Tempus Magazine | Issue 58 | July 2018

TIMELESS INSPIRATION

TAKING FLIGHT Eight innovators transforming Britain’s design scene ISSUE

58

SUSTAINABLE LUXURY | ECO-FRIENDLY YACHTING | HOW TO INVEST IN ART DESIGN EDITION £8 WHERE SOLD

4

5

THE ART OF LUXURY CAVIAR Attilus proudly presents an exclusive collection of caviars for food lovers. Handcrafted on the banks of the River Elster, Attilus’s caviar is produced by Siberian and Russain sturgeon, and cleansed with pure artesian water. The precise seasoning process results in an extraordinary taste that is both smooth and luxurios.

UK: www.attilus.co.uk EU: www.attiluskaviar.de

FROM THE EDITOR So far, 2018 has been a pretty eventful year for the design industry.

Elon Musk launched the world’s most powerful rocket, leaps and bounds have been made in the world of 3D printing and the new Google Assistant has taken everyday robotics to new heights. At the same time, the topic of sustainability has been thrust into the spotlight, with everyone from fine jewellery makers to international hotel chains taking steps to become more eco-conscious – green is the new black, as we discover on page 20.

Tempus’s first Design issue calls for something special, so we’ve teamed up with a board of industry experts to unveil the innovators making waves in Britain’s design industry. From architects and artists to the emerging stars of fashion and motoring, we’ve scoured the UK to present you with the talents you should be looking out for this year.

One of our chosen eight, wildlife photographer Tim Flach, was kind enough to lend us his portrait of a critically-endangered hyacinth macaw for our cover. This powerful image is the perfect example of design-meets-conservation – another important topic of the year.

Moving on to the rest of the issue, in Speed, we speak with Aston Martin’s director of design about how he created the supercar of the year, the DBS Superleggera. Then, looking back to sustainability, we explore how the super yachting industry is going eco-friendly – yes, really.

In Style, we debate the timely topic of lab-made diamonds – will collectors ever be truly convinced? Turn to page 76 to find out more.

We also go behind-the-scenes of two watchmaking workshops and discover how timepiece personalisation is the new style status.

Later, in Culture, we discover why Viennese Modernism is the talk of the art world once again, and determine how to effectively invest in art.

In Escape, we observe the impact that fashion designer Ralph Lauren is having in Jamaica, before travelling from Thailand to Madrid in search of the coolest hotels on the planet.

Finally, in Property, we present a guide to the eco-homes you should be investing in right now, and chat to world-renowned interior designer Bill Bensley about the importance of sustainability (page 114).

Enjoy the issue.

Rachel Ingram

Editor Rachel Ingram rachel@tempusmagazine.co.uk

Commercial Director Donna Price donna.price@tempusmagazine.co.uk

Editorial Director Scott Manson scott@tempusmagazine.co.uk

Creative Director Ross Forbes ross@tempusmagazine.co.uk

Events and Partnerships Director Georgia Peck georgia@tempusmagazine.co.uk

Digital Editor Michelle Johnson michelle@tempusmagazine.co.uk

Style Editor Marius Borg Høiby marius@tempusmagazine.co.uk

Boutique Partnership Manager Scott Wheeler scott.wheeler@tempusmagazine.co.uk

Digital Writer Rose Adams rose.adams@tempusmagazine.co.uk

Chief Executive Officer Shaun Prince shaun@tempusmagazine.co.uk

Contributors

James Lohan

Adam Hay-Nicholls

Dominique Afacan

Sarah Jordan

Founder of Mr & Mrs Smith, James is the man in the know when it comes to hotels. On page 38, he unveils his favourite design-led properties around the world.

Car journalist and writer for the likes of GQ and the Telegraph, Adam goes on a mission to discover how to make a supercar truly bespoke. Turn to page 56 for more.

Our yachting expert Dominique explores how the super yacht industry is becoming more and more eco-conscious. Read her report on page 60.

A former editor of Professional Jeweller magazine, Sarah delves into the fascinating world of lab jewels and ethically-mined diamonds.

Discover her findings on page 68.

tempusmagazine.co.uk @tempusmagazine TempusLondon @tempusmagazine

Office Address: Tempus Media Floor 5, 3-5 Wardour Street London, W1D 6PB Phone Number: +44 (0) 20 3910 1449

Cover image Photographer: Tim Flach Collection: Endangered Subject: Hyacinth Macaw Article on page 88

Collector’s edition Artwork: Cuerno de Chivo Artist: Bran Symondson Article on page 34

© 2018 Tempus Media Limited Articles and other contributions published in this journal may be reproduced only with special permission from the Publishers. The Publishers Tempus Media Limited, accept no responsibility for any views or statements made in the articles and other contributions reproduced from any other source. No responsibility is accepted for the claims in advertisements appearing in this journal and the Publishers reserve the right to accept or refuse advertisements at their discretion.

Responsibly printed Tempus magazine is printed on FSC-certified paper that’s been sourced in an environmentally-friendly, socially responsible and economically viable way. All paper stock can be traced back to the original tree.

CONTENTS

Design 14 The luxe list This season's most exciting new launches 18 Time for change Mark Hearn, MD of Patek Philippe UK, analyses the evolving tastes of collectors 20 Green is the new black How sustainable design and luxury goods came together 26 The design hotlist Eight innovators set to dominate Britain's design world 38 Visionary spaces Inside the most impressive design hotels on the planet 44 Take two Sustainable accessories making an impact in communities and on the catwalk

Speed 50 Fast and furious In conversation with Aston Martin director of design Miles Nurnberger 56 Haute voiture Discovering how a supercar becomes truly bespoke 60 The superyachts saving the ocean The eco-conscious side of luxury yachting

Style 68 Diamond debate Will man-made diamonds ever beat the real thing?

72 Breaking boundaries Inside the workshops of two leading Swiss and German watchmakers 78 The maverick Customising timepieces with Titan Black

Culture 82 The art of investment How to collect fine art 84 Leading lights Celebrating the return of Viennese Modernism 88 Animal instincts Getting a fresh perspective on wildlife photography with Tim Flach

Escape 96 The house on the hill Inside the most exclusive resort in Jamaica 100 Eco-tripping Discovering luxury sustainabilty at Thailand’s Tongsai Bay 102 Night at the museum Art and design combine at this unique Madrid property 104 In the lap of luxury Rediscovering London’s Dorchester hotel

Property 108 Green light The best eco-friendly second homes on the globe 114 A world away What makes Bill Bensley the Willy Wonka of hotel design?

Events 118 Cause for thought Inside the inaugural Tempus Earth Conservation Gala 126 Save the date This season's best upcoming events

ISSUE 58

Visionary spaces 38

The LUXE LIST Our essential guide to the most exciting new launches and finest seasonal must-haves

14

3

Decca Luxe Pavarotti box For the true virtuoso fan, Universal Records’ Decca Luxe brand combines technology and artistry to present new way of experiencing some of the world’s most iconic masters. The company’s first piece is a limited-edition celebration of Luciano Pavarotti, enclosed in an artistic painting box designed by David Linley. Owners can discover the opera star’s 130-hour catalogue of works (re-recorded by a live orchestra to create a 360-degree stereo experience), recipes from his personal cookbook, paintings, and more. The Pavarotti box – limited to 70 pieces (one for each year of the star’s life) – is priced at £70,000. deccaluxe.com

4

2

Carmelo Guastella at Gielly Green

The Ritz-Carlton Residences Marrakech With the ‘sport of kings’ at its core, The Ritz-Carlton Residences Marrakech brings a new level of luxury living to Morocco. Located on the 50-hectare Jnan Amar Polo Resort, the property is ideal for polo enthusiasts. Each of the residences, starting at £1.3m, has been developed on an expansive plot and boasts beautiful views of the polo field and nearby Atlas Mountains. rcr-marrakech.com

1

Parmigiani Fleurier Kalpa Hebdomadaire

Rose gold is the hue of the moment and this sleek model from fine Swiss watchmaker Parmigiani is the one to beat. The Kalpa Hebdomadaire pays homage to the design work of its founder, Michel Parmigiani, with the famous eight-day movement, and to the history of the Kalpa.

In terms of design, the inky shade ensures it matches a multitude of wardrobe options, while the sapphire case-back exposes the wide tonneau opening, revealing its seamless integration with the case. parmigiani.com

5

He’s previously been crowned GQ magazine’s ‘Barber of the Year’, recently styling the England football squad before they headed off to Russia, and now – finally – he’s found a permanent London home as the men’s grooming director at Gielly Green, the in-house salon at London’s prestigious Four Seasons Hotel London at Ten Trinity Square. With his fast Sicilian fingers, Carmelo will perform wonder transformations while you sit back and enjoy good coffee and conversation in this slick and stylish temple of grooming. giellygreen.co.uk

Purdey The 24 Hr bag As travelling becomes an increasingly common part of modern day work, it pays to invest in a stylish holdall in order to transport your essentials in style when you fly. Step forward leather goods maker Purdey, whose dapper 24 Hr leather bag is top of our wish list. With three internal pockets, reinforced leather base, and attractive Audley red cotton lining, it’s as durable as it is dashing. purdey.com

15

6

7

Sanders & Sanders Snuff Suede Chukka Boot

JMC Lutherie Soundboard

No male wardrobe is complete without a smart pair of snuff suede chukka boots. Favoured by legendary film star Steve McQueen, the Great Escape actor famously donned them for many of his best loved film roles in the sixties, including The Thomas Crown Affair and Bullitt. His go-to brand? Sander and Sander – available at John Rushton Shoes and on the Tempus Boutique,. And if it’s good enough for McQueen, its good enough for us.

As we demand more from the technology in our homes, brands are full of exciting contemporary innovations to enrich our living spaces. Case in point: the JMC Lutherie Soundboard. An elegant, handcrafted audio speaker that doubles up as a piece of art, it brings the beats and atmosphere of a concert to your living room – minus the crowds. It’s available in a myriad of colours – owners can also customise it with their favourite art or photos.

johnrushtonshoes.com

jmclutherie.com

8

Boss & Co Gunmakers

Since it was established in 1812, artisan gunmakers Boss & Co has maintained its position as the leader in the field of sporting rifles, making it your first port of call when investing in a new model. Limited to a product line of just 14 new guns per year, the company has just released the Boss & Co .375 rifle – priced at £145,000 – complete with sparkling Swarovski scope for sterling precision.

The unique juxtaposition of traditional style Audemars Piguet Diamond Outrage with the latest technology makes it an exceptional collectable for any discerning owner. bossguns.com

16

9

Ansible Motion Simulator Ever dreamt of occupying a seat beside the likes of Lewis Hamilton, Sebastian Vettel and Kimi Raikkonen as they burn rubber along the Formula 1 track? Well now you can – from the comfort of your own home. Ansible has premiered the trailblazing Formula 1 simulator, as used by F1 teams and car manufacturers. Fully customisable, it can be uniquely tailored to every taste, with add-ons such as surround sound and rear-view mirrors. Prices start at around £1m. ansiblemotion.com

10 Aiyanna Ibiza

The white isle has no shortage of fine coastal dining spots but Aiyanna, a boho beachside restaurant from the team at Amante Ibiza, has been wowing visitors since it opened earlier this year. Perfectly placed above the idyllic Cala Nova bay, it’s laidback luxe at its best. But behind that eclectic hippy chic exterior lies a kitchen that’s turning out some seriously good gastronomy. Book a table for a leisurely lunch and enjoy some of the best organic cuisine on the island. aiyannaibiza.com

Available on the BOUTIQUE 17

TIME FOR

change

Mark Hearn, managing director of Patek Philippe UK, analyses the changing tastes of watch collectors in Britain

W

atch collectors and connoisseurs in the UK have been more attracted to complicated timepieces lately. I say that as our customers more and more are looking for complications in a watch. We believe it is because they know more about Patek Philippe via our events, factory visits, and articles, so they appreciate more the intricacies and innovation we bring when developing a new watch, not only in the movement but also in the dial and case.

Our Annual Calendar watches, a Patek Philippe patent from 1996, remain our most popular complication.

The interesting fact is that, for the last 10 years, it hasn’t just been men who are looking for more complications, but also women who want to know more about what is inside a watch. Watches like the Ladies First Perpetual Calendar Ref. 7140 and the Ladies First Chronograph Ref. 7071, replaced now by the new Ref. 7150/250R, which has six patents, are good examples to illustrate our way of bringing innovation to ladies watches as they always add value in terms of precision and reliability.

People are also seeking higher quality timepieces. They want to buy products that are excellent but are also pieces that are rich in history. In this case, we at Patek Philippe are in a great position, as we produce outstanding timepieces with heritage. The demand for our watches keeps growing every year.

The most important point to highlight is that Patek Philippe does not follow trends. We work hard to have the most accurate and reliable watches in the world, to create the finest timepieces in the world, and we have been very successful in doing this. In Geneva we are always innovating and presenting a diverse collection, and have done so for so many years. That, more than anything, reflects who we are. We present innovative pieces with our traditional DNA.

18

When I joined in 2000 we were eight people, and now we have grown to more than 80. This is due to a combination of hard work, strong focus on customer service and personal relationships.

Of course, that includes having an excellent team working all together.

We always have a very open relationship with our clients and are always in contact with them via our events, our manufacture visits and also our visits to our retailers. Mr Thierry Stern, the president of Patek Philippe, is always travelling around the world to meet customers and listen to them.

When it comes to selecting the right pieces for the UK market from the international collection, we have our internal analysis tools and, because we have been working very closely with retailers with whom we have longstanding relationships, we can make a well-rounded judgement about the pieces that are perfect for each retailer and its clients. However generally the retailers get a good selection from the new collection.

In the future, I believe retailers will be more selective with the brands they carry and only work with companies who truly understand their business needs. We will continue to support our retailers, invest in training and ensure we provide all assets for them to do the best for the clients. patek.com

COLUMN

19

GREEN is the new BLACK How sustainable design and luxury goods came together Words: Scott Manson

T

here was a time when luxury and ecological concerns were uneasy bedfellows. How to square the conspicuous consumption and excess of high-end goods with the perceived hairshirt nature of social and environmental issues was one that, frankly, most brands avoided. Sure, some paid lip service to it, with a bag from a collection, for example, crafted from recycled fibres or a carbon offset programme showcased front and centre on their website.

But these were the exception, rather than the rule.

Fast forward to today and things couldn’t be more different. On the websites of most high-end brands, there are usually sections dedicated to outlining their eco-friendly stances. Top luxe brands are more environmentally conscious than ever before and many have adopted business strategies (and marketing programmes) to reassure and woo ethically minded consumers.

For an industry often connected with notions of excessive consumerism, disposable income, and waste, a new generation of (mostly millennial) customers are demanding more of their favourite brands. Rising concerns about climate change and environmental sustainability – with consumers embracing the benefits of living a greener life, not simply to help the planet, but for their own happiness – means that today’s luxury brands have to walk the talk.

What’s particularly interesting is that while mass production is probably the cheapest and simplest it’s ever been, more and more people are choosing to step away from fast fashion and brands with questionable sourcing and employment practices, in favour of those who are transparent and taking a stand. The younger affluent generations, in particular, expect luxury brands to be aligned with their values. Indeed, a study from Nielsen showed that 73% of millennial respondents were willing to spend more on a product if it came from a sustainable or socially conscious brand. Moreover, 81% of millennials expect the brands that they buy into to be transparent in their marketing and actively talk about their sustainability impact.

And it’s a trend that’s spreading globally. Green luxury is catching on fast in China, for example. According to market research firm Mintel, Chinese consumers are more likely to purchase ethical brands at a premium price. 58% of surveyed consumers indicated that they are willing to pay more for ethical brands.

International luxury group Kering, which owns brands such as Gucci and Yves Saint Laurent, is leading the eco-charge in China. It recently launched a WeChat mini-program named "My EP&L" (Environmental Profit & Loss), an environmental impact measurement tool that tells consumers about the environmental cost of their purchases, and allows them to make ethical choices based on the calculated cost. The lower the cost, the greener the luxury. »

20

DESIGN

Kitx is ethical, sustainable fashion at its best

21

It’s this kind of openness that sums up the spirit of the age. Now it’s easier than ever to determine the provenance of what you buy, luxury brands need to show consumers that they’re making the effort to be more sustainable. Like any movement, though, there are some brands who are leading the way.

