The Peninsula - Winter 2017 by The Antithesis

FROM THE CEO

s the holiday season approaches, there is no better place to celebrate than at one of our Peninsula Hotels. From Hong Kong to Paris to Beverly Hills and all of our properties in between, this is a time for us all to come together and appreciate the celebration of life. Beyond the festive season is the awards season, which is why we take the theme of haute couture in this issue of The Peninsula magazine. Our properties have been the choice of actors and actresses for their stays during many of the world’s most high-profile awards ceremonies and events. It is with this in mind that we profile some of the world’s most acclaimed couturiers – from the House of Dior, to wedding maestro Justin Alexander, and jeweller Temple St. Clair.

In China and now across the fashion universe, Guo Pei has become one of the most prolific Chinese haute couture designers of our time. Never before has a Chinese designer received so much international acclaim, to the point that her work is currently being recognised by The Savannah College of Art and Design (SCAD), which is showing ‘Guo Pei: Couture Beyond’, the first U.S. solo museum exhibition of designs by the revered couturier. We also bring you into the world of Christine Chiu, a Beverly Hills personality and philanthropist, who together with her husband Gabriel is a regular fixture at red carpet events and haute couture fashion shows.

In terms of the latest developments in our upcoming new properties, we take a look at the long history of the former Myanmar Railway Headquarters Building – which in just a few years from now, will be majestically transformed into The Peninsula Yangon.

In 2018, I look forward to welcoming you to all of our Peninsula Hotels. As always, I hope you enjoy this insight into the world of Peninsula.

Clement K M Kwok Chief Executive Officer

CMY

CONTENTS WINTER 2017

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FROM THE CEO COUTURE REDEFINED Guo Pei is China’s most renowned couturière and the first Chinese national designer invited to join the prestigious Chambre Syndicale de la Haute Couture. For more than 20 years, she has dressed distinguished ladies, royalty, political elite and international influencers. Her show-stopping, magnificent creations make her a modern messenger of her cultural heritage. From now through March 4, 2018, The Savannah College of Art and Design (SCAD) is showing ‘Guo Pei: Couture Beyond’, the first U.S. solo museum exhibition of designs by the revered couturière.

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SEAMS AND DREAMS Until 7 January 2018, the Musée des Arts décoratifs in Paris is celebrating the 70th anniversary of the creation of the House of Dior with the exhibition entitled ‘Christian Dior: Designer of Dreams’. This lavish and comprehensive exhibition invites visitors on a voyage of discovery through the universe of the House of Dior’s Founder and the illustrious couturiers who succeeded him: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and, most recently, Maria Grazia Chiuri.

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A NATURAL STORYTELLER At the Jewelers of America's 14th Annual GEM Awards held in New York, the spotlight was cast on Temple St. Clair, who received the 2016 GEM Award for Jewelry Design, the industry's most prestigious award, for her work on her ‘Golden Menagerie’ trilogy of creations. A coffee table book published by Assouline followed, and then in 2017, St. Clair joined Louis Comfort Tiffany and Alexander Calder as the third American jewellery designer whose work is represented in the permanent collection of the Musee des Arts Decoratifs at The Louvre in Paris.

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TIMELESS ELEGANCE Bridal designer, Justin Alexander, is fulfilling the diverse needs (and dreams) of brides globally working with a formula of juxtaposition: a vintage appeal with modern edge, clean designs that radiate romance and sophistication.

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CONTENTS 2 WINTER 2017

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WELL SUITED Michelle Yeoh, famed actress and Richard Mille partner, shows off how ladylike a manly look can be.

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CITIZEN OF THE WORLD From a troubled teen to ambassador for the weak and disenfranchised, Angelina Jolie has come a long way, both personally and professionally. And as she continues her journey as a filmmaker and a single mother, it has become evident that while she has achieved much creative success, her true goal is very much a work in progress.

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RED CARPET READY Throughout awards season, The Peninsula Beverly Hills is the hotel of choice for Hollywood’s elite to enjoy the hotel’s unparalleled service. From wardrobe malfunctions to the latest diet craze, the hotel’s seasoned team is fully prepared to take care of its prestigious guests in red carpet style. As the 2018 awards season approaches, legendary photographer Douglas Kirkland photographs philanthropist and avid couture collector, Christine Chiu, who together with her husband Dr. Gabriel Chiu, chaired a record breaking ‘Heaven Gala’ for Art of Elysium, which engages emerging artists in inspiring acts of service that forge opportunities for them to share their creativity in diverse and meaningful ways with individuals of need, kicking off the Golden Globes weekend in 2017.

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THE TIME TRAVELLER “Simplicity is the ultimate sophistication.” This aphorism, attributed to Leonardo da Vinci, captures the essence of the Oyster Perpetual SkyDweller. The classically attractive watch designed for global travellers is distinctive thanks to its revolutionary design, one that blends to perfection technological sophistication and ease of use. The ingenious simplicity of the Sky-Dweller is appreciable at every level – from the display to the movement as well as in its everyday use.

CONTENTS 3 WINTER 2017

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EXCEEDING EXPECTATIONS Rolex’s Datejust is the archetype of the classic watch thanks to functions and aesthetics that never go out of fashion. Launched in 1945, it was the first self-winding waterproof chronometer wristwatch to display the date in a window at 3 o’clock on the dial, and consolidated all the major innovations that Rolex had contributed to the modern wristwatch until then.

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BORN TO RACE First created by Rolex in 1963, the Oyster Perpetual Cosmograph Daytona is a watch born to race. It has established an extraordinary track record in the world of motor sport thanks to its reliability and performance. Known simply as the ‘Daytona’, it has risen to the rank of an icon as one of the best-known chronographs in the world.

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On the corner of Bogyoke Aung San Road and Alan Pya Pagoda Street in the downtown Pabedan district of Yangon sits a rather beautiful old lady, who like a fine wine sitting quietly in a dark underground cellar, has aged relatively gracefully, considering she has been sitting in the same position on the same street since 1896. This old lady is in fact a building which once housed the headquarters of the Burma Railway Company, and in just over three years from now, she will be majestically reincarnated in the form of The Peninsula Yangon.

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PRESERVING HISTORY

THE PENULTIMATE

CONTRIBUTORS 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 2000 E-mail: psh@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 Tokyo 1-8-1 Yurakucho, Chiyoda-ku Tokyo , 100-0006, Japan Telephone: (81-3) 6270 2888 Facsimile: (81-3) 6270 2000 E-mail: ptk@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 Paris 19 Avenue Kléber, Paris 75116, France Telephone: (33-1) 5812 2888 Facsimile: (33-1) 5812 2999 E-mail: ppr@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 Reservations can also be made through: The Peninsula Global Customer Service Centre 5/F, The Peninsula Office Tower, 18 Middle Road, Kowloon, Hong Kong Telephone: (852) 2926 2888 Facsimile: (852) 2732 2933 E-mail: reservationgcsc@peninsula.com Toll Free from: Australasia • Australia: 1 800 116 888 • China: 4001 200 618 • India: 000 800 852 1388 • Japan: 0120 348 288 • Korea: 00798 8521 6388 • Singapore: 800 8526288 • Taiwan: 00801856908 • Thailand: 1800011888 Europe • France: 0800 915 980 • Germany: 0800 181 8418 • Italy: 800 789 365 • Russia: 810 800 2536 1012 • Spain: 900 937 652 • Switzerland: 0800 562923 • UK: 08007830388 Americas • Argentina: 0800 888 7227 • Brazil: 0800 891 9601 • Canada: 1866 308 8881 • Mexico: 01 800 123 4646 • USA: 1 866 382 8388 Middle East • Bahrain: 800 065 90 • Saudi Arabia*: 800 865 6047 • UAE: 800 065 0628 * Toll-free access number is only available through Saudi Telecom Company (STC). www.peninsula.com E-mail: info@peninsula.com

DAVID ELLIOTT Born in 1972 in Hope, British Columbia, David Elliott moved to Hong Kong in 2003. While travelling extensively around the world for photographic shoots and film projects as a model and actor, Elliott’s captivation over the dynamic changing landscapes around Southeast Asia, Hong Kong, China and the Himalayas eventually cemented his stay in the Orient. Elliott’s Hong Kong base neighboring Guangdong – the once home of his great grandfather Chow Dong Hoy, is where his creative vision began to shape. Greatly inspirational to his growth behind the camera were his great grandfathers wellrecognized Canadian frontier photos - imagery that really told the stories behind the lens. Elliott’s own portrayal of people connects intimately, inspiring our appreciation of their courage, humility and love of life. Extensive urban explorations and back country travel have allowed Elliott to show the unique characteristics of these countries, with his documentary fine art imagery preserving the long-standing elements within a modern edged framework. The vast nature in Elliott’s body of work varying from project to project is unified by a unique stylistic flow. His attentive contemplation of each subject draws on his two decades behind and in front of the camera, giving rise to images that are both imaginative and thought provoking.

