s furniture is made of beautiful teak and rattan, and the bathroom is lined with marble and Mother of Pearl fittings. I notice that the rooms are named after the different ethnic people of Myanmar. I am staying in the Kachin Suite. Bob has a Chan Suite. Both rooms overlook the swimming pool. I imagine that Rudyard Kipling and George Orwell would have stayed in a similar place when they visited Mandalay back in the 20th Century, but possibly without the pool...

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After a quick swim, we decide to explore the city’s surroundings before our sunset mission. A picnic is prepared for us, transportation is organised, and off we go to the hills for a small trek. On the road east from Mandalay, the landscape is punctuated by conical hats appearing in the distance. The local farmers are re-planting the new rice crop. The luscious green paddies extend for miles all the way to stupa-bearing hills. I notice the absence of electric poles in this scenery, which is a rare occurrence these days in an Asian country. One has to keep in mind that Myanmar’s economy is only picking up now after a 40-year hiatus. Our picnic is waiting for us at the top of the hill. There, a stupa offers panoramic views of the whole region including Mandalay’s former palace. While we are having lunch, the friendly monks from the nearby monastery come and join us. The conversation with them is very entertaining, with topics ranging from world politics to Manchester United and marriage.

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Later that day, we discover U Bein Bridge, the longest teakwood bridge in the world (1.2 km) which sits over Taungthaman Lake. It was built by recycling the teak columns of the old palace during the move to Mandalay in the 19th Century. Sunsets on the bridge are spectacular. The backdrop to my story is set. What I need now is an interesting character to describe. We talk to everyone -- fishermen, monks, students. In the end, the Burmese are so friendly and approachable that the Professor and I, in order to fulfil our brief, are faced with a dilemma: who are we going to write about? Soma Journeys (Creative Writing tour in Myanmar ) Tel +66 847 46 7945 (Bangkok) cristy@somajourneys.com www.somajourneys.com

Grape Expectations

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From London to Hong Kong, there is an exclusive and personal service directly on hand to assist in the organisation of your wine life. Sarment offers privileged access to wine and winemakers across the globe. Totally unique and designed for those who have a true passion for wine, the world’s best sommeliers have been rounded up and with their vast knowledge and impartial attitude, they are on hand seven days a week, contactable from anywhere in the world, to aid in all wine-related matters and more.

ore than 15 years ago, Bertrand Faure Beaulieu sat in Marco Pierre White’s restaurant at London’s Hyde Park Hotel. It was here that he first met respected sommelier Philippe Messy, the youngest head sommelier - at 23 years of age - of a three star Michelin restaurant, and one with a unique insight into pairing wine, not only with food, but with varying personalities, keen to challenge those who had become set in their wine ways. His exceptional talent was quickly recognised and in 2004 he won Harpers & Queen’s ‘UK Sommelier of the Year’. It was around that time that Beaulieu began thinking about his own wine collection. A great wine lover who bought and drank a significant volume of the stuff, he nevertheless felt out of touch. Beaulieu had little time to discover what was new and exciting in the wine world and even when he went to the wine industry and to merchants, he couldn’t find answers to his questions. He felt that the people he spoke to were either biased or keen only to sell what they needed to, not necessarily what he wanted to drink. Beaulieu was frustrated. He longed for an impartial voice or one individual to sit down with him and find out what he really wanted. That person turned out to be Philippe Messy. Messy’s career has spanned all areas of the wine industry. From helping out at a local vineyard and bottling plant as a child to taking part in the making of award-winning wines, working as an international buyer, judging at wine awards and opening his own shop and restaurants, there isn’t a part of the business that he is not familiar with. But most importantly, he is an expert when it comes to wine. At 18, Messy was accepted into the prestigious sommelerie school Tain l’Hermitage and just two years later become a

sommelier for the first time. After becoming a buyer and significantly expanding his knowledge, he worked for several years at Marco Pierre White before opening his own restaurants: L’Etranger in 2003 and Papillon in 2006, both of which were awarded Michelin stars. And it was at the former in 2004 that Sarment came to be. Dining at L’Etranger one evening, Beaulieu was impressed that Messy had the confidence to offer him a wine totally different to what he would have expected of a French sommelier in such a restaurant. But he was pleasantly surprised and intrigued by the choice and gradually he built up a relationship with the sommelier, encouraged by Messy to learn more about a greater variety of wines. It was a close partnership and Beaulieu subsequently asked Messy to organise his cellar and add to it, as well as enlisting his help in choosing the wine and wine waiters when organising parties and events. Messy quickly got to know what Beaulieu liked to drink and on top of his other services, when Messy traversed the wine world, if he found a wine that he thought Beaulieu would like, he would send him a few cases. He expanded Beaulieu’s tastes and opened his eyes to a wider circle of wines, as well as expanding his understanding of grapes and passing on his passion for all who work in creating wine. Beaulieu decided that this was exactly the kind of service that was missing and so the Sarment story began. Sarment, which in French means ‘vine shoot’, subsequently launched in the UK and is an exclusive membership service. Just 25 memberships were released in the first year and only 75 more are to be released each year with a maximum capacity of 450, though there is talk of capping it earlier. Each member is paired with a sommelier whose personality and unique approach to wine complement his or her tastes, and the sommelier aims to do for their client what Messy did for Beaulieu. From planning and stocking entire cellars from scratch, to adding to existing collections or devising a selection of wines for a special occasion, Sarment’s sommeliers are some of the best in the business and are on top of the latest trends and wines in the industry.