Take Stella McCartney, for example. The British fashion designer is known for her commitment to ethical fashion, and in June 2017, she once again partnered with Parley for the Oceans, a network where creative industries come together to raise awareness about marine pollution. Stella McCartney and Adidas had previously collaborated with Parley to create the Ultra Boost trainer, made from ocean plastic.

This time, Stella McCartney released the limited-edition Parley Falabella GO backpack, created using recycled polyester fabric made from reclaimed ocean plastic. The style of the backpack with its ocean-themed patches was clearly targeted at a millennial audience – a generation for whom social, economic and environmental impact is a key part of the buying decision making process.

Also in the UK, top London fashion boutique Browns teamed up with designer Conner Ives to create a range of patchwork cotton dresses made from recycled fabrics, to show that old garments can be repurposed for wear in a striking style. The fact that Ives is just 21 years old is perhaps an indication of the eco-mindset that we’ll see emerging from our new crop of fashion designers.

And it’s not just fashion that’s going green. Designers from all disciplines are now looking beyond the traditional and obvious to ask: “How can I make a difference?’ In 2014, for example, Tengri was founded by Nancy Johnston, a former health and social care worker who was inspired to start a social enterprise while travelling with friends and staying with Mongolian herder families.

After she returned to London, she started a social business with the Mongolian herders specialising in clothing, accessories and home interiors made from Khangai Noble Yarns and Fibres. It purchases yak fibres directly from co-operatives that now represent and benefit more than 4,500 nomadic herder families. This precious wool can be sourced only by hand-combing each yak individually, once a year, when the yak shed their winter coats.

To explain, Mongolian yak live at high altitudes and endure harsh winter conditions. This means they produce a robust and unique wool, which is as soft as cashmere, warmer than merino wool, odour-resistant, breathable and less prone to pilling and fluffing than other fibres. Yak wool knits well, like cashmere or lambs wool, but it is surprisingly stronger, and just as soft.

Tengri now works with heritage mills and bespoke tailors such as Huntsman Savile Row in Britain, making Mongolian yarns one of the most prestigious fabrics in the world.

Elsewhere, brands are helping to train the next generation of designers who have a ‘green-first’ mind-set. Global luxury group Kering and the London College of Fashion, UAL, are launching the world’s first open-access digital course in luxury fashion and sustainability. The aim of the course is to educate aspiring designers about adopting eco-friendly practices in the fashion realm.

It’s a natural progression, as Kering was recently named the most sustainable corporation in the textile, apparel and luxury sector according to an index published at the World Economic Forum in Davos, Switzerland. But what’s most encouraging about this new initiative is that Kering is giving new designers all the tools and knowledge they need to make an impact in eco-fashion from the moment they first start dreaming up designs.

Shoemakers are also part of the movement, with companies like Nak showing that there is no need to kill animals to wear beautiful shoes. A champion of conscious fashion, NAK developed its shoe range using vegan materials which mimic the quality of animal leather, but without harming animals in the process. NAK Founders have said much of the brand’s success is down to expert craftsman in Italy who have transformed their materials into luxury footwear that feels as good as it looks. From Chelsea boots to serious »

NOW IT’S EASIER THAN EVER TO

DETERMINE THE PROVENANCE OF WHAT YOU BUY

Above: Stella McCartney Parley Falabella GO backpack Right: Tengri, Saviour Beds with yak fibres, and its Mongolian farms

22

DESIGN

23

Clockwise from top left: Kitx collection

by Kit Willow, Pieces from the Chopard Green Carpet Collection, Fairmined gold

stilettos, the fashion style is intrinsically British, but with the expert craftsmanship that comes from using Italian artisans.

For designer Kit Willow, it was the fashion artisans of India who she turned to in order to create the stunning pieces for her ethical, sustainable Kitx collection, which was recently worn by actress Emma Watson on the red carpet, The brand holds the simple mantra of wanting to make women feel good, without harming our planet.

And what of jewellery? Once an industry shrouded in secrecy but now, thanks to better consumer knowledge of the issues surrounding ‘conflict diamonds’, it’s entered a new era of transparency. Leading jewellery house Chopard is taking things one stage further. In an industry first, Chopard pledged to use 100% ethical gold in its jewellery and watch creations going forward.

From July 2018, the luxury Swiss jeweller stopped using any gold that is not "acquired from sustainable sources and verified as having met international best practice environmental and social standards."

As a family run business, sustainability has always been a core value at Chopard. The brand regularly produced a Green Carpet Collection – in partnership with Livia Firth's Eco Age – which featured pieces that were sourced, designed and crafted according to the highest ethical standards. Now, 30 years after first beginning its sustainability journey, Chopard is able to apply this across its entire range – a process which has taken five years to finalise.

It’s encouraging to see such big brands taking a stand on green issues. Previously the concern of smaller operations, companies like Chopard are showing that they can tackle consumer concerns head on – and create beautiful luxury products in the process.

24

DESIGN

25

THE DESIGN HOTLIST This is the sell, a short description of what From architecture and interiors to art and engineering, the article entails. we unveil the eight innovators set to shake up the design world in Britain in 2018 – as recommended by a board of leading experts Words: Rachel Ingram

Board of experts

Ralph Taylor

Gemma Milne

Marius Borg Høiby

Nargess Banks

As the global head of postwar and contemporary art at Bonhams auction house, Ralph is an expert in the field of art. He unveils the British artist at the top of his watch list.

Our tech consultant Gemma is a Global Shaper for the World Economic Forum, an advisor for the European Commission, and a SXSW innovation jury member.

Tempus style editor Marius has a personal, and professional, passion for fashion. Read on to find out the British designer that’s exciting him most in 2018.

A luxury brand adviser, Nargess also writes about cars and design for publications such as Forbes. Here, she presents her automotive design director of the moment.

Charlotte Metcalf

Mark O’Flaherty

Rachel Ingram

Documentary film director, writer and journalist Charlotte unveils the Japanese artist bringing innovative design from the east to the west.

Editor and writer Mark pens articles for the Financial Times, Esquire and the Telegraph, among others. The style expert discloses his favourite accessories designer.

Flying the flag for conservation, Tempus editor Rachel unveils a British innovator using the power of portraiture to make a positive impact on the animal kingdom.

Charlotte CowardWilliams

27

As editor of luxury interiors magazine Enki, Charlotte is best placed to advise on the category of interior design and architecture.

NORM ARCHITECTS Words: Charlotte Coward-Williams

I

n any profession, there are always those who lead and those who follow. In the broad world of architecture and design, one team who define the first category are Danish design powerhouse Norm Architects. They have managed, in the 10 years since the company was formed, to craft a distinct and smart house style, while still being entirely versatile with their client’s demanding wish lists. This is due, in part, to the pedigree from which they draw. The Copenhagenbased firm was originally founded by Jonas BjerrePoulsen and Kasper Ronn, with Linda Korndal joining more recently. Their backgrounds include product design for some of the world’s leading brands, which explains their instinctive ability to produce works of almost perfect proportion – extending through the breadth of their portfolio from designing plates and sofas to building landmark projects.

“Our work builds on the tradition of Scandinavian design of timeless aesthetics, natural materials and upholding the Modernist principals of restraint and refinement,” says Bjerre-Poulsen of their ethos. But the reason they should top any designer shortlist is that whatever project they touch – from intimate residential to vast industrial to stylish plans for the latest ‘it’ restaurant – there is a coherence which, upon delivery, is always utterly beautiful.

Their enigmatic style is modern and luxurious, easy to live with, but with a unique simplicity of touch. Their work crosses the boundaries of architecture and interior design with projects being meticulously planned from the first foundation stone to the last cushion with a thread of precision only possible thanks to their unerring attention for the finer detail. The fact that as a practice they dabble with photography and art direction is apparent – a project is not complete until it’s ready for the attention of a professional photographer’s stringent eye. A real focus on durability, longevity and quality is notable, so if you want to commission a project, hand it over to these professionals and know you’ll be delivered an end result that is better than you ever dreamt. normcph.com

THEIR ENIGMATIC STYLE IS MODERN AND LUXURIOUS, EASY TO LIVE WITH, BUT WITH A UNIQUE SIMPLICITY OF TOUCH

28

DESIGN

29

GUY BUCHAN Words: Mark O’Flaherty

T

he foundations of made-to-order and bespoke eyewear company Bold London mix art with finance. Founder Guy Buchan studied sculpture, and then went on to run his own boutique design and innovation consultancy. His clients included numerous big brands from Puma to UBS Investment Bank, advising them on communications and strategy as well as honing their digital products and trading applications. Working as a creative consultant in the frequently conservative world of high finance opened doors, forged connections and switched on a lightbulb for him.

While men may not deviate too much from suits and smart casual in the business universe, eyewear offers an opportunity to be distinctive and individual. Why not offer an exclusive, mad- to-measure and bespoke service, with a wide range of materials (water buffalo can be used instead of acetate), options and finishings (including gold and platinum)? Something that the high-end customer is already used to from their tailor? Buchan could also bring his eye for shape and sculpture to the project. The result was Bold London, which launched in 2016 and currently offers made-to-order frames in six styles ( from ÂŁ660), with a lead-in time of 10 weeks, and a bespoke process ( from ÂŁ3,880), which involves three appointments, a 3D prototype, and a turnaround of up to 24 weeks.

The service is offered via a primarily digital platform, but with face to face consultancy at private members clubs in London. bold.london

30

DANIEL KEARNS Words: Marius Borg Hoiby

D

aniel Kearns is one of the most important figures in men’s fashion at the moment. After cutting his teeth working for brands such as Louis Vuitton, Roberto Cavalli, Dolce & Gabbana, Alexander McQueen and Yves Saint Laurent, the Irish menswear designer has taken up the role of creative director of Kent & Curwen – an up-and-coming menswear label whose chief investor is David Beckham.

When it comes to high-end fashion, everything the 43-year-old designer touches turns to gold, but the road from being a normal kid in Dublin to one of the most influential people in the fashion industry was hard work. From a young age, there was no doubting Kearns’s talents. In 1998, while in college, he won a Dolce & Gabbana project in his school, which resulted in him being able to work for one of the most respected and well-known brands within fashion at the age of 23.

Since then, Kearns’ contribution to the fashion industry has not gone unnoticed, and his creations have been on display in windows of leading high-end fashion boutiques for the last 13 years. Maybe the most recognised work he has done was for Louis Vuitton, when he created the ‘made for travel’ collection, and the ‘trophy sea collection’.

Now, David has returned to London, following several years in the fashion capital of Paris, and is ready to take the fashion world by storm. kentandcurwen.com

31

HITOMI HOSONO Words: Charlotte Metcalf

J

ust as British cuisine has been inspired and enriched by the concept of fusion, wise British brands are turning to artists and different cultures to update and energise their heritage and traditions. Wedgwood has recently unveiled seven exquisite jasper pieces by its first ever artist-in-residence, Hitomi Hosono.

Hosono, whose grandfather was a plaster and ceramics worker, grew up surrounded by potteries in an area that she describes as ‘the Stoke of Japan’. After studying traditional ornamental pottery at art college in Japan, Hosono studied in Denmark and then won a place at the Royal College of Art in London for her Master of Arts degree. While studying there in 2008 she worked at the Wedgwood factory as an intern, marking the start of a mutually fruitful creative adventure.

Wedgwood has always prided itself on innovation but much of what Hosono wanted to do was so imaginative and intricate as to present a complex challenge to Wedgwood’s craftsmen.

But a year on, after much experimentation, Hosono and Wedgwood have triumphantly combined forces and the new pieces are instant collectibles. The centrepiece is Hosono’s take on Wedgwood’s iconic Portland Vase, first exhibited in 1790 in the Portland House showrooms.

There are two small boxes, a plate, two vases and, perhaps most covetable and irresistible of all, a purely decorative pale pink egg sprouting with tiny cream daisies. “I will treasure my very precious experience working with the craftsmen at Wedgwood,” says Hosono. “I love the fact that the shapes are so deeply rooted in the brand’s history but that I’ve been able bring something entirely new and contemporary to them.”

Hosono works from a modest north London studio but with a new project for the British Museum already under way (and still under wraps), her reputation is growing. More and more collectors are investing in her beautiful, delicate designs, wisely sensing their lasting value as future heirlooms. hitomihosono.com

32

DESIGN

TIM FLACH Words: Rachel Ingram

A

s conservation becomes an increasingly important talking point, it’s only natural that the art world is at the forefront of the conversation.

Photographers have long used their craft to inspire change and Tim Flach, one of the UK’s most innovative photographers, is no different. He uses his skills to draw attention to vital issues facing the animal kingdom – in particular the rising levels of wildlife extinction due to human activity. In Flach’s latest project, Endangered, he turns his lens on animals seriously in danger of being wiped out. From the ploughshare tortoise whose shell has been defaced

to deter illegal poachers (right) to the Madagascan crowned sifaka losing their homes to deforestation (left), each image draws attention to a critical story.

When you observe Flach’s work, the way he uses portrait photography to present animals as people is at once mystifying and, at times, unsettling. By introducing human characteristics to his subjects, Flach forces the viewer to look inside and consider – why do to an animal what you wouldn’t do to your neighbour? It’s incredibly powerful work. timflach.com

33

From left clockwise: Crowned Sifaka Lemur, Ploughsare Tortoise, Tim Flach

BRAN SYMONDSON Words: Ralph Taylor

34

DESIGN

T

he devastation and destruction of war may not sound like the most obvious inspiration for beautiful art, but for conceptual artist and photographer Bran Symondson, serving in the Special Forces in Afghanistan sparked exactly that. Renowned for his controversial installations using decommissioned guns – which he picked up from battlefields – Symondson unequivocally has a unique creative eye.

No wonder, then, that he’s garnered critical acclaim and a legion of high-profile fans, including Sir Elton John, HRH Prince Khalifa of Bahrain, artist Jake Chapman and the UFC’s Dana White, among others. His works rest on the premise of taking something of fear and loathing and turning it into something of beauty and

intrigue – something at which he excels. One of his most acclaimed works, a decommissioned AK-47 gun embellished with delicate juxtaposing butterflies and filled with bullets representing elements of the man-made world, was considered so controversial it was forbidden from entering the USA for an exhibit.

Symondson is arguably the one to watch when it comes to contemporary comment inspired pieces. Creating beautifully constructed works, underpinned with striking and highly relevant narratives has allowed Bran's art to be recognised as highly prized by collectors and exhibiting galleries alike. Sought after as evocative markers of our cultural and political temperament, his pieces are growing in world wide appeal as he sets to open a series of exhibitions in 2019.

35

Symondson has also turned his creative talent to raising money for a number of charitable organisations. At a dinner for the Human Rights Watch in November 2017, his piece ‘Fragile souls’ sold at auction for £37,500, while at the Tempus Earth Conservation Gala in May 2018, his specially created work ‘For everything to change we need everyone’ (pictured above) fetched £40,000 for WWF, funding vital research into wildlife conservation.

Elsewhere, his work has been showcased at the London Portrait Gallery, Saatchi Gallery, ICA, Phillips De Pury and is now represented in various galleries in London’s Mayfair and around the world. bransymondson.com

GILBERT WEDAM Words: Gemma Milne

C

ity living is complex. With so many different options for what to buy, how to manage your household, where to exercise and who to meet, technology design that makes city living simpler is bound to take the market by storm. It’s no surprise, then, that travel app Citymapper tops the favourite lists, and the home screens, of many a Londoner.

Gilbert Wedam, an Austrian who grew up in Prague, was the company’s first designer in 2013, and has played a key role in turning Citymapper from a data-heavy routing application to Apple’s ‘App of the Year’ for five years running. It’s now even part of the London Design Museum’s permanent exhibition.

Wedam is keen to make sure those using Citymapper feel like it’s more of a human product than a tech product: “When designing a digital product like an app, the human aspect sometimes can get lost. But that's one of the most important opportunities for design – the

human connection between the people who build the product and the people using it.”

He’s keen to make sure people feel like they’re using something built by humans, not simply a heartless piece of digital tech: “The personality is hugely important. Humour plays a big role in that. We spend a lot of time thinking about how our product 'speaks'. For example, when the app is loading data, it doesn't say 'loading', it says 'thinking'.”