DOUGLAS KIRKLAND Douglas Kirkland was born in Toronto Canada. He joined Look Magazine in his early twenties, and later Life Magazine during the golden age of 60’s/70’s photojournalism. Among his assignments were essays on Greece, Lebanon and Japan as well as fashion and celebrity work, photographing Marilyn Monroe, Elizabeth Taylor and Marlene Dietrich among others. Through the years, Douglas has worked on the sets of over 100 motion pictures. Among them, ‘Butch Cassidy and the Sundance Kid’, ‘2001 A Space Odyssey’, ‘Out of Africa’, ‘Titanic’, ‘Moulin Rouge’ and many more. Some of his books include ‘Light Years’, ‘Icons, ‘Legends’, ‘Body Stories’, ‘An Evening With Marilyn’, the best-selling ‘James Cameron’s Titanic’, ‘Freeze Frame’, a decade-by-decade look behind the scenes from 50 years photographing the entertainment industry, ‘Coco Chanel, Three Weeks’, and ‘Michael Jackson - the Making of Thriller’.

Published by: The Antithesis G/F, 1 Pak Tze Lane Central Hong Kong Tel: +852 2851 1150 Email: info@theantithesis.net Editor-in-Chief and Creative Director: Ann Tsang Graphic Designer: Christine Lam

Douglas Kirkland’s fine arts photography has been exhibited all over the world. His exhibition of ‘Freeze Frame’ is now in the permanent collection of Academy of Motion Picture Arts and Sciences in Beverly Hills. His work is also in the permanent collections of The Smithsonian, the National Portrait Gallery in Canberra, the National Portrait Gallery in London, Eastman House in Rochester, the Houston Center for Photography, and the Annenberg Space for Photography in Los Angeles. In September 2008, Vanity Fair Italy organised a retrospective of Douglas’ work at the Museum of the Triennale in Milan. He is a member of the prestigious Hewlett Packard’s Photo Influencers and Canon’s Explorers of Light, as well as an associate member of the American Society of Cinematographers. Some of the awards he has received include a Lifetime Achievement Award from the American S.O.C., Photographer of the Year from the PMA, a Lucie Award for Outstanding Achievement in Entertainment Photography from the IPA in 2003, The Golden Eye of Russia in April 2006 and a Lifetime Achievement Award from CAPIC in his native Toronto, Canada in May 2006. In October 2007, Douglas received an Honorary Master of Fine Arts Degree from the Brooks Institute for his deep commitment and dedication to his profession.

CHRISTINE LAM Christine graduated from the Hong Kong Design Institute with a degree in animation but soon realised that her passion lies in graphic design. A creative of many talents - she bakes, hand makes clothes and accessories, and speaks fluent Japanese. Christine draws inspiration from music as well as movies and she is the Chief Designer for The Peninsula magazine.

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.

Media Agents: Hong Kong and Asia Nexus Ltd 4th Floor Asia Standard Tower 59-65 Queens Road Central Central Hong Kong Tel: +852 3911 1288 Email: tak.man@nexusmediaasia.com

THE PENINSULA is published by The Hongkong and Shanghai Hotels, Limited. Incorporated in 1866 and listed on The Stock Exchange of Hong Kong (00045), HSH is the holding company of a Group which is engaged in the ownership, development and management of prestigious hotel, commercial and residential properties in key locations in Asia, the United States and Europe, as well as the provision of transport, club management and other services. The Peninsula Hotels portfolio comprises The Peninsula Hong Kong, The Peninsula Shanghai, The Peninsula Beijing, The Peninsula Tokyo, The Peninsula New York, The Peninsula Chicago, The Peninsula Beverly Hills, The Peninsula Paris, The Peninsula Bangkok, and The Peninsula Manila. Projects under development include The Peninsula Istanbul, The Peninsula London and The Peninsula Yangon. The property portfolio of the Group includes The Repulse Bay Complex, The Peak Tower and St. John’s Building in Hong Kong; The Landmark in Ho Chi Minh City, Vietnam; 1-5 Grosvenor Place in London, UK, and 21 avenue Kléber in Paris, France. The clubs and services portfolio of the Group includes The Peak Tram in Hong Kong; Thai Country Club in Bangkok, Thailand; Quail Lodge & Golf Club in Carmel, California; Peninsula Clubs and Consultancy Services, Peninsula Merchandising, and Tai Pan Laundry in Hong Kong.

Europe Jean-Charles Abeille infopac S.A. 83 Rue de Villiers 92200 Neuilly-sur-Seine France Tel: +33 (0) 1 46 43 00 66 Email: jcabeille@infopac.fr USA Couture Marketing Tel: +1 917 821 4429 Email: karen@couturemarketing.com

ORDERING FROM ADVERTISERS: Advertisers warrant and represent that the descriptions of the products or services advertised are true in all respects. THE HONGKONG AND SHANGHAI HOTELS, LIMITED assumes no responsibility for claims made by advertisers. THE HONGKONG AND SHANGHAI HOTELS, LIMITED, its officers, directors, employees or agents make no recommendations as to the purchase or sale of any product, service or item. All views expressed in all articles are those of the authors and are not necessarily those of THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All content contained within this magazine is the sole property of THE HONGKONG AND SHANGHAI HOTELS, LIMITED and may not be reproduced in any manner whatsoever without authorisation. (c)Copyright 2017 by THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All rights reserved. The Peninsula is a trademark of The Peninsula Intellectual Property Limited.

COUTURE Redefined TEXT: ANN TSANG

Guo Pei is China’s most renowned couturière and the first Chinese national designer invited to join the prestigious Chambre Syndicale de la Haute Couture. For more than 20 years, she has dressed distinguished ladies, royalty, political elite and international influencers. Her showstopping, magnificent creations make her a modern messenger of her cultural heritage. From now through March 4, 2018, The Savannah College of Art and Design (SCAD) is showing ‘Guo Pei: Couture Beyond’, the first U.S. solo museum exhibition of designs by the revered couturière. 16 Dress from 'An Amazing Journey in a Childhood Dream' collection 2008

n her fantastical, unrestrained creations, Chinese designer Guo Pei imbues contemporary high fashion with ancient tradition, invoking history and mythology through intricate craftsmanship and avant-garde silhouettes rife with symbolism. After more than a decade in the business, Guo’s whimsical and dramatic gowns are now more than ever increasingly sought after as statement-making, one-of-a-kind outfits that will rarely be seen more than once. Guo Pei was born in Beijing in 1967 as the daughter of an army leader who later was given a position within the state housing authority. In 1982 she enrolled in fashion studies at the Beijing Second Light Industry School, a tertiary education centre, which at the time had no knowledge of, or access to Western fashion designers or trends. Paris and Milan were still very much foreign territory and the names Christian Dior, Cristóbal Balenciaga and Pierre Balmain were as yet unknown to the Chinese population. In fact ‘fashion’ altogether was not yet even a concept. Following her graduation in 1986, Guo took a government job designing children’s clothing, which earned her 65 Renminbi

(US$10) a month. In 1997, she took her knowledge, passion and hard-earned wages and started a bespoke clothing business under the name of ‘Rose Studio’. Fast forward a decade later to 2007, when Guo began creating runway collections that spoke literally, volumes. Each of the dramatic shows that she has staged to date has been inspired by various themes, the first being rebirth, the second children’s dreams, and another and possibly the most dramatic to date, ‘1002 Arabian Nights’, set to Rimsky-Korsakov’s ‘Scheherazade’ which featured the legendary then 80 year-old supermodel Carmen Dell’ Orefice in the finale. “Guo Pei's designs are the best ambassador for her country,” says Dell’ Orefice of her experience of working with the designer. “She draws from the past, expressing history in her artistry, and she demonstrates through perfecting her craft, a deep understanding of the decades, and the world she lives in today. She is an unparalleled artist of this century.”