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Christopher Delalonde MS and Georoid Devaney are two of Sarment’s sommeliers based in London. Delalonde began working as a sommelier under Philippe Faure-Brac who in 1992 was declared ‘Best Sommelier in the World’. He went on to work at numerous esteemed restaurants in Paris and London. Happy working with a variety of wines, Delalonde nevertheless spent spent five years as Head Sommelier of The Square whose extensive cellar comprises more than 1,500 wines, half of which are devoted to Burgundy, the other half of which include 30 vintage champagnes. He is therefore particularly knowledgeable about rarer fine wines. Most recently he achieved the prestigious Master Sommelier qualification. Irishman Devaney began his career as a sommelier in London before moving to France to broaden his knowledge. Working in Bordeaux and Paris, he was lured back to London to open Tom Aikens’ signature restaurant where he was granted the enviable task of building a 500-bottle wine cellar from scratch. From there he went on to reap his own rewards, being named Tatler magazine’s ‘Sommelier of the Year’ in 2004 and Restaurant magazine’s ‘Sommelier of the Year’ in 2007 after gaining his Advanced Master Sommelier certificate in 2006.

The Sarment sommeliers source wine for their clients and protect members against counterfeiting. The company can also organise storage and transport of wine to wherever in the world its member might be. Reliable transport for wine has proved difficult to facilitate in the past, but Sarment has done extensive research, planting chips to check the humidity and temperature during transport and gauge first hand which is the best company to transport wine. While many promise, it is of prime importance to know who really delivers. Sarment has this knowledge and more. “Sarment is good value if you are a serious wine collector,” says Richard Green, Managing Director of Sarment Asia. “The issue today is getting access and paying the right price. We are not making money from the sale of wine from our private cellar. It is beneficial for an individual to buy through our cellar as we have strong buying power as a group and can offer members access to top wines. There is a great deal of distrust in the fine wine market but we buy direct from the source and can also show the lineage so that there is no danger of counterfeiting. We take much of the fear out of buying fine wines.” And these are not the only services that Sarment is keen to offer. The relationship goes much deeper. “We travel to see clients, develop relationships and keep up to date,” explains Chevalier. “In a restaurant you have two minutes to chat with guests and find out the wine they might like. With

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Sarment we can spend ten minutes on the phone, or two or three hours at the member’s home, finding out what they want. We develop a relationships and take the time to find out what the members want. This is really key.” Alongside developing strong relationships with the clients, sommeliers must also maintain connections and create bonds with winemakers. Sarment’s sommeliers are required to spend two months of the year on the road, meeting people in the industry, tasting wines across the grape-growing regions and more generally gaining a better knowledge of all that is going on in the ever-changing wine world. Upon their return they provide feedback and a detailed report for other Sarment sommeliers who in turn divulge this exclusive information to their members who are privy to important information before anyone else. As well as information, sommeliers are also able to offer new and exciting wines to their members. “We have the ability to meet new makers and discover new wines which we can then offer to our members,” says Chevalier. “We know about the Old and New Worlds, but we try to keep it interesting too. In Argentina and South Africa we are finding amazing wines that would otherwise be largely

unknown. It isn’t only about sourcing wines but about new experiences and opening people’s minds to new things,” says the enthusiastic Frenchman. “There are small vineyards that nobody has ever heard of. We try and taste to see the potential and then we can watch out for them. These could be the vineyards leading the region in a few years time, especially here in Asia.” With a knowledgeable member base and expert sommeliers, Sarment is an excellent platform for the exchange of wine wisdom and undiscovered and up-and-coming wines. Most importantly Sarment is designed for those with a real passion for the grape. “There are many services that deal in wine investment, but we are very much about the opposite,” says Green. “We are about the love of wine.” So if you are interested in this new approach to buying and enjoying fine wine and are in the fortunate position to be able to invest in the exclusive service which Sarment offers, you will be granted not only hot-off-the-press information from all areas of the wine world, special access to the world’s top wines and to some of the most dynamic new wines, but you will be able to share your passion with other like-minded individuals and experts and develop personal, impartial and ultimately rewarding relationships.