Wedam doesn’t come from a transport background, but having lived in cities of various shapes and sizes, he’s well placed to understand how city-dwellers like to live. He studied design in Pochlarn, then moved to Berlin to study fine art photography. After a residence in Santiago de Chile, he co-founded a fashion start-up in Vienna – and which ultimately brought him to London.

Wedam’s design has revolutionised travel, and opened up areas of cities previously

36

rarely ventured. Simple touches such as routing you through the best station exits, and signposting which tube carriages will be less busy, can have huge positive effects on urban commuters and public transport system flow rates.

Citymapper essentially opened up and tied together the entire London transport system – making it both easier to use and much more desirable for those needing to get from A to B. Transport For London, and many other city transport departments around the world, have worked directly with Citymapper, knowing that without the app, usage and positive sentiment would be hugely reduced.

Citymapper, at its core, makes the unwieldy manageable, and aims to make the bits inbetween each part of your life flow. If that’s not cracking design, what is? citymapper.com

ROBERT MELVILLE Words: Nargess Banks

T

he complexity of creating a supercar – as opposed to simpler product design or fashion design – means that teamwork is everything. The engineering and technical proficiency involved requires a blended multiskilled collective to bring it all together. At its heart, though, are wise leaders who help to guide and push for the go-ahead on risky projects.

At McLaren, chief executive Mike Flewitt has a real passion for performance cars, encouraging the brand’s design director Robert Melville to be daring, stretching the limits of technology and viewing innovation as a way of making his cars faster, cleaner and more efficient.

McLaren Automotive creates cars that are aerodynamic in shape, nimble in weight, extreme in performance and limited in numbers.

Car making is an art form here. Even Norman Foster’s building where they are conceived is a masterpiece of design – a cinematic space worthy of the world of Ian Fleming. The employee entrance, for instance, is through a clear white tunnel designed to cleanse the mind as you step into this sanctuary.

Bruce McLaren Motor Racing was founded in 1963 – although the automotive arm is only seven years old and was born with a single product, the 12C. Today’s family of exclusive performance cars include the Sports, Super and Ultimate Series, and a selection of limited-edition tailored cars.

The philosophy is compelling. It is about continually pushing the limits of technology and design, evident in recent products such as the 720S and Senna. It’s about exploring new shapes, discovering new materials – weaving ultra-light carbon-fibre in ways no one has dared.

The designs are organic, and there is a rawness to the layered theme, a striking clarity with each sheet of slim metal teasing us into the power and incredible technology that lies beneath.

McLaren has returned a sense of theatre to car making. In the polished production centre in Woking, you almost feel like whispering and walking on tiptoes. The sports cars and hypercars being envisaged here are exceptional examples of industrial design, each searching to find the purest connection between car and driver. McLaren cars represent a lively episode in vehicle design. It will be fascinating to see how the marque approaches electrification and the autonomous future. cars.mclaren.com

37

VISIONARY SPACES If you’re looking for a stylish stay in one of the world’s best design hotels, then there’s really only one person to ask – and that’s the founder and Executive Chairman of renowned boutique hotel guide Mr and Mrs Smith. Here’s James Lohan’s 2018 hot list

T

houghtfully curated design, a great location and intuitive service are all things that are very much expected of a design hotel. Those that have created visionary and iconic spaces all have that buzz about them, which is of course harder to define. Some of my favourite design hotels have changed whole neighbourhoods and really integrated the community into what they do and accepted real social responsibility. 11 Howard in New York is a brilliant example of this, I love its sleek Danish-inspired minimalist design – it’s a serene world away from the hectic hubbub of the city, and it has managed to successfully bring new life to an area in a genuine way. I think standout design hotels truly bring something, whether that’s opening up new locations with hype and events or shining a spotlight on an untapped destination. Design hotels need to go above and beyond people’s expectations in terms of what they offer to really transport guests.

38

DESIGN

Jackalope, Mornington Peninsula, Australia With its clean lines and jet-black, zinc-clad exterior, this property stands in sharp contrast to its surroundings of rural farms and rolling vineyards. The property features some whimsical elements and details alongside its sleek design, a 22ft jackalope sculpture (part-jack rabbit, part-antelope, I believe) that sits boldy at the entrance. The communal spaces throughout the hotel are flanked with the most incredible collection of art, while the rooms take a more subdued tonal palette of whites, greys and blacks. The spaces and rooms are perfectly lit; it’s moody, dark and sultry. You couldn’t be in a better location for sampling some of Australia’s best wines. » jackalopehotels.com

39

The Warehouse, Singapore A converted riverside warehouse on the banks of one of the most vibrant districts in Singapore, The Warehouse is a unique space which has been converted but still stays true to its industrial heritage. The design features subtle nods to the building’s past with installations that include pieces that would have been used by the original warehouse workers. Lights are inspired by the machinery and hang from big black-iron beams in the super impressive vaulted lobby. The rooms have earthy textures of concrete and copper with accents of pale grey. I love the almost glass-box rooftop pool at this property – a great place to relax with one of the incredible cocktails from their bar. The restaurant here is also run by the legendary Willin Low – an utter pioneer in the restaurant world and a regular judge on our Mr & Mrs Smith Awards panel. mrandmrssmith.com

40

DESIGN

Artist Residence, London This small but perfectly formed London townhouse is hidden away in Pimlico, a 10-bedroom boutique property choc-full of expertly curated antique furniture and an unrivalled art collection. The owners redesigned a former pub designed by Thomas Cubitt and have kitted it out with freestanding cast-iron bathtubs, tea crate drawers and antler chandeliers. I love all of the Artist Residence properties, they follow the same ethos and style, but each space feels incredibly unique and each has a real sense of place. Âť artistresidence.co.uk

41

Katamama, Bali The focus and dedication to local craftsmanship at Katamama in Seminyak is something to be admired. The striking rust-coloured hue of the exterior is made up of bricks that were hand-pressed in a local village and each piece of furniture has been custom-made, and many of the furnishings are hand woven. The rooms are thoughtfully curated and found via the indoor-outdoor corridors that snake round the building. mrandmrssmith.com

Villa La Coste Provence, France I fell for this place at first sight. A decade in the making, this visionary estate took Provence’s passion for high art and turned it on its head. In 600 acres of vine-draped grounds, adjoining the Château La Coste winery, you’ll find a trail of museum-worthy sculptures and installations by the likes of Tracey Emin, Louise Bourgeois, Alexander Calder, Frank Gehry and Ai Weiwei. Inside, works by Damien Hirst dot the walls, a duo of celebrated chefs man the restaurants and a Japanese-style spa offers onsen-like seclusion. villalacoste.com

42

DESIGN

Ett Hem, Sweden Ett Hem is easily one of my favourite properties in the world, it just ticks all of the boxes for me. Incredibly intuitive and immaculate service, but it remains relaxed and comfortable. Ett Hem means “home” in Swedish and it’s very fitting for the space. Owner Jeanette Mix has scoured Europe to source antiques and design pieces to transform this 19th century mansion house alongside interior designer Ilse Crawford’s expert eye. Guests can help themselves to wine from the fridge, leaf through the books in the library and cosy up in the glasshouse with one of the chef ’s expertly baked cakes.

The kitchen here is run by the best chefs in Stockholm and is an open style with a shared table where guests can mingle. Dishes are always seasonal, fresh and local, and you sample whatever is on the menu for that day. etthem.se

Coming soon I’m really excited to see the highly anticipated launch of Heckfield Place in 2018 as it’s been years in the making. A beautiful 18th-century Georgian manor house and farm, it’s set in 400 acres of rolling Hampshire countryside and will feature 12 rooms in the main house and others spread across cobbled courtyards. The design is sympathetic to the building, but also modern. I really like the rough lime plaster exposed in the rooms, exposed beams and simple muted colour palette that interior design Ben Thompson has used throughout.

One of my favourite hotel groups, The Pig, are set to open a series of new properties (above) and the next will be in Canterbury which is hugely exciting as there’s such a lack of great hotels in Kent and it’s a prime spot in terms of location and distance from London for weekends away. Robin Hutson, founder of The Pig, has managed to create such a unique signature style that people continue to flock to and love. I can’t wait to see this next addition launch in autumn 2018.

43

44

DESIGN

Take TWO Upcycling at its best, Bottletop’s sustainable accessories are making an impact in deserving communities – and on the catwalk Words: Rachel Ingram

N

estled between the ritzy boutiques of luxury brands and multi-millionpound corporations that occupy much of London’s Regent Street lies Bottletop, a small store with a big heart. From the outside, you’d be forgiven for thinking it’s a simple accessories retailer, but a closer look reveals much more.

An NGO in its own right, Bottletop comprises a foundation, a manufactory and a fashion label specialising in creating sustainable accessories made from recycled materials collected by underprivileged communities in Brazil.

The brainchild of Britons Oliver Wayman and Cameron Saul, Bottletop was launched in 2002 to the acclaim of the fashion – and the philanthropic – world. It all started with one bag, and one very effective charitable campaign for iconic British fashion house Mulberry, for which Saul created a special bottle cap-studded bag, made by artisans in Africa. It became the surprise best-selling bag for Mulberry that season.

A few months later, while travelling in Brazil, Saul’s business partner Wayman came across the art of pull ring crochet – a craft that originates from Salvador. Inspired by the intuition of the artisans, he worked with locals to create a capsule collection of bags as a fundraising initiative. Once again, feedback was incredible, so the partners decided to band together and create a full-scale fashion brand. The rest is history in the making.

“It’s the beauty of being out in some of these environments where necessity is the mother of all innovation. They have so many weird and wonderful different textiles and creative ways of using what’s around them, and in this case, we thought this is fantastic, let’s try and develop that with them and build a production process with the locals,” says Wayman.

“It was a very organic process. We didn’t set out to have a store on Regent Street. It almost fell into our arms because we knew that we had certain pillars that we wanted to adhere to – sustainability, »

45

poverty alleviation and making a positive social impact while ensuring that we can adhere to high quality, design and luxury.”

Pull rings are collected by a group of Brazilians known as ‘catadores’ who specialise in rescuing usable waste materials from the mountains of garbage taking over Brazil’s landscape in exchange for a fair wage. The rings are then polished, painted and turned into accessories.

The entire production process, from prepping the materials to manufacture of the bags, is completed at an atelier in Salvador, overseen by a former favela resident who’s gone from selling snacks to tourists on the beach at 13 years old to project manager of the whole operation. His is just one of Bottletop’s inspiring success stories.

“It just shows that if you give people the right opportunities and the tools, they can really develop something which most people wouldn’t think was possible,” Wayman says. “Working in these environments doesn’t mean that you have to do token gesture projects because it’s for a good cause, the local artisans can really stand up for themselves in terms of quality and design. The collaborations we’ve done highlight that.”

So far, Bottletop has created special collections with Narciso Rodriguez, who designed Michelle Obama’s inauguration dress, Donna Karan and DKNY. The label was also invited to created costumes for the 2016 Rio Olympics Opening Ceremony – and has since dressed eco-conscious celebrities such as Brazilian model and Victoria’s Secret Angel Lais Ribeiro, and musician and activist Annie Lennox.

The original Bottletop bags feature the brand’s distinctive pull ring mesh. As the label has diversified, its collection has expanded to include clutches, purses, shoulder bags and bracelets.

It’s also experimented with new sustainable materials to organic cotton canvas beach bags and, most recently, rucksacks made from zero deforestation leather – certified leather that’s been sustainably and ecologically-sourced from the Amazon.

Customers can discover the whole range of products at the Regent Street boutique – the only Bottletop store in the world – which opened in late 2017. Visiting the store is a unique experience in itself. The walls are 3D printed, making use of 60,000 plastic bottles collected predominantly from Africa, India and the ocean, while the ceiling is studded with cans in homage to the label’s famous pull rings.

While the store is high-tech, Bottletop’s ethos is simple: “Our message is – you don’t need to forsake aesthetics to achieve the quality you need to on Regent Street and selling as a luxury fashion brand.” bottletop.org

46

Below: artisans in Salvador; bottom: Bottletop’s 3D-printed store in London

IT JUST SHOWS THAT IF YOU GIVE PEOPLE THE RIGHT OPPORTUNITIES AND THE TOOLS, THEY CAN REALLY DEVELOP SOMETHING WHICH MOST PEOPLE WOULDN’T THINK WAS POSSIBLE

47

S P E E D FAST & FURIOUS

50 - 55

HAUTE VOITURE

56 - 59

THE SUPERYACHTS SAVING THE OCEANS

60 - 65

SUPER FAST CARS, SUPER ECO YACHTS AND THE ULTIMATE IN AUTOMOBILE CUSTOMISATION

Fast & Furious 50

49

& FURIOUS FAST

As Aston Martin unveils the DBS Superleggera, Tempus speaks to design director Miles Nurnberger about how he created this “brute in a suit” Words: Rachel Ingram

I

n 2016, Aston Martin made a promise to introduce seven new cars over seven years until 2023. First up was the DB11, the first of a new generation of cars in the British manufacturer’s ‘second century’ plan, which launched to the acclaim of critics around the world. Next up was the new Vantage, a model revered for its instinctive design and agile performance. Now, the stage is set for the DBS Superleggera, a magnificent machine with beauty, brains and brawn, which the manufacturer unveiled at an event in London in June.

With insiders describing it as a “brute in a suit”, the new Super GT flagship is fast and furious.

Replacing the esteemed Vanquish S as the luxury car brand’s flagship product, the DBS Superleggera combines a 5.2-litre twin-turbo V12 engine with 725PS, 900Nm of torque, a top speed of 211mph and acceleration from 0-62mph in just 3.4 seconds – or, if you really have the opportunity to open up, 0-100mph in 6.4 seconds.

Visually, it’s just as impressive and is a sign of the brand’s evolving aesthetic that has been wowing us with every year’s new release. The carbon fibre body panels are designed to create a muscular look, while contemporary lines add some elegance to its powerful engineering. From the front, the deep black grill and almond-shaped headlights scream power and punch, while the aerodynamic lines of the body are sleek and modern, taking elements of the DB11’s curlicue and aero blade while adding on an F1-inspired double-diffuser.

As well as being every inch the Aston Martin flagship, the launch signals the brand’s triumphant return to the Super GT sector. And people are excited. The beast is priced from £225,000 and deliveries are scheduled to begin in Q3 2018 – although you’ll need to get in quick if you want one.

Rumour has it that you will have to wait until June 2019 for a car at the earliest now.

Ahead of the launch at London’s Roundhouse, we spoke with Miles Nurnberger, director of design at Aston Martin, about how his team created such a soon-to-be legendary vehicle. »

50

SPEED

The DBS Superleggera is a legend in the making

51

Tempus: The DBS Superleggera is the third launch in Aston Martin’s ‘second century’ plan. This must be quite the task for your design team.

IT’S ALMOST LIKE IT BROKE

Miles Nurnberger: It is, but I couldn’t ask for a better task. I’ve been with the brand for 10 and a bit years now, and I think what we’re doing is so exciting. I couldn’t imagine being anywhere else. We have a great team now at Aston Martin, particularly with Andy Palmer [president and CEO of Aston Martin] coming on board. We are quite unique, we don’t do Russian doll designs, every car has its own unique character. Being a designer and being in that environment where you can apply all these characters is blissful.

Looking inside, what was your thinking behind the interiors?

How have you approached the design of the DBS Superleggera compared to We have this really interesting balance its predecessors? between sportiness and craftsmanship. We’ve put a lot more concentration on detail. The We start with characters. So, if I describe the best word to use is intensity – there’s a greater DB11, it’s the perfect gentleman, with his intensity of detail that brings out a richness nose held slightly high, very clean lines off to the car, compared to, say, the DB11. There the back, almost like the coattails of an Eton is a brand-new sports seat, derived from boy. Then you go to Vantage, it’s the hunter. the work we’ve done on Vantage but done Its nose is to the ground because it’s sniffing again in a more indulgent way, a new sports the trail, the scent of what it wants to catch. steering wheel, nice quilting in the door, and And then we get to this, the DBS, our brute more options in terms of trim and colours. in the suit.