22 Dress from the 'Legend of the Dragon' collection 2012

The designer went on to create the ceremonial dresses used in the 2008 Beijing Olympics, including Chinese singer Song Zuying’s diamond-studded gown that she wore to perform a duet with Placido Domingo as they performed ‘The Flame of Love’. Guo also created the pink taffeta column embroidered with red Chinese characters that actress Li Bingbing wore at the 2010 Venice Film Festival, and numerous pieces for China’s most recognised actress, Zhang Ziyi. The only person missing that would undoubtedly carry off any one of Guo Pei’s couture masterpieces is Lady Gaga. But it wasn’t for lack of trying. Nicola Formichetti, Gaga’s stylist, did in fact contact Guo in regards to dressing the ‘Born This Way’ star. Four dresses together with the designer’s stilt-like shoes dutifully arrived in the US, but even La Gaga had to concede that she couldn’t move in them the way that she needed to. Simultaneous with the continued burgeoning wealth in China, Guo has clearly reached a certain status at the right time. At the age of 50, she has come a long way, and both Chinese and Western fashionista eyes continue to watch her closely. In May 2015, the fashion world’s eyes seriously honed in on the now-iconic imperial yellow cape (from the designer’s 2010 ‘1002 Arabian Nights’ collection) worn by Rihanna to the Metropolitan Museum of Art’s Costume Institute Gala - a seminal moment that introduced Guo to America’s fashion cognoscenti. Two months later, in July 2015, Guo presented her creations for the first time in Paris, at the Musée des Arts Décoratifs no less, and her star just keeps on rising. From now through March 4, 2018, The Savannah College of Art and Design (SCAD) in Atlanta, Georgia is showing ‘Guo Pei:

Couture Beyond’, the first U.S. solo museum exhibition of designs by the revered couturière. This landmark exhibition features more than 30 of her most exquisite gowns, accordant footwear and accessories, including the ‘Rihanna’ cape. In concert with the exhibition, SCAD is collaborating with alumni to produce a major monograph celebrating Guo Pei’s spectacular oeuvre. The book, published by Skira Rizzoli, is the first to focus solely on the designer, and features captivating new and archival images of her work, as well as offering an insight into her remarkable career and global significance as an artist. “International superstar fashion artist Guo Pei is in a league of her own, as is SCAD, the preeminent source of knowledge in the disciplines we teach,” notes SCAD President and Founder Paula Wallace. “It is our honour to partner with Guo Pei and with our friends at Rizzoli to publish the first grand compilation of her work as part of the SCAD Museum Book Collection. Readers will become immersed in the ethereal, magical world of Guo Pei and the wonders she creates.” SCAD commissioned HOWL, a creative collective including three SCAD photography alumni - Jim Lind (B.F.A., photography, 2010), Patrick O’Brien (B.F.A., photography, 2010) and Elliot Ross (B.F.A., photography, 2011) - to capture Guo Pei’s designs, which the team photographed in richly styled vignettes at locations throughout the Low Country. Supplemental studio images provide a closer examination of each garment’s ornate artistry and opulent details. A short film chronicling the alumni collaboration and the production of the book was also released in conjunction with the exhibition opening.

Dress from 'One Thousand and Two Arabian Nights' collection 2010 - Photo courtesy of Timothy A Clary - AFP - Getty Images

The SCAD FASH Museum of Fashion + Film celebrates fashion as a universal language, garments as important conduits of identity, and film as an immersive and memorable medium. Situated within the SCAD Atlanta campus at 1600 Peachtree St. NW, SCAD FASH focuses on the future of fashion design, connecting conceptual to historical principles of dress - whether ceremonial, celebratory or casual - and welcomes visitors of all ages to engage with dynamic exhibitions, captivating films and educationally enriching events. Within nearly 10,000 square feet of elegant and adaptable exhibition space, SCAD FASH brings a dynamic and distinct schedule of fashion-focused exhibitions and compelling films to the heart of Midtown Atlanta. SCAD FASH has been named among

Condé Nast Traveler’s 16 best fashion museums in the world and the best global fashion resource in Atlanta by Creative Loafing. Guo Pei has cited John Galliano, Tom Ford and Valentino as designers that she admires, simply stating, “I love these masters' works!” However, there is little or no evidence whatsoever that Guo’s own designs have been influenced by others. Her creations almost always contain Chinese elements, from embroidery to traditional patterns, but they also include modern influences, as she seamlessly combines Oriental style with Western cutting techniques. When asked about the inspiration for her next show, she is somewhat elusive and clearly has the need to surprise. “We have become even more aware of ancient cultural connotations; things that I hope to be able to capture in terms of both inspiration and essence…”

John Galliano for Christian Dior, Shéhérazade ensemble, Haute Couture, Spring-Summer 1998 Evening ensemble, Ballets-russes-inspired kimono, pyramid line with large silk26 velvet funnel collar, appliqué décor, embroidery and incrustation of Swarovski crystals. Long double satin sheath dress. Paris, Dior Héritage © Photo Les Arts Décoratifs / Nicholas Alan Cope

SEAMS and DREAMS TEXT: ANN TSANG

Until 7 January 2018, the Musée des Arts décoratifs in Paris is celebrating the 70th anniversary of the creation of the House of Dior with the exhibition entitled ‘Christian Dior: Designer of Dreams’. This lavish and comprehensive exhibition invites visitors on a voyage of discovery through the universe of the House of Dior’s Founder and the illustrious couturiers who succeeded him: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and, most recently, Maria Grazia Chiuri.

he last Parisian retrospective dedicated to Christian Dior was held in 1987 at the Musée des Arts décoratifs. It focused on ten years of the couturier’s designs, from1947 to 1957. To celebrate the House of Dior’s seventieth anniversary, the current retrospective shows how Christian Dior and the six artistic directors who followed in his footsteps interpreted the brand and built up the inf luence of a name that is the very embodiment of haute couture in France and throughout the world. Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and today’s director, Maria Grazia Chiuri, have all drawn on their own creative sensibilities to formulate a style and a vocabulary that stay true to a leading figure in the world of 20th Century fashion. The selection of over 300 haute couture gowns designed between 1947 and the present day has a unifying thread of emotions, life stories, affinities, inspirations, creations and legacies. Alongside the dresses is the most wide-ranging display to date of atelier toiles and fashion photographs, as well as hundreds of documents, including illustrations, sketches, photographs, letters, notes and advertisements, as well as fashion accessories, including hats, jewellery, bags, shoes and perfume bottles. Reflecting the fact that Dior was also a knowledgeable art lover who adored museums, designs from over 70 years interact with a selection of paintings, furniture and objets d'art. These works highlight and develop Dior’s outlook by exploring the ties that he forged between couture and all forms of art, defining the House

of Dior’s enduring influence. The two curators, Florence Müller and Olivier Gabet, convey their message with a chronological and themed exhibition design that inhabits and brings together the museum’s fashion areas and the nave for the first time, a space of almost 3,000 square metres. Once he launched his New Look Spring/Summer collection in 1947, Christian Dior took the feminine shape in a totally new direction, relegating the masculine silhouette of the war years to the past. His dresses expressed a modern femininity, incarnated by his flower woman and producing a shape characterised by flowing curves and the bearing of a classical ballet dancer. The New Look featured soft shoulders, accentuated busts, nipped-in waists and hips amplified by swirling corolla-like skirts. Dior relaunched the textile industry with his insistence on the use of great swathes of fabric, a controversial move after the years of shortage during the war. He succeeded in breathing new life into the couture tradition, giving a central role to embroiderers and craftspeople making costume jewellery and accessories. The exhibition opens with the story of Christian Dior’s life: his childhood in Granville, the roaring twenties when he discovered the avant-garde art world and the pleasures of Parisian entertainment, his training as a fashion illustrator and his entry into the haute couture world. Before turning to fashion, Christian Dior ran an art gallery from 1928 to 1934 in partnership with his friends, first Jacques Bonjean, then Pierre Colle.