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Pairing and

Sharing Text: Ann Tsang Images: Courtesy of Martell Mumm-Perrier-Jouët

The Peninsula Hotels in China – Hong Kong, Shanghai and Beijing – have partnered with Pernod-Ricard to bring Perrier-Jouët’s ‘Enchanting Tree’ sculptures and the Martell Trunk to Asia and China for the first time this autumn, together with ‘The Art of the Vintage Bar’ - a collection of cocktails using unique cognacs from the trunk together with exceptional cognac-pairing dinners hosted by Martell Ambassadors.

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errier-Jouët’s ‘The Enchanting Tree’, an unusual champagne experience, was first revealed in March of this year at the Saatchi Gallery in London. This unique form of champagne service, wreathed in anemones and made of suspended golden branches, was created exclusively for Perrier-Jouët by Dutch artist Tord Boontje. As part of the brand’s artistic heritage, Perrier-Jouët continues its tradition of supporting and collaborating with artists and designers. The Enchanting Tree reinvents the art of quaffing champagne. Six participants can pluck a flute of Perrier-Jouët’s Belle Epoque cuvee from the tree. At its base, an ice bucket preserves the champagne’s coolness. The creation is inspired by a shared appreciation between the brand and the designer of nature, Art Nouveau and craftsmanship. Boontje has reinterpreted nature light-heartedly to create a fairytale in honour of spring, with floral forms flowing through a golden hand-worked tree. “Tord Boontje’s creation captured both the legacy of Perrier-Jouët and its brand experience of infusing art into everyday life, redefining the art of tasting as a memorable experience,” says Charles-Armand de Belenet, International Marketing Director for Martell Mumm-Perrier-Jouët. Describing his work, the designer explains, “I wanted to create a functional object that evokes emotions and dreams. Here, utility is beautiful and beauty has utility.” Meanwhile the Martell Trunk will also make its PRC debut at The Peninsula with ‘The Art of the Vintage Bar’. A partnership between Martell, the oldest of the great cognac houses, and Pinel & Pinel, the renowned French luxury malletier famous for its contemporary and bespoke trunks, the trunk captures the essence of the House of Martell and enables connoisseurs and lovers of cognac to rediscover the pleasures of tasting resulting from almost 300 years of carefully cultivated expertise With a gently lit backdrop of leather-lined compartments and drawers, crystal glasses and

decanters, various tasting implements, scented candles and a humidor, 28 ‘montres’ containing the most exclusive and unique blends and a small blue leatherbound booklet – The Cellar Master’s Notebook – which contains all the handwritten tasting notes of Martell’s cellar master, Benoît Fil, the Martell Trunk is a true work of art, At 2.06 metres high, 2.20 metres wide and 0.70 metres deep, it the largest trunk ever produced by Pinel & Pinel. A team of 10 craftsmen took 1,000 man hours to build it, using the highest-quality materials including full-grain leather, copper, silver plate, oak, crystal and linen. Accompanying the trunk are the Martell Ambassadors, who will offer cognac tastings and specially mixed cognac cocktails from the trunk, and host exclusive one-night-only cognac pairing dinners in Hong Kong, Shanghai and Beijing. These two unique experiences are available for a limited time only and champagne and cognac connoisseurs alike should certainly save a date. Bottles of Perrier-Jouët’s Belle Epoque cuvée will be presented in the “Enchanting Tree” at The Peninsula from 1 September - 31 December 2013 in the following locations: Hong Kong: The Verandah Café and Salon de Ning Shanghai: Sir Elly’s Restaurant, Bar and Terrace, Compass Bar and Salon de Ning Beijing: The Lobby and Yun The Martell Trunk will be on display at The Peninsula as follows: Hong Kong: 26 August - 21 Sept in The Bar, with a cognac–pairing dinner at Spring Moon on 4 September Shanghai: 29 September - 26 October in the Compass Bar Beijing: 3 - 30 November in The Lobby, with a cognac–pairing dinner at Huang Ting on 7 November

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PenCities The Peninsula Hotels introduces PenCities – a web-based travel journal covering what’s new in terms of luxury, culture, gastronomy and shopping in each Peninsula destination city. Pen Cities will be updated on a weekly basis, together with content covering prevailing global trends.

“The PenCities journal represents a fabulous new opportunity to explore a whole range of exciting, up-to-the-minute openings, restaurants, galleries, bars and activities in each of The Peninsula Hotel cities worldwide, affording a rich and varied insider portal for both guests and future guests alike.” Grant Thatcher, Founder, LUXE City Guides.

To discover PenCities, please visit www.peninsula.com

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