We will always have a bias toward comfort – We make no qualms over the fact it came it’s not an out and out sports car in terms of from the DB11 but it’s almost like it broke all comfort level. the gentlemanly rules the DB11 set. First of all, the grill is no longer tame, it’s growling. What’s so special about the Superleggera?

And it’s growling because there’s a wonderful engine underneath that that produces 900Nm The big thing about the car is the name, of torque – just an extraordinary number. Superleggera. There are two reasons for The car has this incredible mouth sculpture that: one is it’s a gorgeous looking badge, the around it. The front of the car is actually other is it comes from our history – we use it shorter than the DB11, so it’s a bit rounder, a on our cars to denote a form of lightweight bit fuller and boxer-like in its approach, and construction. In this car, it denotes the fact obviously, if you get air into a car, you’ve got we use carbon to take weight out of the car to get air out otherwise the car generates too – this is 73 kilos lighter than a DB11 thanks much lift, so the car has these nostrils that to the wheels, carbon ceramic brakes and make it look like it’s literally breathing. carbon body work. Most of the panels you see Sometimes what we do is actually quite are carbon fibre in construction. And you see literal, so we’ve got the muscles and then, if the 21-inch wheels? These are the lightweight you imagine the creases in a suit, we’ve got wheels, really pared down – you can see all the pinch of a suit going over the hood. It’s the meat is taken off the bone. They are the brute in the suit. almost skeletal in their construction.

This car also has a lot of clever It seems that there’s a lot of iconography in aerodynamics on it. For the DB11, we made your work… something called Aeroblade, and this is Aeroblade 2 – it takes high pressure air off the I’ve always loved the phrase ‘what you see is front tyre and spits it out the side. We have what you get’. If you look at something, you a couple of patents pending on the system. should understand it to do the job that it Normally, on any car, the more downforce does. Really, a designer’s job is to take words they create the more drag they create, but and make them into 3D form. We talk about with this system it doesn’t. Even versus DB11, muscle and roguishness, but how do you this produces 180 kilos of downforce, but make it roguish? A designer is a storyteller basically it does that without any penalty in 3D. When you pick up an object, without over the DB11 coupe. It takes the best bits of anyone explaining to you, your brain works learning from the DB11 and the best of our out whether it’s a nice or nasty object. What learnings from the Vantage. » we have to do is almost work backwards – we know the feeling and we’ve got to put it into an object. It’s great fun.

ALL THE GENTLEMANLY RULES THE DB11 SET

52

SPEED

53

That must have taken your team quite a while to develop?

Yes, it did, but we’re quite unique in the way that, where in most other car companies the aero team are very separated from the design team, we actually embed the two. At any one time we usually have two or three aerodynamicists sitting directly next to the designers, so from the first minute they sketch, they are talking together. We’ve been able to innovate in that area because we are attacking it in a much more team crossfunctional way, instead of it being segmented.

Do you think this will be one of the highlights of your career?

I don’t know that because, I have to say, and you know it as well, the last 10 years have just been epic. Every year you think ‘oh, you can’t beat that’ and then another thing happens and you’re like ‘wow’. Three or four years ago, I couldn’t have imagined where we are now, so who knows what will happen next!

What else are you excited to be working on?

I think the next thing coming up will be Valkyrie, which has just been an incredible project and the most difficult thing I’ve ever worked on because, very honestly, we set a lot of tasks at the beginning of the programme that no one knew how to meet. Most car companies can be quite conservative, so they start a car knowing that they can achieve everything, but with that car we set targets that no one had ever done before.

Throughout the research and development stages, we were discovering rules that after 20 years of working in the industry we didn’t know existed, because we’d never come close to the edge of the rule book before.

During the first six or 12 months of that programme, on a daily basis we were having to re-read rule books that we thought we knew like the back of our hands, trying to work out how can we do this, how do we get over that, how do we reinterpret this.

It’s taken a lot of blood, sweat and tears to get there but that was why it was one of the most enjoyable projects, because we had to work bloody hard on it. And the performance figures will rewrite history books. astonmartin.com

54

SPEED

Innovative aerodynamics makes the ‘brute’ light on its feet

55

HAUTE VOITURE When does a supercar become truly bespoke?

When it’s built by automotive specialist Ares Design – providing the last word in no-limit luxury Words: Adam Hay-Nicholls

56

57

58

W

hen it comes to bespoke coachwork, the Italian industrial town of Modena is the automotive world’s Savile Row. It is here, a few miles from manufacturers Lamborghini, Pagani and Maserati, that new kid on the block Ares Design has established its factory. It’s a boutique personalisation production line staffed by 100 craftspeople that takes expensive cars and makes them a lot more expensive, not to mention one-ofa-kind. This is cosmetic surgery for supercars.

“Luxury doesn’t have a limit. Where it begins and ends is just a matter of personal taste,” says Dany Bahar, Ares’ CEO. He’s a marketing visionary who rose to become the number two man at Red Bull before overseeing Ferrari’s brand and, as chief executive, plotting what was a thrilling but ultimately still-born future for Lotus. Now, Bahar has founded an atelier to fulfil the dreams of the world’s most minted motorheads.

“Life isn’t one-size-fits-all, we live on a planet of seven billion individuals,” explains the Swiss 46-year-old, “yet when it comes to cars, we’re expected to just accept the choice the manufacturers give us. They offer a list of options but it’s all kept tightly controlled within a production process. You can’t say to BMW, ‘I want all-new seats, wood from my own forest, paint that matches my wife’s lipstick’. That is why I think there’s a market for high-end personalisation by outside firms, because manufacturers themselves aren’t in a position to exploit it.”

Who are these customers, I ask Bahar. Are they all sheiks, Russian mobsters and Chinese triads?

“I wish! They’re lawyers, bankers, so boring. One third of our orders come from the US, a third from Europe and a third from the Middle East.”

Ares takes the chassis, engines and electronics that have been developed by OEMs to the tune of hundreds of millions of pounds and add their own skin. Ares’ X-Raid, for example, is a Mercedes G-Wagon underneath. A customer from the UAE wanted a “future G-wagon”, so Ares gave a G63 a compete styling overhaul and charged him £635,000, including the donor car.

Ares’ machinery starts at around £40,000 for a custom motorcycle up to £700,000 for a project that’s in the workshop right now, taking a chainsaw to a Ferrari GTC4Lusso and creating an all-new body and interior that is a modern interpretation of the angular and unloved Ferrari 400 2+2 coupe from the 1970s.

LUXURY

DOESN’T HAVE A LIMIT.

WHERE IT BEGINS AND ENDS IS JUST A MATTER OF PERSONAL TASTE

Another 1970s reimagining is the Ares Panther, which is styled to look like a 21st century De Tomaso Pantera. Bahar shows me around the full-size clay model, sat in the spotless studio.

The real thing will contain the innards of a Lamborghini Huracán.

Elvis Presley owned a De Tomaso Pantera and, when it wouldn’t start, he took a .44 and shot it full of holes. I can therefore very much see the appeal of owning a car that looks vintage but actually starts and stops. Sat in the factory’s permanent photographic studio, an addition Bahar describes as “unbelievably arrogant”, is a 1964 Corvette Stingray. It is stunning and looks utterly original.

Yet under the metal it is all 2018. “Our clients love classic cars but they want the power windows to work, the lights to go on, the steering to go where they want it to. So here we have married an old body to completely state-of-the-art technology and Chevrolet’s latest 525bhp Corvette engine.”

With each original design that’s commissioned, the customer owns part of the intellectual property. Obsessed with low volume, Ares will never build more than 15 of any model, but if the customer gives them licence to make more than one car he or she will get some cash back on the original order.

Other projects are triggered by the firm themselves. Currently, they’re working on a Tesla Model S estate which will sell for a relatively modest £175,000. “Maybe it’ll work, maybe it won’t, but we wanted to test the market rather than wait for a customer to try it.”

Yet the main thrust of Ares’ philosophy is personalisation. These cars are personal stories for the demanding aesthetes and enthusiasts who specify them. “Bespoke and rarity is absolutely key to luxury,” confirms Bahar. “The key to personalisation is knowing it’s your product, it’s your personality, no one else has it. Imagine, if you spent £2m on a Bugatti only to park it in front of the Hotel de Paris next to an identical one”. Short changed, I guess.

One imagines the same feelings of embarrassment and resentment should two Oscar nominees find themselves wearing the same Versace dress on the red carpet. Ares offers a high-tech and sexy update on the century-old art of automotive coachbuilding because there is a demand once again for unique artistry and bespoke tailoring. This, essentially, is ‘haute voiture’. aresdesign.com

59

The superyachts saving the oceans How yacht owners and yacht makers are putting their eco-consciences to good use Words: Dominique Afacan

60

Black Pearl, the world’s largest sailing yacht, boasts some serious ‘green’ credentials

61

S

o often, when we read about superyachts, we’re learning about their colossal size, their James Bond-style on-board submarines or their swanky swimming pools.

But to focus on the hardware alone is to miss a vital trick. After all, the real luxury of a yacht is intrinsically linked to the ocean. Ownership enables adventure and exploration to the world’s most remote destinations – crystal clear waters, secluded beaches and mind-blowing marine life are all a crucial part of the deal – no matter how big the yacht or its swimming pools.

It’s perhaps unsurprising then, that the industry is getting increasingly involved in conversations about problems like plastic pollution and overfishing. The ocean is the raison d’etre for superyachts – with it polluted and devoid of life, they simply wouldn’t exist. It’s not just the shipbuilders and brokers that are making waves, it’s the owners themselves who, crucially, have deep enough pockets to really make a difference.

Kjell Inge Rokke is a case in point. The Norwegian billionaire is currently building a revolutionary superyacht called REV, which will carry out important scientific research all over the world.

Along with a 35-seat auditorium, the boats hold special laboratories, a conference centre, and media editing suites for creating documentaries.

REV’s designer, industry darling Espen Oeino, has gone to great lengths to ensure the yacht itself is as green as possible – starting with its very dimensions. “I always say if you want to be environmentally responsible, slenderness is key,” he says. “You need to play with the geometry. It sounds like the future but it’s also the past – if you look at outriggers in the Pacific, you can see they’ve already figured it out.” He’s used similar logic before on Silver Fast, a lightning quick aluminium superyacht which, thanks to its weight and clever dimensions, uses far less fuel than other yachts of the same length.

There have been other attempts to reduce yachts’ reliance on natural resources for fuel.

Take Savannah, built by Dutch shipyard Feadship.

The 83.5m superyacht uses the yard’s innovative Breathe system – enabling the boat to run on various combinations including diesel, dieselelectric and even fully electric. And of course, Black Pearl, the world’s largest sailing yacht, which recently made waves in the industry thanks to its pioneering green credentials and groundbreaking carbon masts.

There are many more projects of this ilk, besides Rokke’s groundbreaking REV. Take Tara, a 36-metre sailing yacht currently studying coral reefs in the Pacific. It’s part of Tara Expeditions, »

Pioneering research expedition vessel REV is currently studying coral reefs in the Pacific

62

SPEED

63

a foundation set up by fashion designer Agnès B, who also happens to be a diehard sailing enthusiast. Her nephew, Romain Troublé, who is – helpfully – a molecular biologist, often helps out on the expeditions, which stop for regular educational talks at schools along the way.

“Once the kids are engaged with the boat and its projects, the team tries to teach them that there are things they can do to help. “What do we do, and what can you do? That is really our message,” says Troublé.

It’s a message shared by industry heavyweights, too, who in recent years have been partnering up with eco charities and foundations at an unprecedented rate. Johan Dubbelman, CEO of Dutch shipbuilders Moonen Yachts, explains the rationale behind their recent partnership with the Plastic Soup Foundation, one of the leading advocacy groups trying to tackle plastic pollution.

“There is ever more plastic waste floating in our seas, damaging the health and beauty of the marine environment,” he says. “As a yacht builder, we feel a special affinity for the oceans.”

It’s the same reason that British yacht builders Princess have lent their support to eXXpedition, an all-female scientific research mission currently making its way through the North Pacific; the same reason that Sunseeker recently announced a partnership with the Blue Marine Foundation – a charity dedicated to protecting the oceans; and the same reason that Y.Co yacht brokers have brought on ocean advocate Emily Penn to head up their Clearwater campaign. The list goes on.

The outlook is still far from rosy, but it seems that the industry is heading in the right direction.

After all, as Dubbelman says, “Sailing through plastic debris and lifeless seas is nobody’s idea of fun.”

64

Off the map There is positive change on the way, but some destinations are taking matters into their own hands. Here, we discover the places turning visitors away to preserve the areas for future generations to enjoy.

Boracay, Philippines This dream island in the Philippines was once famed for its white sand beaches and coral reefs.

More recently, however, it became better known for its overcrowding and pollution, leading the government to close it off to tourists for six months from April 26 2018.

Maya Bay, Thailand In Danny Boyle’s film The Beach, Maya Bay was worshipped for its seclusion and beauty but its fame became its worst enemy when tourists started piling in for a slice of the action. It has now been closed for four months from 1 June 2018 to give its coral reef time to recover.

Galápagos Islands, Ecuador The Galápagos Islands is one of the most pristine archipelagos on the planet – rich with some of the planet’s most exciting flora and fauna. The Republic of Ecuador ensures it stays that way by strictly limiting tourist activity.

65

S T Y L E DIAMOND DEBATE

68 - 71

BREAKING BOUNDARIES 72 - 77 THE MAVERICK 78 - 79

FROM THE LATEST INNOVATIONS IN JEWELLERY TO HISTORIC WATCHMAKING, DON’T MISS THIS ISSUE’S STYLE GUIDE

The maverick 78

67

DIAMOND DEBATE You may not know it, but behind the scenes the diamond world is undergoing a seismic shift.

As laboratory-grown diamonds begin to make their mark, the question of what it really means to own a piece of ethical diamond jewellery is a battleground of conflicting opinions. When the facts aren’t clear, what will you choose: laboratory-grown or natural?

Words: Sarah Jordan

Mined and man-made diamonds are almost indistinguishable to the naked eye (pictured are lab-made diamonds from Diamond Foundry)

68

T

he diamond industry’s equivalent to celebrity drama hit the headlines in recent months when The De Beers Group, once the dominant diamond producer and creator of the infamous ‘A Diamond is Forever’ slogan, announced the launch of Lightbox Jewelry – a laboratory-grown diamond venture with white, pink and blue diamonds made by De Beers-owned Element Six, based in Oxfordshire, England.

The fact that a historic diamond miner of De Beers’ calibre is venturing into laboratory-grown diamonds is conversation-stirring news. But among the whirlwind of opinions, many have noticed that Lightbox Jewelry doesn’t take a stance on the mined diamond vs. lab-grown diamond ethics debate. Whereas many laboratory-grown diamond companies have marketed themselves as more ethical, more environmentally-friendly and ‘greener’ than their mined counterparts, the De Beers Group has not followed suit. The reason is probably because the debate around what constitutes an ethical diamond or ethical labgrown diamond is complicated at best.

Mined diamonds have a murky history. The term ‘Blood Diamond’ has stuck like superglue to the trade, meaning that although great strides have been taken to eradicate the conflict diamonds of the 1990s, the reputation lingers.

The Kimberley Process, which regulates the trade of rough diamonds, was created to stamp out the risk of diamonds entering the supply chain from conflict regions, but it has been heavily criticised for not offering a broad-enough scope of ethics, including environmental damage, health and safety and human rights. As a result, many mining corporations, working with local governments, have stepped-up to fill in the gaps. »

69

To secure an ethical diamond or gemstone for your engagement ring, you will need to know exactly where it has come from. Ideally, you should be able to trace its journey right the way back to the mine, although this is currently a lot harder than it should be. Alan Frampton, director of ethical brand Cred Jewellery and a Fairtrade pioneer, says: “95% of jewellers in the United Kingdom can’t prove where their diamonds come from. They have certificates, but nothing to say country of origin.”

He continues: “The problem with diamonds is the lack of independent accreditation. What discerning customers want is transparent traceability, they want to see diamond companies being accountable. They want independent accreditation. They want proof.”