Image: Adrien Dirand

This part of his life is illustrated with a series of paintings, sculptures and documents that depict an eclectic approach to curating, the older generation of established artists rubbing shoulders with young artists who were Dior’s peers. These up-and-coming talents included Giacometti, Dalí, Calder, Leonor Fini, Max Jacob, Jean Cocteau and Christian Bérard. Christian Dior was a lover of antiques and objets d’art, an Art Nouveau collector, a decorator enthralled by the 18th Century, and a garden enthusiast. He drew on all these sources of inspiration to embellish his private residences and define the aesthetic for his couture house and designs. The exhibition shows that his gowns were full of references to painting and sculpture, as well as everything that makes up the art of living: wallpapers, fabrics, china and Chinoiserie. All these creative themes, revisited by his successors so that they have become an integral part of the Dior spirit, are revealed one by one: art and photography, a profusion of colours and textures, austere Parisian elegance, references to the Neoclassical decorative style, the joys of exoticism, and a fascination for floral motifs. Nathalie Crinière presents the themes in successive settings that suggest an art gallery, an atelier, a street, a boudoir, and a fabulous garden. Throughout the exhibition, paintings, sculptures and decorative objets d’art illustrate the couturier’s tastes and sources of inspiration, as well as a creative sensibility shared by all the artistic directors who have followed in his footsteps. The visit continues in the nave with a chronological display spanning the 70 years from 1947 to 2017, showing the energy that set it all in motion, and the legacy of the Dior spirit down the years. The iconic shape of the bar suit that embodies the New Look opens the door to this voyage through time. The black-and-white ensemble demonstrates every aspect of the innovation Dior introduced with his new aesthetic, triggering a golden age of fashion. The suit has continued to haunt the imagination of the fashion world and many of its couturiers and designers ever since. The enduring nature of the Dior spirit stems from the various artistic directors who carried on the couturier’s work after his death in 1957. A succession of six galleries is dedicated to these figures, analysing how their designs contributed to the quest to stay faithful to Dior’s own vision of haute couture. The daring choice of the very young Yves Saint Laurent was followed by Marc Bohan’s more rational appointment. Next came the flamboyant arrival of Gianfranco Ferré, the dramatic era of fashion punk John Galliano, the minimalist statement of Raf Simons’ appointment and, currently, the choice of a woman, Maria Grazia Chiuri, and her feminist vision of fashion. The expertise and techniques that are the lifeblood of haute couture are presented in an atelier where seamstresses are at work,

surrounded by models, dressmakers, sketches and toiles. One of the galleries provides an overview of how the Dior line and allure have developed since 1947, illustrated with gowns and extracts of films and catwalk show videos. The exhibition ends in the lavish setting of the nave, transformed into a grand ballroom for a presentation of a series of truly sumptuous gowns, including several glittering creations seen together for the first time in Paris. Some of them have been worn by famous customers who helped to build the success of the House of Dior, including Princess Grace of Monaco, Princess Diana, Charlize Theron and Jennifer Lawrence. An unusual member of this family of ballgowns, unearthed thanks to research for this project, is a dress named Soirée Brillante, presented at the Musée des Arts Décoratifs during Christian Dior’s time, in November 1955. The occasion was an exhibition of pieces by leading 18th Century French cabinetmakers. Dior was one of the people who lent objects to the exhibition, and the presence of his designs turned the inauguration into a fashionable and elegant cultural event. On Wednesday, 30 November 1955, Dior models strolled around the show in evening gowns, posing among the pieces of furniture and objets d’art. The event clearly demonstrated the natural part that women’s adornments play in the applied arts, and the importance of the role played by Christian Dior in the history of the decorative arts. Most of the works that feature in this ambitious project are from the Dior Héritage Collection and have never before been seen in Paris. The remaining pieces are special loans from the collections of the Musée des Arts Décoratifs and the Union Française des Arts du Costume, the Palais Galliera, the Costume Institute at the Metropolitan Museum of Art in New York, the Victoria and Albert Museum in London, the De Young Museum in San Francisco, the Fondation Pierre Bergé-Yves Saint Laurent, the Museum of London and the Musée Christian Dior in Granville, as well as prestigious works of art representing many different eras, from the collections of the Musée du Louvre, Musée d'Orsay and Musée de l’Orangerie, Château de Versailles, Centre Pompidou, and numerous private collections. For those who miss this spectacular exhibition, a series of books devoted to the seven designers to have headed the House is being published by Assouline – a stunning collection of luxurious coffee table tomes which ensure that the legend of Christian Dior lives on.. Musée des Arts Décoratifs 107, rue de Rivoli Paris France

Maria Grazia Chiuri for Christian Dior, Essence d’herbier cocktail dress, Haute Couture, Spring-Summer 2017. Ecru fringe cocktail dress, floral raffia and thread embroidery adomed with Swarovski crystals, derived from a Christian Dior original embroidery © Photo Les Arts Décoratifs / Nicholas Alan Cope

A NATURAL Storyteller TEXT: ANN TSANG IMAGES: COURTESY OF TEMPLE ST. CLAIR

At the Jewelers of America's 14th Annual GEM Awards held in New York, the spotlight was cast on Temple St. Clair, who received the 2016 GEM Award for Jewelry Design, the industry's most prestigious award, for her work on her ‘Golden Menagerie’ trilogy of creations. A coffee table book published by Assouline followed, and then in 2017, St. Clair joined Louis Comfort Tiffany and Alexander Calder as the third American jewellery designer whose work is represented in the permanent collection of the Musée des Arts Décoratifs at The Louvre in Paris. 33

ighly acclaimed, award-winning jeweller Temple St. Clair fell into the industry that she would eventually become totally submerged in entirely by chance. Whilst in Florence in the early 1980s studying art and literature, her mother came to visit and was intent on finding an ancient coin to set as a jewellery piece. At a local antiquities dealer, St. Clair found for her a rare 4th Century BC Carthaginian coin. “She left me with the task of getting the coin made into a piece, and as a result, I discovered the hidden world of the Florentine artigiani (artisans), and I was (and still am) captivated by the story of gold and jewellery,” recalls St. Clair. Temple St. Clair subsequently founded her eponymous company in 1986 in Florence, embarking on a partnership with the world's finest goldsmiths - the centuries-old Florentine Goldsmiths' Guild. That same year, she became the first fine jeweller to be carried by Barneys New York. With an artist's eye and a storyteller’s mind, St. Clair celebrates rare gemstones and Florentine craftsmanship in each of the oneof-a-kind pieces that comprise her Haute Couture collection, illustrated through luminous photography and her own original watercolour paintings in the recently published coffee table book entitled ‘The Golden Menagerie’ (Assouline 2017). ‘The Golden Menagerie’ trilogy of St. Clair’s collections explores humanity's relationship with animals, from the fairy tale to the realistic, to the mythical and the imaginary. St. Clair’s critically acclaimed ‘Mythical Creatures’, which forms the first chapter of ‘The Golden Menagerie’, made its début at The Louvre in January 2015. The ‘Mythical Creatures’ comprise a collection of nine spectacular one-of-a-kind jewellery pieces created from the imagination in a fairy tale-like depiction, yet related to

personal stories, memories and fantasies. “As a passionate observer, I am endlessly fascinated by the beauty of these beings, their sole instinct to survive, and the magic of their existence,” says St. Clair. Each jewel is housed in a humble wooden tea box from Kyoto, adorned with the rich art of Nancy Lorenz, who uses precious materials such as gold and silver leaf and Mother of Pearl, along with gesso, pigments and burlap to create abstract, magical abodes for each piece. This collection is a whimsical celebration of each creature and its story: the Secret Garden Serpent, the Frog Prince, Turtles on the Rocks, the Night Owl, the Sleeping Fox, the Phoenix Chicks, the Flying Fish, the Medusa Moon Jellyfish, and the Sea Dragons. “From the concept of the design to the worldwide sourcing of gems to the artistic collaboration with Nancy Lorenz, this body of work was a labour of love,” enthuses St. Clair. “It was brought to life by the extraordinary hands of my Florentine craftsmen: master goldsmiths, setters, chisellers, engravers, together with artists and bookbinders.” The second chapter of the Golden Menagerie trilogy, ‘Wings of Desire’, was first presented at the Salon: Art + Design at the Park Avenue Armory in New York in November 2015. “Man has always envied the flight of birds and has attempted to emulate them since ancient times. Think of the Greek hero Icarus, the winged Aztec gods in human form, and Leonardo da Vinci's airplane designs…” St. Clair muses. In the ‘Wings of Desire’ collection, the precious materials of goldsmithery depict winged creatures as they have been imagined throughout history. The collection is divided into three cycles that chart an evolution from nature to fantasy: the Falconi, the Superheroes, and the Fantasy Birds.

“With the Falconi, I sought to express the complex domestic relationship between man and animal. I was inspired by the urban hawk's highly evolved existence in the wilds of New York City. Three specific pieces - the Landing Hawk, the Nesting Hawk, and the Embracing Hawks - were influenced by the work of naturalist illustrators, such as John James Audubon and Mark Catesby,” says the jeweller in full storytelling mode. Perhaps it is pertinent to state here that St. Clair is often quoted as stating, "I am still learning to be a jewellery designer but I am a storyteller." However, it is abundantly apparent that she does both to the highest level, compellingly and in tandem. The Superheroes section of ‘Wings of Desire’ moves away from nature and history and into the realm of mythology. “In every artistic tradition, beginning with the first cave paintings, man has paid homage to animals, idealising their beauty and power and fixing them eternally in the collective imagination. I created five rings for Superheroes: a swan, a winged lion, a winged gazelle, a Pegasus, and a Hippocampus.” These creatures are presented in statuesque poses, each placed on a pedestal, seeming to have just landed from another realm, embellished with details that suggest their earthly and celestial origins. The Fantasy Birds comprise the final section of ‘Wings of Desire’ and according to St. Clair, the series began with a wisp of watercolour on a page – the trace of a wing, a hint of motion, a blur of plumage. “I sought to capture the birds' lightness of being in these singular creations. Detailed feathers are crafted through the minute application of gemstones set on moving wings that are fluidly attached to a sinuous body. The shapes, movement, and colours merge to create this most elegant of avian species and they represent our desire to be freed from all earthly restraint.” The third and concluding chapter of The Golden Menagerie, ‘The Big Game’, was unveiled in December 2016 at the prestigious DeLorenzo Gallery in New York City. With this collection St. Clair created jewelled portraits of animals that she particularly loves, many of which are either extinct or threatened, creating romanticised visions of the creatures, captured in a moment of either stillness or activity within a peaceful environment. The choice of gemstone colours and the patterns of detail reference the impermanence of our time on earth. In an effort to minimise the impact of her work and the materials that she uses on the natural environment, St. Clair rejects the use of products such as coral or ivory. “We are members of the Responsible Jewellery Council and request that all of our partners in production and sourcing adhere to stringent standards with regard to conflict-free and sustainably sourced materials,” she states. “In creating the work that I do, my ambition is that it is work for the ages, not for the moment, to be consumed and forgotten. These pieces are made to be collected, passed down, and treasured, to carry on the storytelling of our time.”

Timeless ELEGANCE PHOTOGRAPHER: PAUL BELLAART ART DIRECTION: DLVS / JUSTIN ALEXANDER STYLING: DIMPHY DEN OTTER HAIRSTYLING & MAKEUP: EVA COPPER MODELS: LILY FRANCOIS AND CHRIS DOE

Bridal designer, Justin Alexander, is fulfilling the diverse needs (and dreams) of brides globally working with a formula of juxtaposition: a vintage appeal with modern edge, and clean designs that radiate romance and sophistication.

ustin Alexander debuted on the bridal fashion scene as ‘T&G Bridal’ in Brooklyn, New York in 1946, a time when women were just beginning to renounce the idea of clothing as mere necessity and embracing fashion as a way to express femininity, confidence, and beauty. The brand entered the market by offering classically designed gowns and tiaras, and while the business has significantly evolved to its current status, its style has remained as timeless as it was more than 60 years ago. Inspired by the intersection of fashion trends and the needs of real brides, each handcrafted gown is distinctly recognised for its vintage inspiration paired with stunning silhouettes, adorned necklines and high attention to detail, which today makes the brand one of America’s and Europe’s most influential creators of bridal attire. The Justin Alexander Spring/Summer 2018 collection is the epitomé of timelessness and is inspired by Greek wedding traditions. In the following pages, we take you to Santorini, the ancient Greek island formed centuries ago by a volcanic eruption, as the magical setting for the collection…

50 Wool three-piece suit and poplin shirt, PALLAS; silk pocket square, CHARVET; watch, RM 63-01 Dizzy Hands Automatic in red gold, RICHARD MILLE; heeled loafers, APERLAI

Well SUITED PHOTOGRAPHER: JEREMY ZAESSINGER STYLIST: LYDIA LOBE

Michelle Yeoh, famed actress and Richard Mille partner, shows off how ladylike a manly look can be.

52 by CHARVET; cufflinks and watch, RM 016 Automatic Cotton jacket, GUCCI; cotton shirt, bow tie, pocket square and cummerbund Extraflat in titanium, RICHARD MILLE

54 Cotton zippered jacket and trousers, ROCHAS; cotton shirt, UNIQLO; tie, CHARVET; watch, RM 023 Automatic in titanium, RICHARD MILLE; heeled loafers, APERLAI

55 Viscose crepe suit, THEORY; silk shirt, HOTEL PARTICULIER; watch, RM 63-01; heeled loafers, APERLAI

CITIZEN of THE World

TEXT: SUZIE JONES

From a troubled teen to ambassador for the weak and disenfranchised, Angelina Jolie has come a long way, both personally and professionally. And as she continues her journey as a filmmaker and a single mother, it has become evident that while she has achieved much creative success, her true goal is very much a work in progress. 57

ngelina Jolie has rebounded from her difficult split from Brad Pitt showing a mixture of resilience and regret. Being a single mother of six children would be difficult enough under any circumstances, and she doesn't hide her discomfort in the wake of her filing for divorce from Pitt after 12 years of marriage. “There's nothing nice about it; it's just hard,“ Jolie, 42, said while promoting her latest film as a director, ‘First They Killed My Father’. But if Jolie is famed for anything, other of course than her artistic talents and other-worldly beauty, it is her steely poise; that unique combination of fragility and toughness that allows her to gracefully glide through even the most arduous phases of her life. Though of course, it has not always been this way for the Oscar-winning actress, who had a fractured youth growing up in Los Angeles, battling depression and drug abuse. Her father, the actor Jon Voight left her mother, actress Marcheline Bertrand, when Jolie was barely a year old, and this heartache coupled with the nagging feeling that her own family were not as wealthy as her peers at Beverly Hills High School, left her with an acute sense of frustration and loss. Jolie found refuge - as many struggling creatives do - in art, and by channelling negative energy into artistic craft and performance. It is surely no coincidence that her breakthrough role was playing supermodel Gia Carangi in HBO's Gia, a young woman who was eventually destroyed by her vices. But even this early success was not enough to temper Jolie’s inner fire and hunger for something deeper. “I wasn’t happy with how things were for me because I thought I wasn’t accomplishing enough, and all the characters I played in my films were leading much more interesting lives than I was,” says Jolie, who has noted in the past that, at heart, she will always be “ just a punk kid with tattoos.”