For the savvy ethical shopper, the mined diamonds on their radar are Canadian. As there are no armed conflicts taking place in the country, the conflict-free tag is more easily confirmed. Plus, the Canadian government places stringent rules on mining companies, both in terms of environmental impact and working with local communities. But what happens when these diamonds are sent for cutting and polishing? Whether these practices are ethical is harder to confirm, meaning the diamond supply chain originating in Canada should not be considered flawless.

From this melting pot of potential problems, the laboratory-grown diamond industry has promoted itself as a greener and more ethical choice. Adrian Mellish, training manager and UK sales representative of WD Lab Grown Diamonds explains: “A laboratory-grown diamond is identical to a mined diamond, the only difference being the point of origin.”

The repeatable dependency of laboratorygrown diamond technology means customers can access the best diamonds, rarely found in nature. “Laboratory-grown diamonds are Type IIA, the purest of the pure, and only 2% of mined diamonds are Type IIA,” Mellish notes. “The world is becoming more aware that we all need to be eco-friendly. A lab-grown diamonds is the ethical choice as well as being guaranteed conflict-free with a verifiable chain of custody.”

And what about environmental factors?

According to Alex Grizenko, CEO of laboratorygrown diamond specialist, Lucent Diamonds: “Lab-grown diamonds have minimal environmental and ecological damage. The carbon footprint that lab grown diamonds create from the energy that they consume is a fraction of the carbon footprint left by mining companies.”

This is certainly the case at Diamond Foundry – a carbon-neutral business founded by a trio of Silicon Valley solar-energy specialists that relies on plasma reactors run on renewable energy to create diamonds. A Diamond Foundry spokesperson says: “On average, to mine a one carat diamond, over 250 tons of earth are dug up, 2,011 ounces of air pollution is released, and 143 lbs of CO2 is emitted. With our process, our numbers are zero in each of those categories.”

Yet, speaking to The New York Times, Steve Coe, general manager of Lightbox Jewelry, implies that

95% OF JEWELLERS

IN THE US CAN’T PROVE WHERE THEIR DIAMONDS ARE FROM not all laboratory-grown diamond manufacturers should be viewed as totally ‘green,’ especially if they aren’t using renewable energy sources. He is quoted as saying: “Given the pressure required to create lab-grown diamonds, it’s akin to the Eiffel Tower being stacked on a can of Coke. If you look at the detailed numbers, the energy consumption levels between natural and man-made diamonds are in the same ballpark.”

What about the impact on people? Although laboratory-grown diamonds do reduce the general risk of unsafe labour practices at mine sites, this implies, unfairly, that businesses aren’t already looking after their workers.

Plus, if laboratory-grown diamonds grow in popularity, what happens to the hundreds of thousands of individuals whose livelihoods depend on diamond and gemstone mining?

Grizenko explains: “Growing lab diamonds may never contribute towards creating gigantic workforces such as ones created by mining and alluvial recovery companies. But the lab grown diamond industry will always be gentler on the environment and never have any involvement with human abuse.”

Frampton adds: “It is fascinating that the diamond industry has started caring about people as it has done little in the past. The big companies are getting worried because the status quo is being moved. Lab-grown will be the best thing for the industry as it forces the natural stone side of the industry to regulate itself in an open and responsible way.”

Like mined diamonds, customers are encouraged to seek out laboratory-grown diamonds with authenticity reports from leading grading specialists. “Ethical suppliers will only sell properly identified, fully disclosed lab-grown diamonds and for sizes above a half carat, graded and inscribed by reputable labs such as IGI, GIA and GCAL. Lab grading reports and certificates are critical to protecting the authenticity of each lab grown diamond,” Grizenko explains.

When choosing a diamond, whether mined or lab-grown, there is one thing almost all can agree upon: ask questions. By asking for answers you are sending waves through the supply chain, encouraging each stage to be more transparent.

Until a more stringent framework arrives, with companies working together rather than fighting it out, it will be up to individuals to decide for themselves what really makes their diamond jewellery ethical.

70

STYLE

The founders of Diamond Foundry in the ‘diamond factory’ – also pictured above

71

BREAKING BOUNDARIES As the watchmaking industry continues to expand beyond Switzerland, Tempus explores the differences and similarities between Swiss and German watchmaking Words: Michelle Johnson and Rachel Ingran

W

hen it comes to ‘fine watchmaking’, most people think of Switzerland.

Home to some of the world’s most exceptional and historic timepiece manufacturers, the tiny country has had a gigantic impact on the industry. And while the origins of watchmaking are, inarguably, rooted in Switzerland – the first wristwatch was made

by Patek Philippe in 1868 – it’s not the only

European nation producing quality timepieces.

Neighbouring Germany, whose natives are known for their discipline, organisation and punctuality, is a natural fit for the industry. But how do its watchmakers differ from the Swiss?

Tempus visits the factories of Blancpain and Glashütte Original, two prestige watch brands based in Switzerland and Germany respectively, to debate that very question. »

72

STYLE

73

Switzerland In Swiss haute horology, complexity, art and innovation begin at the Vallée de Joux

There's a reason that Switzerland's Vallée de Joux is still the spiritual home of Swiss watchmaking.

A picturesque and peaceful area of one of the world's smallest and richest countries, the sloping valley has inspired ground-breaking haute horology since Jehan-Jacques Blancpain opened his first workshop there in 1735.

Today, Blancpain is the world's oldest Swiss watchmaker in continuous manufacture and has long since moved on from making parts for pocket watches and ebauche movements.

In 1815, Frédéric-Louis Blancpain took a leap forward into serial production with the creation of a cylinder escapement to replace the crownwheel mechanism – the first of many such innovations for the manufacture, which fast become known for creating smaller, thinner, more complicated innovations that would push the world of timepieces into the future.

Blancpain partnered with watchmaker John Harwood in 1925 to introduce the first ever automatic wristwatch, following it up with a ladies' automatic four years later. The brand's 1953 Fifty-Fathoms was the first modern diver's watch and remains one of the brand's best known and beloved collections – adopted by the United States Navy and favoured by famous divers including Jacques Cousteau. In 1984, Blancpain launched the world's smallest automatic movement, followed by the thinnest movement in 1989. Another first was its awardwinning Traditional Chinese Calendar in 2012.

With this long-established tradition of finding new and intricate ways to revolutionise the industry, it would be easy to imagine the Blancpain brand as a commercially-led business where quantity and consistency are key. The reality is very different, as we discovered when we visited the brand's workshops in Joux.

While visitors are regularly welcomed to the postcard-perfect Farm at Le Brassus,

where Blancpain's ateliers engrave, polish and assemble every timepiece by hand, it's rarer to receive an invitation behind the scenes of the manufacture’s pioneering workshop at Le Sentier. There, directly opposite one of the world's most prestigious watchmaking colleges, École Technique de la Vallée de Joux, Blancpain's research and development team creates and develops each part using a mix of million-euro cutting-edge machinery and human ingenuity to cut and test each part.

IT’S THIS PERFECTIONISM THAT ALLOWS FOR

THE CREATIVITY OF THE FARM’S WATCHMAKERS

Inside the workshop, precision is key, and each minute piece is meticulously inspected for errors and irregularities by hand and eye. It’s this perfectionism that allows for the creativity of the Farm's watchmakers, who take each watch through finishing, engraving and construction using many of the same techniques and specially crafted tools established by the Blancpain family centuries ago.

This diligent and – forgive the pun – timeless approach is part of the reason Blancpain's Swiss watches are so desirable. Fewer than 30 watches

74

are produced by the manufacture on any given day, so no flaw is permitted. And perfection is harder than it looks, as we discovered when we were invited to attempt the delicate process of engraving components no larger than 3mm in diameter, or to polish these hand-engraved components under the watchful eye of the Maison's finishing department.

The Farm even has its own carrousel and tourbillon department, where a small team of lab-coated experts constructs the inner complications and movements of each 60part tourbillon or 80-part carrousel in a silent, almost mesmerising atmosphere.

The technical expertise of Blancpain's watchmakers is proudly demonstrated in the entrance to the department, where a display cabinet lays out each of the 760 microscopic components of the Blancpain 1735 Grande Complication – a limited edition of just 30 pieces featuring a tourbillon, minute repeater, perpetual calendar and split chrono – each taking a year to make.

Elsewhere in the atelier, Blancpain's awardwinning artists add even more originality with personalised engravings, enamelling, or specially designed minute repeaters for international clients desiring something wholly unique and imaginative, from family crests to wedding portraits, and even erotic scenes brought to life by minute repeaters on the reverse of the case.

While Blancpain's bespoke watches offer a more obvious example, the ethos of the Maison is apparent through every delicate component.

Each piece is alike, no two watches are ever the same, ensuring that Blancpain's tradition of Swiss style, quality and innovation is heard in every second. » blancpain.com

STYLE

Clockwise from left: Blancpain HQ, engraving, assemblage, decoration

75

Germany Efficiency, structure and a steadfast resistance to failure makes German watchmaking invincible

Dubbed the ‘Silicon Valley of watchmaking’, the village of Glashütte in the Müglitz valley of Eastern Germany is the birthplace of German watchmaking. The Saxon town is home to the country’s greatest watch manufacturers, which sit side by side in defiant alliance, avoiding the brand rivalry that exists elsewhere in the world.

While the village is now sleepy in nature, Glashütte’s journey hasn’t been an easy one.

It’s been caught in the middle of three wars and survived a number of political regimes which threatened the future of the German watchmaking trade in its entirety. However, the locals persevered and despite bombings, closures and theft, Glashütte endured.

A brand at the heart of the industry is Glashütte Original, which invited us to visit its headquarters. As we toured the manufactory, the first thing we are told is that an impressive 95% of components are crafted and assembled in this very building – a figure that’s comparatively higher than many rivals and is particularly impressive considering even the least sophisticated Glashütte Original timepiece contains over 300 elements. Even dials are made in-house at the company’s dial factory in Pforzheim in West Germany. The only exceptions to the rule are rubies, straps and cases.

Clients of Glashütte Original are invited to tour the factory where they can gaze through the glass windows of various departments and watch artisans working on everything from casting prototypes using high-tech laser equipment to handcrafting components that are almost invisible to the human eye. Many pieces are so intricate that craftspeople require the use of a microscope or an eyeglass loupe. The assembly atelier, where highly skilled watchmakers piece

together technical complications such as the grande cosmo and the flying tourbillon, is particularly impressive.

From polishing and bevelling to engraving and testing, the myriad stages of production are almost overwhelming. To an outsider, it seems it could be easy to eliminate certain steps to save time, particularly when working on components that’ll be hidden by the case, but that’s not the Glashütte Original, nor the German, way. And it’s this unwavering attention to detail that defines the quality of the final products.

AN IMPRESSIVE

95% OF COMPONENTS

ARE CRAFTED AND ASSEMBLED IN THIS VERY BUILDING We were challenged to a couple of tasks – blueing screws over a hot plate and polishing springs. Both required an incredible amount of patience. The screws, which changed colour rapidly when heated, had to be a specific hue, while the springs had to shine like a diamond.

When it comes to polishing, some components are polished with paper, but those reserved for complicated movements such as tourbillons are

76

polished by tin – a process that can take five to six hours per piece. I think this writer will stick to her day job.

Despite the intensity of the work, the passion of the entire team is evident. There’s also something quite homely about the manufactory.

Generations of families work alongside each other, as do experienced artisans and freshfaced graduates from Glashütte Original’s watchmaking school. Considering their shared skills, it’s little wonder the watchmakers are so close. We’re told it takes 3,000 hours of training become a Glashütte Original watchmaker, and between 10 and 15 years to attain the skills needed to create a complicated timepiece such as a minute repeater.

For those brave enough to take on the challenge, the company offers complimentary courses to promising applicants at its watchmaking school located a five-minute walk from the factory. Since its opening, the school has graduated hundreds of students, many of whom have gone on to create world-changing movements. The most famous is the flying tourbillon – a complex mechanism to improve timekeeping accuracy that’s supported from one side rather than by a bridge – which was invented by 1905 Glashütte graduate Alfred Helwig, whom the school is now named after.

We were given the rare opportunity to tour the school and witness the next generation of German watchmakers in training. It’s a special place where the pride of the professors’ glows as brightly as the passion of the students, some of whom are as young as 18. After all, it’s these students who will continue the fine tradition of German watchmaking. glashuette-original.com

STYLE

Clockwise from left: GlashĂźtte Original HQ, screwing gold chatons, blueing screws, sunburst decoration, balance screws

77

THE MAVERICK Once the scourge of the watch world, the ‘aftermarket’ industry is now firmly established and creating the only timepieces that are truly unique Words: Scott Manson

78

A

s one of the few pieces of jewellery that most men wear regularly, it’s important for any lover of haute horology to believe that their timepieces are a marker of their rarefied, individual taste. However, with a growing number of global citizens who can boast an Amex card with a £50,000 limit, the chances are that there are thousands of people – perhaps hundreds of thousands – who own the same watch.

So what’s the answer to this vexing question?

Quite simply, you take it to a bespoke ‘aftermarket’ specialist who will turn your high-end watch into something that’s redesigned to your own specification. If you’re looking for an all-black DLC coated Rolex, for example, then the Swiss watchmaker can’t help you. But a bespoke specialist like Titan Black can.

The company is one of very few in the world that has the expertise to pull apart a prestige timepiece and add dial engraving, extra jewels and insert any text, logos or patterns you might wish. Its clients include royalty and stars of sport and entertainment, many of them drawn in not just by Titan Black’s wizardry with diamond-hard DLC coating but also by its clever Light Delivery System, which adds an illuminating light to the watch face.

Indeed, His Highness Sheikh Khalifa bin Zayed Al Nahyan, ruler of Abu Dhabi and president of the United Arab Emirates had three watches of this type specially commissioned, with each of the three Rolex Daytona watches featuring the owner’s name in blue script.

However, this is no bling-at-any-cost set-up.

Titan Black founder Luke Waite insists that there are some watches – such as vintage Rolexes and Patek Philippes – that he would refuse to customise, out of respect for the heritage of the timepiece.

And while the company predominantly specialises in Rolex, its artisans have also turned their hand to beautiful reincarnations of Audemars Piguet, IWC Schaffhausen and Panerai.

In a world where personalisation is increasingly commonplace – from the filtered newsfeeds we receive to the clothes we wear, and even our Spotify playlists – isn’t it time that one of your most precious possessions was also given a bespoke makeover? titanblack.co.uk

79

C U L T U R E THE ART OF INVESTMENT LEADING LIGHTS ANIMAL INSTINCTS

82 - 83

84 - 87 88 - 93

FROM HOW TO BUY FINE ART TO THE PHOTOGRAPHER OF THE MOMENT, HERE’S OUR GUIDE TO ART AND CULTURE

Leading lights 84

81

art THE

OF INVESTMEMT How to collect fine art from as little as £10,000 Words: Graham Rowan

M

ost investments are really boring. If you’re lucky, you receive a piece of paper telling you the shares or bonds you’ve just bought, though in today’s digital world you’re more likely to get an email or an update on your phone app. There’s no joy in the process. No pride of ownership. No experience to lift your spirits.

But what if I told you there’s another investment market in which not only are all these feelings possible but at the same time has the potential to out-strip the growth in value of anything else in your portfolio? This alternative reality exists in the world of fine art investment. And, contrary to what you might think when you see art auctions on the evening news, it’s a world you can enter without the need for a sovereign wealth fund in your back pocket.

What do I mean by fine art? Essentially, the stuff you see in museums. They are the arbiters of taste and the artists they select will see the value of their work rise furthest and fastest. The trouble is, it’s rarely the artists themselves who benefit because most of them will have shuffled off their mortal coil before reaching this exalted status. I’m talking about Picasso,

Henry Moore, the pre-Raphaelites, the French impressionists and their ilk.

Yes, when their most famous works come up for auction you will see eyewatering bids and record-breaking prices. The simple reason is Economics 101: supply and demand. There are over a hundred new museums being built around the world, many of them based in the Middle East and China, with the benefit of deep pockets and big ambition.

They all need their equivalent of the Mona Lisa, the Louvre Paris’ trophy asset that guarantees hordes of visitors year after year. Hence the $450m paid recently for Leonardo’s Salvator Mundi on behalf of the Louvre Abu Dhabi.