I'm

A MUCH STRONGER AND BETTER WOMAN TODAY,”

SHE SAYS, SHOWING THAT WORLD-FAMOUS SMILE. “I THINK I'VE GROWN SO MUCH AS A HUMAN BEING SINCE I STARTED WORKING WITH THE UNITED NATIONS.

Jolie’s turning point came while shooting the action blockbuster ‘Lara Croft: Tomb Raider’ in 2001. It was not the privilege that came with mainstream success that brought her joy, but the time spent filming in Cambodia where she found herself deeply moved by the plight of those living in the war-torn country. “I first went to Cambodia about 16 years ago with Tomb Raider and that was the first film shot there after the war. I felt very ignorant because I knew nothing about the war and I went to the country thinking I would meet a very angry and broken people,” explains Jolie thoughtfully. “But instead I was captivated by how resilient, proud and beautiful the people and the country were. One day I went for a walk by myself and I found a little bookshop on the side of the street and I bought a $2 book called ‘First They Killed My Father’. I sat and read it and it changed my views; it taught me so much and I wanted to return to Cambodia.” Thus began Jolie’s enduring relationship with the United Nations, as the actress started to appreciate the fact that true fulfilment comes not from fame, but through what a prolific public profile can achieve in terms of helping others. It also shaped her family - in 2002 when married to Billy Bob Thornton, Jolie adopted her first child, seven-month-old Maddox Chivan, from an orphanage in Battambang, Cambodia, later buying a property in the province to maintain her son’s connection to his heritage. She went on to adopt daughter Zahara from Ethiopa and son Pax Thien from Ho Chi Minh City in Vietnam, who along with Maddox and her three biological children with Pitt, takes her brood to six. “My visits to war zones changed me forever,” she declares. “I stopped being selfish and getting absorbed in petty, personal issues. Having my own family has also made me see how lucky I am to be able to give my children every advantage in life. It’s incredible how our minds can wander and become trapped in thinking about issues that are so unimportant on a practical level.” By eventually turning ‘First They Killed My Father’ into a film, Jolie’s life has come full circle, as she recalls fondly how after reading the book she sought out its author, Cambodian refugee Loung Ung, whose personal memoir looks back at her experience as a five-year-old girl whose family was forced to flee Phnom Penh

when the Khmer Rouge invaded the city. The pair became fast friends, with the actress seeking the author’s advice as to whether it would be appropriate to adopt a Cambodian boy (Maddox), the same child who would go on to work on the film adaptation of the book alongside his mother, and younger brother Pax. The involvement of her children represents something Jolie hopes to continue with her offspring in the future. “Mad and Pax both loved it [working on the film] and the younger children also want to get involved, so I'm looking forward to the time when I might get to make a film where all the kids are working on the set with me. That would be incredible!” The sentiment echoes an ongoing in theme in Jolie’s approach to parenting, and while she is naturally keen to protect her brood from the repercussions of her split from Pitt, there is, and has always been, a sense that her children have been brought up with a sense of worldliness and gratitude that would perhaps make them more mentally robust than most. This attitude is arguably something nurtured by Jolie's mother Marcheline, who died in 2007 from ovarian cancer. “From a very young age, I saw her doing aid work. She was very involved in Native American issues - she was part Iroquois Indian and part French Canadian, and we started a foundation together for Native American people. It was instilled in me from a very young age how important it is to do positive things for other people. I saw how it made her life happy and fulfilled,” says Jolie fondly. Now in her forties, Jolie’s natural beauty fittingly reflects the emotional wellbeing that she feels inside. Her persona has softened somewhat, almost as if that tough, impenetrable shell has fallen away as she grows in confidence and happiness, allowing her more vulnerable and maternal instincts to be revealed. “I'm a much stronger and better woman today,” she says, showing that worldfamous smile. “I think I've grown so much as a human being since I started working with the United Nations. “It’s something I felt I needed to do with my life for many, many years, even without knowing exactly what that was. I just feel very fulfilled and grateful that I have this opportunity to be able to make a difference.”

62 Spa robe courtesy of The Peninsula Beverly Hills; ring by Henri J. Sillam

RED Carpet READY PHOTOGRAPHER: DOUGLAS KIRKLAND ART DIRECTOR AND STYLIST: ANN TSANG PRODUCER: FRANCOISE KIRKLAND PHOTOGRAPHY ASSISTANTS: SAMUEL ROBERT HERNDON, SEAN GARRISON LOCATION CO-ORDINATOR: RAFFI SERGE KARDJIAN SPECIAL THANKS TO ROB ROCHE AND JESSICA WONG AT THE PENINSULA BEVERLY HILLS AND JILL EISENSTADT-CHAYET AT BLUPRINT PR

Throughout awards season, The Peninsula Beverly Hills is the hotel of choice for Hollywood’s elite to enjoy the hotel’s unparalleled service. From wardrobe malfunctions to the latest diet craze, the hotel’s seasoned team is fully prepared to take care of its prestigious guests in red carpet style. As the 2018 awards season approaches, legendary photographer Douglas Kirkland photographs philanthropist and avid couture collector, Christine Chiu, who together with her husband Dr. Gabriel Chiu, chaired a record breaking ‘Heaven Gala’ for Art of Elysium, which engages emerging artists in inspiring acts of service that forge opportunities for them to share their creativity in diverse and meaningful ways with individuals of need, kicking off the Golden Globes weekend in 2017.

64 Dress and hat by Dior Haute Couture; shoes by Aleksander Siradekian; earrings and ring by Chantecler Capri

Dress by Armani Prive; shoes by Christian Louboutin; earring and diamond ring by Gismondi 1754; pearl ring by Mikimoto

67 Gown by Giambattista Valli Haute Couture; shoes by Christian Dior; earrings and ring by Gismondi 1754

68 Gown by Giambattista Valli Haute Couture; necklace by Gismondi 1754; bracelet and ring by Yeprem

69 Gown by Carolina Herrera; necklace by Chanel High Jewellery; earrings by Henri J. Sillam; ring and attached bracelet by Gismondi 1754

70 Top and skirt by Giambattista Valli Haute Couture; rings and earrings by Henri J. Sillam

The TIME Traveller

“Simplicity is the ultimate sophistication.” This aphorism, attributed to Leonardo da Vinci, captures the essence of the Oyster Perpetual Sky-Dweller. The classically attractive watch designed for global travellers is distinctive thanks to its revolutionary design, one that blends to perfection technological sophistication and ease of use. The ingenious simplicity of the Sky-Dweller is appreciable at every level – from the display to the movement as well as in its everyday use.