But there are layers below that price point where sketches, drawings and fragments that would later be seen as part of complete paintings can be bought for as little as £10,000. There are price charts for individual artists that you can track in the same way as you would study Harrods shares, though you need to view fine art as a medium to long term investment. I encourage investors to think of it like gold bullion – a long term, multi-generational store of value in an uncertain world. Picasso ain’t going to

82

rattle off any new masterpieces any time soon, but you could have an original drawing he gifted to one of his agents hanging on your wall for £85,000.

If you’re going to succeed as an art investor, the starting point is education.

You need to understand how the market works, what is likely to grow in value and how to avoid buying a fake. The problem is that the art world is a bit, well, opaque.

Is the guy in the gallery who wants you to buy his painting today going to spend weeks and months turning you into an expert? Is the auctioneer going to explain the provenance of the painting minutes before you are allowed to bid on it?

Probably not.

As for how I learnt about investing in art, it took me years to discover someone who combines a deep knowledge of and passion for art with an investor’s brain, and it’s been a transformational experience to work with him. His name is Aidan Meller and he runs a series of 10 talks at his home near Pangbourne or his Oxford gallery, covering every aspect of art history and art investing.

You can start your education today at eliteinvestorart.com

COLUMN

Left: Nude (1924) by Henry Moore Below: Le Peintre et Son Modèle I (1970) by Pablo Picasso

83

LEADING LIGHTS Rediscovering the glittering era of Viennese modernism 100 years after the passing of its four chief protagonists

A

t the turn of the twentieth century, Vienna was the place to be. The formerly conservative Austrian capital blossomed into the artistic and intellectual heart of the world. Artists, writers, musicians, designers and philosophers flocked to the city in their thousands, making their mark on everything from the buildings to the artistic landscape. For those with a creative mind, there was nowhere better to be.

In the year 1918, however, the bubble burst. The end of WWI signalled a great change in politics, while the creative world lost four of its leading lights – artists Gustav Klimt and Egon Schiele, graphic designer Koloman Moser and architect Otto Wagner, all members of the so-called ‘secession’ group, a somewhat rebellious set of artists and creatives whose influence helped thrust Vienna into the new world.

Now, one century later, the city is celebrating the group’s contributions with a year-long celebration of Viennese modernism. Galleries, palaces and museums across the capital are putting on special exhibits celebrating the magical era. And the celebrations don’t stop at the city borders. In November, the works of Klimt and Egon will be travelling from Vienna’s Albertina Museum to London for a special show at the Royal Academy of Arts (4 November 2018 – 3 February 2019). Ahead of the exhibit, Tempus travels to the Austrian capital to discover why it’s so important to remember the leaders of modernism – and where you can see their works. »

84

CULTURE The Kiss is Gustav Klimt’s most iconic artwork

85

Gustav Klimt One of the most prominent members of the Vienna secession movement, Gustav Klimt was a modernism pioneer and arguably the most famous artist of the era. The Austrian symbolist painter is best known for his 1907 masterpiece The Kiss, which shows a couple in a powerful embrace, bound together in a cloth of shimmering gold. It’s on display in Vienna’s Upper Belvedere Palace – a beautiful space in which to spend an afternoon exploring – alongside an incredible collection of Austrian art dating from the Middle Ages to the modern day.

Klimt had a particular love for sketching women, which made him one of the greatest masters of eroticism in the history of art.

He had a knack for capturing emotion in the faces of his models (many of whom he’s rumoured to have bedded) as they lay in front of him. Currently on display at the Leopold Museum in the MuseumsQuartier is a selection of Klimt’s drawings, sourced with the help of various auction houses, galleries and private collectors around the world.

Egon Schiele Also on display at the Leopold Museum is the work of another prominent artist of the era, Egon Schiele. In fact, the museum houses the most comprehensive collection of Schiele artworks in the world, which enthusiasts can discover at a special anniversary exhibit, Egon Schiele The Jubilee Show, until 4 November. While Klimt preferred to sketch women, Schiele often turned the brush inwards, and this exhibit takes viewers on a journey through his life, exploring the topics of ego, spirituality, sexuality, children and his rocky relationship with his mother. Closing the show is a selection of landscapes and cityscapes – the city of Ceský Krumlov, his mother’s birthplace, is a key focus in this section.

Perhaps some of his strongest works on show are the artist’s selfportraits, which showcase his changing views of himself throughout his life. The pieces are key examples of his signature style of figural distortion, which defied conventional norms of beauty and led him to become a leading figure of Austrian expressionism.

Visitors can also discover Schiele’s work at Vienna’s Albertina Museum, which has brought together 160 of Schiele’s most important pieces – including a number of radical self-portraits and powerful nudes that tell just as much of the artist as the subject.

Many of these works will be travelling to London for the Royal Academy of Arts’ Klimt / Schiele exhibit in November, alongside a selection of pieces by Klimt.

86

CULTURE

Koloman Moser Austrian illustrator-turned-artist Koloman Moser was a founding member of the secession group and a pioneer of ‘modern design’.

While Klimt and Schiele tended to focus on creating 2D paintings and sketches, Moser used various types of media to create 2D and 3D works in his distinctive style, which features a lot of geometric shapes and contrasting colours.

However, Moser’s impact went far beyond his personal works.

During his time, the artist, alongside architect Josef Hoffmann, founded the Wiener Werkstätte, a group of pioneering artists credited for influencing trends such as Art Deco – an architectural design which later took over the whole of Europe. He was also a teacher at the The University of Applied Arts in Vienna where, until his death, he inspired young minds in the art of modernism.

A selection of Moser’s works are currently on display at Vienna’s Lower Belvedere Palace and Museum.

Otto Wagner To see the work of Otto Wagner, one simply needs to walk through the city of Vienna. The architect and urban planner made an incredible impact on the capital, not just in regards to archiecture but on the very foundations of the city and how it was run. The Austrian visionary is one of the most significant architects of the turn of the twentieth century and his accomplishments – among them the Postal Savings Bank and the Church of St Leopold – are regarded as milestones on Vienna’s path to modernism.

The City Railway was a major project of Wagner’s and two of the remaining railway pavilions, Otto Wagner Pavillon Karlsplatz and Otto Wagner Hofpavillon Hietzing, are hosting exhibits dedicated to him until 31 October.

Those who wish to know more about his incredible life and career can visit a special Otto Wagner exhibit at the Wein Museum until 7 October.

All four protagonists, Klimt, Schiele, Moser and Wagner, played integral roles in helping Vienna transition from a place of historicism to a pioneer of modernism. Those with an interest in modernist greats should not miss out on visiting the Austrian capital where, this year especially, their influence can be felt throughout the museums, galleries and buildings that make up this beautiful city. vienna.info

THE AUSTRIAN VISIONARY IS ONE OF THE

MOST SUCCESSFUL ARCHITECTS OF THE TURN OF THE TWENTIETH CENTURY

Clockwise from left: Mada Primavesi by Gustav Klimt; Secession Building; Church of St Leopold; Egon Schiele exhibit at the Albertina Museum in Vienna; Egon Schiele, Self-portait with Eyelid Pulled Down, 1910

87

ANIMAL INSTINCTS Photographer Tim Flach invites us to adopt a fresh perspective on wildlife conservation Words: Rose Adams

T

he work of London-based animal photographer Tim Flach is renowned the world over – and rightly so. An Honorary Fellow of the Royal Photographic Society since 2013 – a title shared with the likes of Mario Testino, Harry Benson, Henri Cartier-Bresson and Cecil Beaton – his stunning photographs uncover the human elements in animals, presenting wildlife as if they were just like us.

Flach’s symbolic stylisation of animal portraiture not only arrests the viewer’s attention, but our moral compass, too. Bestowing human characteristics upon the earth’s most endangered creatures evokes an emotional connection to their vulnerability and, in doing so, brings the pivotal issue of wildlife conservation to the forefront of our minds.

“Portraiture can help tell stories around the natural world, and my work is intended to project a shift in reality that better supports people’s understanding," Flach says. "We are the only ones who can make a difference to the planet – but we’re also the ones who are destroying it.”

The artist’s most exciting exhibitions have embodied this notion at the core. His most recent showcase, More Than Human, toured major galleries around the world throughout 2017 – stopping at France’s Festival Foto La Gacilly, London’s Osborne Samuel Gallery and the Kyotographie International Photography Festival in Japan – and was well received by activists and collectors alike. He has also released four photographic anthologies: Equus (2008), Dogs Gods (2010), Evolution (2013) and last year's Endangered, all of which highlight the importance of saving the planet’s endangered species before it’s too late.

Here, Flach gives Tempus an exclusive insight into his wild and wonderful vocation. »

88

CULTURE

Flach’s favourite animal to photograph is the saiga, a critically endangered antelope

89

90

CULTURE

91

Tempus: What’s your main inspiration as a photographer?

as that. I prefer to focus on how animals can touch your soul and inspire you to care more about the natural world. I’m interested in creating images that connect us to storytelling, because if we don’t do that, how are we going to know about the challenges that we face?

Tim Flach: A lot of what I photograph reflects how engaged we are with the protection of animals and the connection we have when we look at another sentient being. I think I’m actually better at observing animals than I am humans. I’ve become closer to the dangerous issues around the natural world and once you’re exposed to that it’s very difficult to ignore.

Humans have evolved from animals so we share something about their being.

We can’t separate ourselves from that, even though modern society seeks to. It’s really important for us to connect with nature – our future depends on it.

How does portraying that challenge through your art helps people to connect with these issues?

If something is distanced in a nonhuman world, it doesn’t engage us as powerfully and emotionally. When we identify with the animal’s character and personality, we sense their vulnerability, so we’re more likely to consider the outcome of their circumstances and how that could affect us. Ultimately, we are endangered, and for humanity's own wellbeing it must be a question of how to preserve the world for future generations.

Why did you decide to capture animals in a human way, rather than in their natural habitats?

When you’re presented with an animal that appears to be gesturing towards you, it makes you question more about yourself than that animal. The majority of work out there romanticises nature but I’m adding personality. It’s not necessarily anthropomorphising, it’s simply bringing something about them into our world. I’d like to think my images resonate with people and that’s why I’ve been so fortunate to be able to reach out into the broader world. Non-believers need to be connected and to do that, you need to make them appreciate the magic of nature.

What’s been the most memorable moment of your career?

While diving in the Galápagos Islands, I was hanging onto the reef in high currents watching hammerhead sharks cruise above my head in great numbers. That was really special. Another was spending time with the last northern male white rhino. I just remember wondering how we allowed its extinction to happen.

Have you ever come into any danger while out in the field?

What more do you think needs to be done in terms of wildlife protection?

When I was watching gorillas in Gabon, I was actually more fearful of the humans than the animals because there was a state of civil unrest in the region. I returned from photographing the gorillas, which was a very tranquil experience, to the capital city Libreville where I had a much bigger sense of fear.

We’ve got big challenges ahead of us and we must do something from a position of hope. It’s not just about digging wells in the third world, it’s about changing our cultural relationships. The last great period of extinction was 30 million years ago, when we lost the dinosaurs, and now we’re entering a new series of extinctions driven by humans, an age known as the Anthropocene. We’re looking at a potential end game. For my last book, Endangered, I worked with some fantastic people such as Dr Jonathan Baillie [chief scientist at the National Geographic Society] to discuss his experiences. There are so many stories that need to be told, such as the state of the coral reefs, climate change, polar bears and the decline of pangolins – one of the most traded animals in the world.

How do you keep coming up with such innovative ideas?

Each book is a journey. You must go fishing to catch something, but never presume what you’re going to get. For Endangered, I researched ecological drivers – including humans – and realised I couldn’t just present images of poached decapitated gorillas hanging in some shop, I had to use positive images to engage us in a way that celebrates wonderment. I have an exhibition going on at the moment which will have 200,000 visitors, that’s the kind of scale I’m working at – it’s not 200 people in a gallery having a glass of wine. It’s an honour to be able to engage my images with the public.

Do you have a favourite animal to photograph?

One of the most curious animals was a saiga – an antelope that can’t be kept in zoos. I imagined it roaming the earth alongside woolly mammoths. In that sense, you could call me a wildlife photographer because I chase portraits, but I don’t see myself

timflach.com See Tim Flach’s work at Festival La Gacilly-Baden in Austria until 30 September and at Zingst Photo Festival in Germany until 12 September

92

CULTURE

The western lowland gorilla is one of the most critically endangered gorillas in the world

93

E S C A P E THE HOUSE ON THE HILL ECO-TRIPPING

96 - 99

100 - 101

NIGHT AT THE MUSEUM

102 - 103

IN THE LAP OF LUXURY

104 - 105

WE TRAVEL FROM JAMAICA TO THAILAND, MADRID TO LONDON, TO BRING YOU THE BEST IN LUXURY TRAVEL

Eco-tripping 100

95

House on the hill With some serious style credentials behind it, Round Hill continues to be the most sought-after resort in Jamaica Words: Rachel Ingram

96

ESCAPE

W

hen Ralph Lauren unveiled his spring 2018 collection in rainy New York in February, it was an appropriately wistful ode to the sunnier climate of the Caribbean. A ray of sunshine on a bleak day, the range was inspired by the designer’s holiday home-turned-muse, Round Hill – a highly exclusive resort in Montego Bay, Jamaica.

Travel the 15,000 miles from the big apple to the Jamaican resort and the tables are turned as Lauren’s distinctive touch is felt throughout the property. The male staff proudly wear crisp Ralph Lauren shorts (the women are given cloth from which they can design their own dress styles) and from the snorkelling reef you can see the pure white structure of Lauren’s private oceanside home. Nicknamed White Orchid, the house is one of two villas that the fashion mogul owns at Round Hill – the second is villa 23, or ‘High Rock’, which sits at the highest point of the complex.

With 27 luxurious villas, beautiful gardens and a picturesque bay on its doorstep, Round Hill’s attraction to holiday makers is evident – but it’s not your average resort. Each house is privately owned, mostly by business people and America’s upper class.

The waiting list to purchase one is long (investors will need to wait several years for an opportunity to buy) but those interested in getting a taste of Round Hill can rent houses when the owners are out of town.

Villas are rented out by category, rather than by number, in order to ensure that owners will never be stopped from returning on a spontaneous trip. It’s the luck of the draw where you’re going to stay, but all of the villas are stunning. Wherever they reside, guests are going to be in good company. Previous visitors include John F Kennedy (the former US president honeymooned with wife Jackie in villa 10), Richard Nixon and actor Michael Douglas, while more recent guests include Sir Paul McCartney (his favourite is villa 17), Heidi Klum, and Prince Harry.

We were lucky enough to stay in villa 16, where the Duke and Duchess of Sussex, then still Meghan Markle, resided during the wedding of the Prince’s friend Tom Inskip in 2017. Set among lush tropical gardens, it’s described as “the crème-de-la-crème of Round Hill”. It features six double bedrooms, several living spaces, a games room, two patios, an incredible pool overlooking the beautiful bay, and a detached guesthouse. Falling into the premium luxury villa category, it’s one of the largest properties in the resort.

Each of the villas at Round Hill is unique and tailored to the tastes of the owners – in some villas, family photos of the owners have been left on the walls, giving visitors the feeling of being in a home from home. Each also has its own story – villa 11 is where How Stella Got Her Groove Back, starring Whoopi Goldberg, was filmed, while fans of The Sound of Music have villa 12 to thank. According to history, this is where Oscar Hammerstein, the original owner of the cottage, scribed many of his musicals, and is where he met Maria von Trapp to write the acclaimed production. »

97

Clockwise from top left: Villa 16, Round Hill’s private beach, Ralph Laurendesigned rooms, Villa 16

Those who miss out on renting a villa can opt to stay at the twostory Pineapple House, the only non-private accommodation on the property. The complex is home to 36 ocean-facing suites which feature nautical interiors designed by, you guessed it, Ralph Lauren.

Guests can choose between private catering in their own villa or dining in Round Hill’s various eateries – or a mix of both.

The Grill (recently redesigned by Lauren) offers farm-to-table dinner menus packed with fresh, local, sustainably produced Caribbean cuisine – in lobster season, the Caribbean spiny lobster is a must try. Catch a glimpse of the chefs at work in the open kitchen as you dine in the shadow of artworks by Jamaican artist Albert Huie.