017 saw Rolex introduce its Oyster Perpetual Sky-Dweller, the brand’s classic watch for world travellers, for the first time in a choice of yellow or white Rolesor – combining 904L steel and 18 ct yellow or white gold. The dials now feature rectangular index hour markers and longer hands, as well as a Chromalight display with long-lasting luminescence, which enhances legibility. Like all Rolex watches, the new Sky-Dweller carries the Superlative Chronometer certification redefined by Rolex in 2015 to ensure singular performance on the wrist. A distinctly elegant watch for frequent travellers, the Oyster Perpetual Sky-Dweller is a timepiece of revolutionary design that perfectly blends technological sophistication and ease of use. Protected by 11 patents, the Sky-Dweller provides the information that the wearer needs to easily keep track of time. It includes a dual time zone, with local time read via centre hands, and a reference time display in a 24-hour format read via a rotating off-centre disc on the dial; a particularly innovative annual calendar named Saros – after the astronomical phenomenon of the same name – that requires only one date adjustment a year, when the month changes from February to March; and a month display by means of 12 apertures around the circumference of the dial. To set its functions quickly and easily, the watch is also equipped with an innovative, patented interface: the rotatable Ring Command bezel. Rolesor, the combination of gold and steel on a Rolex watch, has been a signature feature of the brand since 1933, when the name was first registered. It is an auspicious meeting of two metals: one, noble and precious, attractive for its lustre and stability; the other, highly resistant, known for its strength and reliability. On the yellow Rolesor version of the Sky-Dweller, the bezel, the winding crown, as well as the centre bracelet links are made of 18 ct yellow gold, while the middle case and the outer links of the bracelet are in 904L steel. On the white version, the bezel is made of 18 ct white gold, while the crown, middle case and bracelet are in 904L steel. The Sky-Dweller’s Oyster case is guaranteed waterproof to a depth of 100 metres (330 feet). Its characteristically shaped middle case is crafted from a solid block of 904L steel, whilst its fluted case back is hermetically screwed down with a special tool that allows only Rolex watchmakers to access the movement. The winding crown, fitted with the Twinlock double waterproofness system, screws down securely against the case. The crystal, with a Cyclops lens at 3 o’clock for easy reading of the date, is made of virtually scratchproof sapphire.

The Sky-Dweller is equipped with calibre 9001, a self-winding mechanical movement entirely developed and manufactured by Rolex. Protected by seven patents, it is one of the most complex calibres ever developed by the brand, and its architecture and innovative features make it singularly precise and reliable. The oscillator, the true heart of the watch, has a blue Parachrom hairspring, patented and manufactured by Rolex in an exclusive alloy. Insensitive to magnetic fields, the hairspring offers great stability in the face of temperature variations and remains up to 10 times more precise than a traditional hairspring in case of shocks. A Rolex overcoil ensures its regularity in any position. The oscillator is held firmly in place by a height-adjustable traversing bridge and is fitted between high-performance Paraf lex shock absorbers, developed and patented by Rolex, that provide 50 per cent greater resistance to shocks. Calibre 9001 is equipped with a self-winding module via a Perpetual rotor and offers a power reserve of approximately 72 hours. A selector wheel on the outside edge of the movement ensures the interaction of the movement and the bezel of the watch to set the functions. The Sky-Dweller Oyster bracelet benefits from a new concealed attachment system beneath the bezel which ensures seamless visual continuity between the bracelet and case. It is equipped with a folding Oysterclasp and also features the ingenious Rolex-patented Easylink rapid extension system that allows the wearer to easily increase the bracelet length by approximately 5 mm, for additional comfort in any circumstance. Like all Rolex watches, the Sky-Dweller is covered by the Superlative Chronometer certification, redefined by Rolex in 2015. This designation testifies that the watch has successfully undergone a series of tests conducted by Rolex in its own laboratories according to its own criteria, which exceed watchmaking norms and standards. The certification applies to the fully assembled watch, after casing the movement, guaranteeing superlative performance on the wrist in terms of precision, power reserve, waterproofness and selfwinding. The precision of a Rolex Superlative Chronometer after casing is of the order of −2/+2 seconds per day, or more than twice that required of an official chronometer. With its iconic Rolex fluting, the Sky-Dweller is firmly established in the lineage of the classic models in the Oyster collection and has become an unquestionable symbol of timeless elegance.

Exceeding EXPECTATIONS

Rolex’s Datejust is the archetype of the classic watch thanks to functions and aesthetics that never go out of fashion. Launched in 1945, it was the first self-winding waterproof chronometer wristwatch to display the date in a window at 3 o’clock on the dial, and consolidated all the major innovations that Rolex had contributed to the modern wristwatch until then.

n 2017 Rolex unveiled the 904L steel version of its newgeneration classic Oyster Perpetual Datejust 41 model, together with a white Rolesor version (a combination of 904L steel and 18 ct white gold) featuring an 18 ct white gold fluted bezel. The new Datejust 41 watches are equipped with a redesigned 41 mm case and the new Rolex calibre 3235, at the forefront of watchmaking technology with its 14 patents, the new Chronergy escapement, and a power reserve of approximately 70 hours. The Oyster case of the Datejust 41, guaranteed waterproof to a depth of 100 metres (330 feet), is robust, proportionate and elegant, and its characteristic middle case is crafted from a solid block of 904L steel. The calibre 3235 is a new-generation movement entirely developed and manufactured by Rolex. This self-winding mechanical movement is at the forefront of the art of watchmaking, and is a consummate demonstration of Rolex technology. With 14 patents, it offers fundamental gains in terms of precision, power reserve, resistance to shocks and magnetic fields, convenience and reliability. It incorporates the new Chronergy escapement patented by Rolex, which combines high energy efficiency with great dependability. Made of nickel-phosphorus, it is also insensitive to magnetic interference. Thanks to its new barrel architecture and the escapement’s superior efficiency, the power reserve of calibre 3235 extends to approximately 70 hours.

The new Datejust 41 is available on an Oyster or Jubilee bracelet. Both these solid-link, 904L steel bracelets benefit from a new concealed attachment system beneath the bezel, which ensures seamless visual continuity between the bracelet and case. They are equipped with a folding Oysterclasp and also feature the Rolexpatented Easylink rapid extension system that allows the wearer to conveniently increase the bracelet length by approximately 5 mm if required. Like all Rolex watches, the Datejust 41 is covered by the Superlative Chronometer certification redefined by Rolex in 2015. This exclusive designation testifies that the watch has successfully undergone a series of tests conducted by Rolex in its own laboratories which exceed watchmaking norms and standards. The certification applies to the fully assembled watch, after casing the movement, guaranteeing superlative performance on the wrist in terms of precision, power reserve, waterproofness and self-winding. The precision of a Rolex Superlative Chronometer after casing is of the order of −2/+2 seconds per day, or more than twice that required of an official chronometer. Aesthetically, the Datejust has spanned eras while retaining the enduring codes that today still make it one of the most recognised and recognisable of watches in the world.

BORN To RACE First created by Rolex in 1963, the Oyster Perpetual Cosmograph Daytona is a watch born to race. It has established an extraordinary track record in the world of motor sport thanks to its reliability and performance. Known simply as the â&#x20AC;&#x2DC;Daytonaâ&#x20AC;&#x2122;, it has risen to the rank of an icon as one of the best-known chronographs in the world. 76

olex has introduced three new versions of its Oyster Perpetual Cosmograph Daytona in 18 ct yellow, white or Everose gold. These versions are fitted on the innovative Oysterflex bracelet in elastomer, reinforced with a metal blade, and are equipped with a monobloc Cerachrom bezel in black ceramic. This latest evolution is a blend of high technology and sleek aesthetics, and pays tribute to the heritage of this legendary chronograph. The black bezel is reminiscent of the 1965 model that was fitted with a black Plexiglas bezel insert. Like all Rolex watches, these new Cosmograph Daytona versions carry the Superlative Chronometer certification redefined by Rolex in 2015, which ensures singular performance on the wrist. A key part of the model’s identity is the bezel engraved with a tachymetric scale for measuring average speeds of up to 400 units of distance – miles or kilometres – per hour. The monobloc Cerachrom bezel in high-tech ceramic offers a number of advantages: it is corrosion resistant, virtually scratchproof and the colour is unaffected by UV rays. This extremely durable bezel also offers an exceptionally legible tachymetric scale, thanks to the deposition of a thin layer of 18 ct gold or platinum in the numerals and graduations via a PVD (Physical Vapour Deposition) process. The monobloc Cerachrom bezel is made in a

single piece and holds the crystal firmly in place on the middle case, ensuring waterproofness. The Cosmograph Daytona’s Oyster case, guaranteed waterproof to a depth of 100 metres (330 feet), is a paragon of robustness, proportion and elegance. Its characteristically shaped middle case is crafted from a solid block of 18 ct gold, whilst its fluted case back is hermetically screwed down with a special tool that allows only Rolex watchmakers to access the movement. The winding crown– fitted with the Triplock triple water-proofness system – as well as the chronograph pushers screw down securely against the case. The waterproof Oyster case provides optimum protection for the Cosmograph Daytona’s high-precision movement. The Cosmograph Daytona is equipped with calibre 4130, a self-winding mechanical chronograph movement entirely developed and manufactured by Rolex. Its architecture was completely reengineered and the number of components for the chronograph function was reduced significantly, thereby enhancing the movement’s reliability. The Calibre 4130 is equipped with a selfwinding module featuring a Perpetual rotor and boasts a power reserve of approximately 72 hours. Once again, the ‘Daytona’ proves that it was born to race in the fast lane of haute horlogerie.