With uninterrupted views over the ocean, Seaside Terrace is an excellent spot for a sunbaked lunch or an al fresco dinner – there’s a different themed buffet each evening.

For a treat, visit The Restaurant at Round Hill, the resort’s fine dining offering. It operates a ‘table d’hote’ concept where guests can select from a fixed price set menu (which changes daily) of “light, clean Caribbean cuisine” created by award-winning chef Martin Maginley. Most of the herbs and vegetables served are grown in the resort’s organic garden, while extra supplies are sourced from the One Love Foundation’s organic farm – just one example of how the hotel works with the local community.

Chefs also put on several special events each week, including a BBQ on the beach on Mondays and a Jamaican night on Fridays, complete with live entertainment.

A five-minute stroll along the coast will take guests to Round Hill’s new fitness centre and spa. Located in a refurbished 18th century plantation house overlooking a beachfront lawn (the sole ‘adult’s only’ spot on the property), the spa is a haven of relaxation. Visitors can choose from a selection of massages and body treatments – we opted for the signature hot stone massage which quickly melted the jet lag away. For those who’d rather shake off the journey by getting active, Round Hill has tennis courts and a water sports club which offers complimentary activities such as kayaking. The hotel also provides a shuttle service to a nearby golf course.

Those who return again and again will notice that Round Hill is constantly evolving. Each year, the property closes for between four and six weeks as the team refreshes the resort and works on a new project. The update for 2018 was a new open air yoga pavilion boasting views that are guaranteed to help people find their inner chi. Round Hill is also in the middle of a coral reef restoration project, led by marine biologist Dr Andrew Ross of Seascape Caribbean, which aims to transform the damaged coral in the bay and encourage sea life back to the area.

One thing that doesn’t change, however, is the staff.

While we were there, one member of the concierge team celebrated his 46-year work anniversary, while the majority of housekeepers we’d spoken to had taken care of their villas for at least 10 years. Round Hill is clearly run by a family of staff, for a family of owners – it’s little wonder that the guests we spoke to said returning each year is like coming home. roundhill.com

98

ESCAPE

99

Eco-tripping While every hotel is keen is to become more sustainable, Thailand’s Tongsai Bay has been flying the green flag since it opened in 1987. Tempus travelled to Koh Samui to find out more

Words: Scott Manson

F

or those who have travelled to Thailand often, the premise of The Beach, the Thailand-set film starring Leonardo DiCaprio, is a resonant one.

The search for the perfect stretch of powder-white sand, swaying palm trees and crystal-clear sea becomes ever harder as more and more tourists investigate the country’s considerable charms.

Since 1987, though, those in the know have made a beeline for The Tongsai Bay, the first five-star green hotel on Koh Samui. Set within lush tropical gardens on a hillside overlooking a secluded bay it consists of 83 suites, cottages, and villas. And unlike most of the island’s luxe spots, it’s still family-owned, which gives the whole place a genuinely friendly feel.

Add to this its impeccable eco-credentials – no trees were felled in its creation and no insecticides or chemical fertilisers are used in the grounds – and you have a property that truly stands out in an increasingly sophisticated tourist offering on this small island.

Its story began in 1985 when Akorn Hoontrakul, then chairman of The Imperial Hotel Group, saw the bay from the sea and fell in love with it. Within seven days, Akorn purchased the land and slept at the beach for three months, planning his ideal resort. In July 1987, The Tongsai Bay opened and became the first five-star luxury green hotel under the umbrella of The Imperial Hotel Group.

Following illness in 1993, Akorn sold the Imperial Hotel Group but kept The Tongsai Bay, because he wanted to live out the rest of his life there with his wife Chompunute.

When he passed away in 2000, the management of the property went to his son, Thanakorn, and daughter inlaw Saisiri, who have continued to provide the highest

standards of hospitality and service. In short, it’s the model that every eco-luxe hotel should aim for.

Situated just 10 minutes from the airport and within striking distance of the main town of Chaweng, it offers both isolation and easy access to the rest of the island.

The whole resort feels carefully integrated – it helps that it’s had decades for the mature foliage to really establish itself – and the buildings, many with beautiful terraces and private pools, blend into the natural surroundings.

Inside, suites are furnished with classic Thai darkwood tables, hardwood floors and beautiful paintings. Our balcony, complete with vast outdoor bath and day bed, offered a superb view of the bay and proved to be the perfect spot for post-beach, pre-dinner lounging with a glass of wine and a good book.

The hotel’s restaurants are a delight and we swapped nightly from the traditional Thai offering of Chef Chom’s restaurant and the beachside Po-Lad, which is a more casual international affair. I’d recommend at least one visit to the former, particularly on ‘curry night’ when a multitude of spicy dishes are cooked at a small buffet stand, complete with freshly baked breads which you can help create – the perfect diversion if you have a curious kid and are looking for a bit of ‘quiet time’ at the table with your partner.

And it’s these little touches from every member of staff, from the excellent general manager to the enthusiastic Aussie who runs the hotel’s ‘living reef ’ dive experience (a must-try), that makes Tongsai Bay so special. After 30 years, this resort is still one of Koh Samui’s very best. tongsaibay.co.th

100

ESCAPE

Half-Moon Pool is the perfect place to cool off

Named after the founder, Akorn Villa is the place to be

Enjoy dinner with a view at Chef Chom’s

101

NIGHT AT THE MUSEUM Sleep among authentic Papua New Guinea tribal masks, Buddhist sculptures and historic Asian statues at this enchanting Madrid hotel

102

ESCAPE

P

apua New Guinean tribal masks and Tambaran totems aren’t exactly what you’d expect to find in the centre of Madrid, but Urban Hotel 5* GL isn’t your typical five-star hotel. The word “urban” gets a whole new meaning at this unique Art Deco property, which is, on first glance, as much a museum as it is a hotel. Located, fittingly, in the heart of Madrid’s museum quarter, the hotel’s designers cleverly juxtapose modern architecture with ancient statues and moody lighting to create an atmosphere that’s achingly hip, and totally different from its surroundings.

As we pass through the entrance and our eyes refocus from the blinding sunshine of the bustling city outside, it’s clear we’ve passed into another world. We wait to check in, armed with a complimentary glass of cava, and are encouraged to check out the artwork in the foyer. Three giant wooden totems tower over our heads, facing off with a pair of sizeable tribal statues (main image). Above, ethnic masks resembling the skeletons of ancient birds fly overhead, lit up by natural light that floods down from the roof, reverberating off the sharp angles of the glass tunnel that cuts through the avant-garde property.

This is our first glimpse of hotel’s worldly collection of art and sculptures, which can be discovered throughout the property from the lobby to the suites. It comprises 200 unique pieces acquired from auction houses across the globe or borrowed from worldrenowned explorers and collectors such as Albert Folch, Jean Louis Roiseux and Jordi Clos.

The main collection, displayed in the public areas, comes from Papua New Guinea and consists of carved totems, painted ceremonial shields, masks and ethnic costumes,. The guest rooms, meanwhile, showcase a variety of art from around the world, including jade Hindu carvings of Vishnu, wooden Buddhist sculptures from as far back as the 15th century, and Chinese paintings from the 18th and 19th centuries. Guests interested in seeing more can visit the hotel’s exhibition room.

When it comes to accommodation, visitors can choose from a variety of rooms and suites, all of which follow a similar theme – modern, dark and mood, with oodles of wood, glass and art. When offered the choice of two relative rooms, we selected a junior suite which featured dark wood panelling and black leather sofas lit up by bright paintings of Chinese noble families. The bathroom was equally stylish, with dark walls, a large tub visable from the bedroom through the glass separating wall.

Ours was an inner-facing suite, overlooking the foyer, but guests also have the choice of outer rooms facing the city. The best views, however, can be seen from the rooftop, where guests can find a small pool that’s open to guests and a bar, La Terraza del Urban, which wraps around two sides of the building. It’s here we enjoyed our first taste of Spain with a serving of tapas and cocktails, alongside a trendy group of locals – this alfresco spot is clearly a favourite among the Madrid style set.

The hotel is also home to CEBO Restaurant – the fine dining Mediterranean eatery has just 25 covers a night, so make sure you book – and Glass Mar, a new oyster bar by Ángel León, known as ‘chef of the sea’, whose restaurants have four Michelin stars.

And while the high quality of the dining and service on offer at Urban Hotel 5* GL may be a highlight to many, for me, it’s the art that makes it special. The Derby Hotels Collection, which owns the hotel, is known for its luxury and design-driven urban properties, and while this is the first of the group’s resorts I’ve visited, after this experience, it certainly won’t be the last. derbyhotels.com

103

IN THE LAP OF

luxury

Since 1931, London’s Dorchester has defined the five-star hotel experience. But does the grand dame still offer the last word in sophisticated grandeur?

Words: Scott Manson

I

t’s the flowers you notice first. They are everywhere. Great bursts of colour scattered like wedding confetti – created by legendary florist Phil Hammond – which combine with the verdant palms in the opulent Promenade lobby to create a feeling of luxurious calm. Outside, a doorman in a top hat is gently inching a guest’s purple Lamborghini out of his prominent front-of-hotel parking spot while inside the reception area has the pleasing hubbub that comes from a lot of happy guests. It’s everything you’d expect as a curtain-raiser to one of London’s finest hotels.

Opened in 1931 in the heart of Park Lane, The Dorchester is a storied affair – Prince Philip held his stag do here in 1949, for example – but one that has moved with the times. A look around the lobby reveals a surprisingly young crowd. They’re a wealthy bunch, for sure, but this place is a far cry from God’s waiting room.

I’m not saying it’s hip, but neither is it hip replacement.

Venture upstairs and hushed, thickly carpeted corridors give way to relatively compact rooms, but which are immaculately decorated. Think deep marble bathtubs, gorgeous mirrored cabinets and restful prints and hues. A Bang & Olufsen TV sits high on a wall (don’t you just love the way the screen closes like stage curtains when you turn one of these models off), an incredibly comfortable, vast bed dominates the room and, for those lucky enough to get a west-facing room on one of the higher floors, the whole of Hyde Park spreads out before you like a Capability Brown blueprint.

Three restaurants are on offer, all brilliant in their own way. Alain Ducasse at The Dorchester offers three Michelin-star French cuisine – only one of a trio of restaurants in the capital to have earned this most coveted of star levels – served in a quiet ‘temple of gastronomy’ style setting. Elsewhere, the celebrated China Tang offers a sophisticated Cantonese menu – and a great cocktail bar – while the revamped The Grill serves great grilled meats and celebrated soufflé desserts in an elegant dining room.

As you’d expect throughout the hotel, the service is second to none with staff anticipating your every need, almost before you realise you need it. Top marks, too, for the receptionist who, on overhearing that my daughter had forgotten her much-loved cuddly toy, quickly produced a Dorchester teddy bear. I salute you sir, as you saved my partner and I from a potentially sleepless night.

And as we enjoyed a fine full English breakfast in the lobby restaurant the next day – with the bear at pride of place on the table, of course – I gave silent thanks to the hundreds of people back of house that make the Dorchester experience so memorable. From the chef who baked our beautiful morning pastries to the cleaners who toil all night to leave every surface gleaming, it’s easy to see why this hotel remains the last word in luxury living. dorchestercollection.com

104

105

P R O P E R T Y GREEN LIGHT A WORLD AWAY

108 - 112 114 - 117

DISCOVER INCREDIBLE HOMES – AND THE PEOPLE WHO DESIGN THEM – IN PROPERTY

A world away 114

107

GREEN LIGHT Live guilt-free in a luxe, eco-friendly second home Words: Cheryl Markosky

108

This property in Dominical enables owners to keep their eco-footprint light while living a life of luxury in Costa Rica

109

U

Dominical, Costa Rica

ltra high net worth individuals desire private existences in exclusive places but, increasingly, they’re discovering creative ways to keep their eco-footprints light while still living in astounding abodes.

Maizie Baird, property consultant at Alpine Marketing Ltd, says that many of her top-end clients crave a “fairy tale escape to a hunter’s lodge in the trees. They want to be part of the land at a really high level”. A bolthole derived from local materials is a must-have, along with the feeling that it’s “truly authentic”.

Possessing a sustainable hideout in the Austrian mountains is nothing new, as Austrians have always been very eco-minded, according to Maizie. “Now, however, it’s become super trendy.

Being green goes with Alpine living.”

A natural disaster can make purchasers sit up and take notice of the environmental credentials of a second property. Sotheby’s International Realty’s Holly Bennett in the Sonoma Valley remarks: “When drought hit the county recently, people’s consciousness of how they used water was raised, and substantial value was added to property that withstood last year’s firestorms.”

Sustainable homes with their own water source, solar power and powering stations for electric cars appeals to Holly’s upperscale buyers “who are low-key and big on environmental wellness.”

And yet, the ultimate green accolade might be to own a group of Pacific islands with a grand legacy of scientific and political potential.

“Someone interested in being sustainable can be charged with protecting a living museum of eco-system protection, while enjoying tropical luxury,” says Hana Ayala, founder of science and diplomacy brain trust Pangea World. The best of both worlds surely for an eco-warrior aesthete.

Energy-efficient water heater, zoned air-conditioning, grid-tiered micro-invertor solar system and insulated concrete form walls for temperature and sound control make this contemporary home stand out. You can also do yoga and meditate on the ridge overlooking the Pacific coastline.

US$2.9m (£2.2m) modernhomesworldwide.com

Islas Canyonetas, Panama Primed to be a hotbed for conservation and science, Panama offers you the opportunity to become the proud owner of three pristine islands where endangered sea turtles nest on 50 beaches across 1,800 acres of land. Working with Pangea World on a UNESCOendorsed project, you can build a high-end home or resort, and greatly influence the region’s sustainable knowledge economy.

US$100m (£75m) christiesrealestate.com

110

The Secret Ellmau Chalet, Austria

A TWISTED TREE TRUNK

TWINES THROUGH THE MIDDLE OF THE LIVING SPACE,

Super-deluxe chalet on top of a Kitzbuhel mountain constructed from timber locally sourced from Zell am See’s forests. A twisted tree trunk – approved by a Feng Shui master – twines through the middle of the living space, symbolising the flow of water (the tree grew on top of a well). Other eco-goodies: a pellet heating system, bicycle rack and e-car parking equipment. »

SYMBOLISING THE FLOW OF WATER

€9.2m (£8m) alpinemarketing.com

111

PROPERTY

Wild Turkey Run, USA Fully off-the-grid Italian-esque villa, vineyard and guest house that survived the Sonoma wild fires, with 100% of its power from solar panels, two wells (one for the house and one to water the vines) and a garage with a Tesla powering station.

US$7.8m (ÂŁ5.8m) sothebyshomes.com

112

CREATE YOUR PERFECT HOME AND LIFESTYLE! Every month, be inspired by new ideas for your home and receive delightful lifestyle treats to excite your mind, body and soul. It is the ultimate monthly goodie box for you and your beloved home! www.theathomeboxcompany.com

113

Shinta Mani Wild sits within a Cambodian jungle that Bensley bought to stop it being logged

114

A WORLD away The Willy Wonka of hotel design, Bill Bensley is transforming luxury tourism in south-east Asia Words: Rachel Ingram

W

hen I first met Bill Bensley, he was giving a tour of JW Marriott Phu Quoc Emerald Bay Resort & Spa – a five-star hotel he turned into his own desert island ‘university’. As he told make-believe stories of former students, I was so taken by his childlike enthusiasm that I was tempted to believe his tales. When we meet several months later, during a trip to London, his passion is still indisputable, but the undertone is different. Since our last encounter, Bensley has spent months in Cambodia, the poorest country in southeast Asia, where he’s been busy building a luxury tent camp in a very special patch of Cambodian jungle.

There are moments during our interview that the Bangkokbased hotel designer becomes visibly upset, the pain in his heart reflected on his face as he speaks of the poverty he’s encountered – a contrast to the excitement that lights up his entire aura as he talks of his design projects: a Buddhist village in Vietnam, a French Colonial resort in Laos.

Professionally, Bensley’s known for his Willy Wonka-style creativity. He’s a design genius with a wild eye who, rumour has it, will only agree to a project with an unlimited budget. It’s easy to see why the American is the go-to designer for leading hotel groups such as Rosewood, Four Seasons and Oberoi. But behind the big personality, Bensley is deep and considered, he’s a man who spent his personal fortune on a forest to stop loggers chopping it down, and formed a foundation which adopts and protects children in need.