Preserving HISTORY TEXT: ANN TSANG IMAGES: DAVID ELLIOTT

On the corner of Bogyoke Aung San Road and Alan Pya Pagoda Street in the downtown Pabedan district of Yangon sits a rather beautiful old lady, who like a fine wine sitting quietly in a dark underground cellar, has aged relatively gracefully, considering she has been sitting in the same position on the same street since 1896. This old lady is in fact a building which once housed the headquarters of the Burma Railway Company, and in just a few years from now, she will be majestically reincarnated in the form of The Peninsula Yangon.

y protecting and promoting its spectacular and impressive heritage in the course of what is inevitable urban development, the city of Yangon is uniquely poised to become one of the most vibrant and attractive modern cities in Southeast Asia. Yangon boasts one of the most spectacular and diverse urban landscapes in the world. It is also the home of what is possibly the finest collection of colonial British architecture anywhere in Asia, with literally hundreds of late 19th Century buildings occupying an area of several square miles in the downtown area. Much of the modern history of Yangon can in fact be traced through its colonial architecture. From the former Reserve Bank of India, which recorded every moment of the country's fiscal history, to the now-derelict Pegu Club, once the watering hole of choice for officers of the British colonial government, to our ‘old lady’ (the former Myanmar Railway headquarters Building - MRB) who is the primary focus of this article, most of these buildings have colourful and storied histories, having survived war, natural disaster, numerous changes of ownership, and the onslaught of increasing modernisation and urbanisation. In the book 30 Heritage Buildings of Yangon: Inside the City that Captured Time (Serindia Publications, 2012), author Sarah Rooney includes the MRB, and examines its past, present and future. “The building was originally constructed as the headquarters of the state-run Burma Railways, which later became a private company that leased the country’s railway system from the government in 1896. It was the largest commercial undertaking in the country and the railway system did much to facilitate trade and open up access throughout Myanmar. At that time the company took over, the country had 886 miles of single line and 134 miles of sidings; within just over a decade the track had been almost doubled to 1,529 miles with 329 miles of sidings,” states Rooney. “The entire administration of the country’s railway system was controlled from this building, which also contained offices for the General Manager of the Railways Board, the Chief Engineer, Traffic Manager, and Controller of Railway Accounts. In addition to these offices, the catering and advertising departments were also located in this building. Ads were good business for the Burma Railways Company, which boasted in 1925 that over three million people would see ads displayed on station platforms, refreshment stands, waiting rooms, book stalls, and timetables.”

Rooney reports in her book that in 1992, when the building served as an office for the Ministry of Railways, Serge Pun & Associates (Myanmar) Ltd. signed a 30-year lease on the structure. “The city of Yangon is an old city with an architectural heritage that we are enormously proud of,” says Pun in the chapter. “The old railway headquarters had such an impact on Myanmar’s transportation industry. I envisage the building being restored to its original design, with care taken to use high quality construction materials and traditional handiwork. My desire is to bring the glory back to the building so it will once again be a place where people can come and celebrate their special and memorable occasions.” In the same year that 30 Heritage Buildings of Yangon: Inside the City that Captured Time was published, the Yangon Heritage Trust was founded by Dr Thant Myint-U and a group of like-minded architects, business people, historians, and others dedicated to preserving the city of Yangon’s unique architectural legacy, to address the need for a comprehensive urban plan that integrates Yangon’s existing urban fabric with the needs of a rapidly developing city. One of the Trust’s major projects was the compilation of the Yangon City Heritage list, which contains almost 200 historical buildings, mostly schools and government buildings from the British colonial era, as well as temples and pagodas that cannot be demolished or modified without approval. The list also includes the MRB. "The challenge is how to repurpose these buildings in a way that is financially viable while at the same time respectful of their architectural structure and heritage status," notes Rooney. "Not all of these buildings can be turned into museums and art galleries…the important issue will be ensuring that renovations are in keeping with their original design and aesthetic." The MRB is one of the buildings that is well on the way to meeting this challenge, as it is currently undergoing a complete

restoration to return it to its former glory and rise once again to become the future Peninsula Yangon operated by The Hongkong and Shanghai Hotels, Limited (HSH). “The MRB is an impressive example of distinctive Victorian architecture, incorporating Gothic details and local materials such as laterite stone and Burmese teak, making it a truly unique structure in the heart of the city,” states Historic Buildings Consultant James Weir, whose company was approached “to provide advice as to sensitive, appropriate repairs of elements of the structure, as well as to champion the significance of the site to Burmese and British history.” The unique appearance of the MRB is probably unmatched by any other colonial civic monument in Yangon, predominantly achieved by its facades of fairfaced laterite and brickwork. In addition, it possesses one of the largest intact collections of historic cast iron decorative elements. Comprising three ‘wings’ around an expansive courtyard, the MRB is a three-storey loadbearing masonry building with timber upper floors and steel roof framing. It was built in phases through its history, the earliest being in the late 1880s to the early 1890s when the three railway companies were consolidated, ultimately being realised in its present-day extent by the early 1940s. Its historic structure and fabric has, somewhat surprisingly, remained largely intact. While the exterior of an historic building may be its most prominent visible aspect, restored interiors effectively immerse visitors in the building’s history. Unlike ‘interior décor’ of today, architectural interiors of historic buildings were conceived as an integral part of the building design and character. Important elements include architectural features such as staircases, columns, beams, and the various finishes and materials that make up the walls, floors and ceilings.

The ambience and character of historic interiors are a result of fine craftsmanship by tradesmen of a past era. These original features are distinctive markers of the buildingâ&#x20AC;&#x2122;s architectural and historical pedigree. The architectural material palette of a bygone era imparts colour, texture and patterns, eliciting vivid images and memories of the past. In the MRB, these include the lofty timber ceilings, robustly carved teak staircases, elaborate plaster cornices, and vibrant terrazzo flooring. Many of these original elements of the building have been carefully removed and placed in safe storage prior to being restored to their former glory and re-instated in their former locations, with a view to recreating an immersive experience for future guests of The Peninsula Yangon. At the groundbreaking ceremony held in February 2017 to mark the commencement of construction to develop the MRB into The Peninsula Yangon, Clement K.M. Kwok, Managing Director and Chief Executive Officer of HSH, commented: â&#x20AC;&#x153;Our strategy is to invest in exceptional projects with a long-term outlook. We are excited to move forward with this development and to be part of history as Myanmar becomes increasingly important on the global stage as a business and tourism destination. It is a dynamic, fast-growing and exciting market. We believe The Peninsula Yangon will truly reflect the heritage and beauty of the city and we are confident that it will become an iconic landmark that locals can be proud of, as it brings a new level of distinction to the Myanmar hospitality scene.â&#x20AC;?

THE Penultimate