Perhaps the reason for the designer’s shift in mood is that the tent project in Cambodia is not for hotel clients, but for himself – it’s the second property in the eponymous Bensley Collection portfolio. We tied him down during a whirlwind tour of London to find out more about this truly personal project and to discover what makes Bensley one of the most prolific hotel designers of our generation. »

115

Tempus: Rumour has it that when you agree to a project, you have two stipulations – free creative reign and unlimited budget. Is this true?

Bill Bensley: Not necessarily unlimited budget but free reign. I think it’s important that the client says, ‘I’ve got this budget, don’t spend any more than that,’ and I’m fine with that as long as they give me free reign. At this Buddhist project I’m doing [Yen Tu], part of it is for monks so I had to do one room that’s 12sqm with four beds. The budget was $20,000 a room, which is nothing. I can work with any type of budget as long as I’m dictating how the bunk beds look.

What’s the story behind this project?

If you go south an hour from Halong Bay, there’s a place called Yen Tu. A 13th century king of Vietnam left his palace and riches behind and this is where he settled. It’s also where he’s buried. About five million Vietnamese and Korean come here every year. What we’re doing is a hotel in the 14th century style, so there’s no visible glass anywhere – all you see is mud and ceramics. We’re creating a 14th century village, too, so it’s a real step back in time. The village is full of retail shops selling things from the 14th century, but as the 14th century had no language – Vietnamese language only came to be in 1910 – I’m doing a whole series of pictograms. Throughout the entire project there’s no words. No words and no glass. I wish it was a Bensley Collection hotel but they’re good because they let me do whatever the hell I want to do.

Tell us about first Bensley Collection hotel, Shinta Mani, that’s recently opened in Siem Reap, Cambodia.

We’ve done 10 gorgeous pool villas next to the King’s Palace. They’re very ethereal and Cambodian.

Everything is under these 200-year-old rain trees, that are just so pretty. There’s no barrier between the inside and the outside because I wanted to be able to sleep in the garden. There’s a sky bed upstairs, too, because in winter time it’s wonderful to lie in bed and look at the stars. The fun part about this room is the bathroom is through the garden on the other side.

We also have eight Bensley butlers – you can imagine what they look like (laughs) – and they are great, great kids. They’ll take you all around to the back doors of the temples. We’ve found places that nobody else can go, because you know Siam Reap can get a little bit inundated with tourists, so we’ve found lots of places to go and bring our guests and make them feel very special.

What is the ‘Bensley Experience’, offered at Bensley Collection hotels?

A Bensley Experience is all in – all the spa you want, all the wine you want, all the experiences, the transportation… whatever you want to do, whenever you want to do it. One of the things that really pisses me off about travelling, especially in an all-inclusive deal, is that it’s not. They always charge you for extras – oh you want that whisky? That’s another £4. We don’t have any of that with the Bensley Collection. Wherever you want to go, wherever you want to eat in town, we’ll take you out and pick up the bill.

How do you put a cost on that, considering some people may take push the limits?

There will be that but we’re just going to take it. For the most part, people who travel at that level don’t need to drink seven bottles of wine a day. At $1,000 a night, people don’t act like that.

JUST LIKE THE AFRICAN SAFARI CAMPS, WHEN YOU COME TO SHINTA MANI WILD, YOU HAVE TO SIGN YOUR LIFE AWAY Your second Bensley Collection project, Shinta Mani Wild, which opens in November, is in quite a different location. How did it you pick it?

About 90% of the tourists in Cambodia go to Siem Reap and don’t see anything else. What we’re doing is linking the country together. I bought 3,000 acres of forested land from a logging auction and they sold me five kilometres along a river. I could go in there and chop everything down and make a lot of money, but do I look like a lumberjack? No. I have 200 acres per tent. You feel like you’re on your own. When you come to the site, where wild elephants pushed over our garden house last month, you get out of the car into an ATV, then you follow this tiny trail to the biggest tree we have on site – you climb up the tree and you zipline 400m across the tree tops and across a waterfall to the landing zone, the bar. That’s how you arrive to the resort. We have many of the tents over the river, so you can feel the power of the rapids and the mist coming up through the floors. It’s really nice.

We’re going to offer a three-night minimum stay at $1,800 per couple, which includes all the activities – it’s the Bensley Experience again. We’re got a programme for up to 10 days that includes things like foraging.

We have naturalists that have been on site now for nine months that have identified about 185 edible species of plants, including 12 mushrooms – the pink mushrooms are my favourite. We send people out in the forest to collect these things, bring them back and then teach them how to cook them. So, you can learn survival in Cambodia.

And that’s helpful considering you have to sign quite a serious zero responsibility form when checking in!

(Laughs) Just like the African safari camps, when you come to Shinta Mani Wild, you have to sign your life away. I’m serious! Because if you fall into that river you’re dust. We did this also at the Four Seasons Tented Camp Golden Triangle because the tents are way up in

116

the air – if you’ve had too many drinks you could topple over. And there’s all sorts of ways you can fall off an elephant. They’re wild animals. It’s dangerous. it’s the wild, wild west out there. It ain’t London.

You mentioned wild elephants – how can guests get involved with the local wildlife?

This whole area is policed by a 200-man army armed with AK47s who are trying to keep together the integrity of this forest. There’s illegal logging and illegal animal trade happening here every single day – a couple of months ago, I was out on site and took down 17 snares! And these snares will catch baby elephants.

So, some of our guests can elect to go out with the rangers on patrol.

It’s great that you’re so involved with local organisations in Cambodia...

There’s all sorts of things that Cambodia needs. The nearby land that was sold to the Chinese at the same time I bought this land is now clear cut. Everything has gone. All the trees have gone. And the run off is going into the ocean now and killing all of the coral.

I’ve got a 99-year lease on this land and it’s all about finding a sustainable way of doing something that’s low impact/high yield that’s hopefully going to be a way of sustaining this as a piece of national park that the government can’t take away, and that the Cambodians can’t log illegally. If we have enough money to police it correctly, it will at least remain green for as long as I live. And that’s the idea, I want it to be green way after I’m gone.

Why’s it so important to you to give back to the local community?

I think because I have too damn much myself. I think if I were struggling to make ends meet, it wouldn’t be nearly as important – I’m being perfectly honest with you. I think that the reason that it’s important to put this energy in is because I can. It’s as simple as that.

And why Cambodia? Because clearly, it’s the poorest and least organised country of all of Asia. You know the average Cambodian makes 80% less than the average Thai? And still now, out of the new-borns in Cambodia, 5% die because they’re not getting proper water.

When I first got there in the 1990s, I came across this family. The dad had left and the mother and seven kids were living on top of a pile of sticks about as high as a table, with no roof. The kids had extended stomachs because of malnutrition. I just started crying at the sight of this. And I thought, gosh, I’ve got to help these people, and we did. The youngest, whom we adopted through the foundation, we called Happy Boy. Tell us about the Shinta Mani Foundation.

I pay for all the administration stuff out of my pocket and any donations that come in go straight to the field.

In the past 15 years, we’ve built 2,000 homes and 1,500 wells for people here, and this year alone we’ve done $1.5m worth of free dental work for kids. Cambodia is where my heart and soul is. My home is Thailand, but this is where people need help. bensley.com

PROPERTY

Left column: Shinta Mani Angkor Right column: Shinta Mani Wild

117

Cause for thought Inside the inaugural Tempus Earth Conservation Gala, which raised ÂŁ100,000 for the WWF Words: Michelle Johnson

118

S

Entertaining the crowd: Philanthropy is close to the heart of host Alan Carr

119

tars gathered at the Dorchester London on Thursday 31 May to join Tempus in raising money for the WWF at the first ever Tempus Earth Conservation Gala. Set with a target of raising £100,000 for the wildlife and conservation organisation, Tempus’s generous guests helped to raise £92,000 in a live auction and a further £10,000 via silent auction.

Hosted by comedian Alan Carr, the event was attended by celebrities including former Olympic cyclist Victoria Pendleton CBE, musician Dougie Poynter, boxer Chris Eubank Jr, and Made in Chelsea stars Georgia Toffolo and Mark-Francis Vandelli, who came together to support the cause.

The evening began with a Hatt et Söner champagne and Attilus caviar reception, where guests including designer Joshua Kane, actor Harrison Osterfield, ice skater and model Maria Sergejeva, presenter Layla Anna-Lee and Poynter's INK bandmates Todd Dorigo and Corey Alexander mingled with the host. Guests could also have their photograph taken by celebrity photographer Gavin Bond before the Dorchester ballroom was opened to reveal a transformed space styled like a tropical paradise, courtesy of immersive theatre company Vox Vanguard.

Attendees took their seats for dinner (with each table appropriately named for an endangered animal) as Carr welcomed everyone with a rousing introduction. He thanked hosts Tempus magazine, and event sponsors Isle of Man UNESCO Biosphere, WaterBear Network – a soon-to-be-released streaming service that facilitates environmental action – and foreign exchange company Volopa, which gifted each guest with its specially created Earth Conservation Card, allowing people to donate to WWF as they shop.

"I'm really intrigued about anything environmental, especially the WWF which is an amazing cause," Carr told Tempus. "Every time you switch on the telly you see something about climate change or threats to wildlife so when I got the call to ask if I'd host it was an immediate yes.

WWF is one of the good guys."

Tony Juniper, WWF director of advocacy and campaigns, gave a keynote speech that highlighted that sentiment, drawing cheers from the crowd as he announced that endangered species such as pandas, snow leopards and tigers have, through the hard work of environmentalists around the world, seen an increase in number for the first time. Arctic explorer and expedition guide Inge Solheim, perhaps best known for leading the Duke of Sussex's North Pole expedition for Walking with the Wounded, gave a second speech, describing himself as "a climate and nature optimist".

"Climate change is a serious problem, but I'm optimistic. I'm not a fan of doomsday prophecies or propaganda. I'm a fan of facts, of science, of realism – but also of positivity," Solheim told guests. "Most importantly, I'm a fan of action. We have to translate the worries we have into action."

Between dinner courses, Vox Vanguard's entertainment brought the plight of our endangered species to life, with an immersive musical and dance interpretation of Scheherazade, »

120

Using The Earth Conservation Card saves you time and money whilst making a real difference with every transaction. Volopa will donate 30% of all proceeds which are directed by a panel of world renowned conservationists to organisations dedicated to protecting our natural surroundings and conserving the future of our planet.

Streamline your international travel whilst conserving the planet The Volopa Earth Conservation Card not only streamlines your international travel but also contributes to protecting planet earth, its beauty and diversity, by giving back to the charities who do so much to protect our natural surroundings and the animals that inhabit it.

The card and the platform operates with the highest levels of security and uses the latest technology, allowing you to travel to multiple locations, while having peace of mind that your funds are completely secure.

Visit Volopa.com Two card designs available to choose from For all card enquiries, contact us on

earthconservation@volopa.com | +44 (0) 203 752 3813

Previous page: [l-r]: Alan Carr; Marius Borg Høiby; INK.’s Corey Alexander, Dougie Poynter and Todd Dorigo; WWF’s Tony Juniper; Vox Vanguard dancer Sophie Apollonia; Art by Bran Symondson; Attilus Caviar; The London Essentials This page [l-r]: Harrison Osterfield, Joshua Kane and friends; Georgia Toffolo and Mark Vandelli; Elite Investors Club’s Graham Rowan presents Alan Carr and Tony Juniper with a cheque; Vox Vanguard dancers perform; Volund’s Earth Conservation Card; Victoria Pendleton

visually inspired by the paintings of Henri Rousseau. Choreographed by and starring Sophie Apollonia (currently dancing in An American in Paris at the Palladium), dancers embodied endangered animals to tell the tale, weaving throughout the room with the accompanment of a 40-piece orchestra conducted by the company's founder, Matthew Tosca. Award-winning composer Fabio D'Andrea and pianist Lysianne Chen also shared a dramatic duet during the ‘Carnival of the Animals’.

A live auction followed, led by veteran Christie's auctioneer Kate Flitcroft, raising £92,000 in the room from lots including a specially commissioned artwork by Bran Symondson (sold for £40,000) and a personal vintage champagne experience from Hatt et Söner (£22,000) . With the hard work done for the evening, guests enjoyed entertainment from ‘Sober’ singer Tom Grennan and acoustic collective The London Essentials , who had guests dancing well into the small hours.

Tempus events director Georgia Peck said: "We're so delighted to launch the first ever Tempus Earth Conservation Gala in aid of WWF. It is a wonderful organisation whose fantastic team are at the very forefront of battling some of the immediate dangers our world is facing – climate change, endangered wildlife, marine conservation and community development." tempusmagazine.co.uk

122

123

I N

W i

n

W

W

.

f

o

@

W w

A a

T

E t

R e

B r

E b

A e

a

R

. r

C .

PA RT NE R S H I P WI T H

O c

o

M m

124

T U R N I N S P I R AT I O N I N T O AC T I O N Watc h out s t and i ng do cu mentaries fro m the world’s g re at es t fi lmmakers. Every film is embedde d with o pp ort uni t i es t o e n gag e w ith issu es that matte r.

I n t e ra c t | Vo l u n t e e r | D o n a t e | Tra v e l Le arn | S ha re | Colla borate | Eng a g e Lo cal | G loba l | Ma ke a n Im p a ct

C

O

M

I

N

G

S

O

O

N

125

SAVE the DATE Your luxury event calendar starts here

2018 Wimbledon Championships

Formula 1 British Grand Prix 6 –7 July

2 –15 July Dig out your finest white attire and stock up on the strawberries and cream, as the world’s most famous tennis championship returns to the lawns of The All England Lawn Tennis and Croquet Club this July. Whether you opt to observe the action from home, Centre Court or Murray Mound, don’t miss a minute of the greats – including 2016 champion Sir Andy Murray and last year’s Roger Federer – as they battle it out to smash the coveted title. Game, set and match. wimbledon.com

With 2018 marking its 70th anniversary, we’re in for a whole host of surprises at this year’s British Grand Prix, which speeds into the Silverstone Circuit in July. Famed Formula 1 drivers including Mercedes’ Lewis Hamilton, Ferrari’s Sebastian Vettel and McLaren’s Fernando Alonso will all be taking to the track in a bid to come out on top. For the best views of all the insanely fast action – including the notorious champagne spray – secure your seats in the Platinum Grandstand now. silverstone.co.uk

The US Open Golf Tournament 11 – 17 June If your swing could do with a polishing, there’s no better place to take notes than across the pond at the US Open Golf tournament, a competition famed for attracting the best golfers in the business. Three-time winner Tiger Woods has confirmed he’ll be competing at this year’s event, which is taking place at Shinnecock Hills Golf Club in Southampton, New York for the first time since 2004. usopen.com

BBC Proms 13 July – 8 Sept RHS Hampton Court Flower Show 3 – 8 July Hot on the heels of the Chelsea Flower Show, The Royal Horticultural Society’s next unmissable date to set your summer in bloom comes courtesy of the 2018 RHS Hampton Court Flower Show. Taking over the opulent grounds of King Henry VIII’s former home, the show provides the UK’s green-fingered residents with a wealth of pretty floral inspiration. rhs.org.uk

The BBC Proms never fails to deliver a dose of melodic joy to the city. With a spectacular eight-week schedule of more than 90 orchestral concerts throughout July and August, this year is no different. With performances from the likes of The Royal Philharmonic Orchestra and award-winning British percussionist Colin Currie, not forgetting the alfresco ‘Proms in The Park’ series, it’s no wonder it’s dubbed ‘the world’s greatest classical musical festival’. www.bbc.co.uk/proms

126

DON’T BLEND IN. STAND OUT. EMPOWERING LUXURY BRANDS ON SOCIAL MEDIA

45% MORE POWER THAN ANY OTHER SOCIAL MEDIA MARKETING PLATFORM

127

www.handlesocial.media

Formula E New York season finale

Venice International Film Festival

14 – 15 July

29 Aug – 8 Sept

The stars of Formula E, who were a resounding hit at our Tempus Official BRITs After Show Party back in February, are making an all-electric return to the Big Apple for a thrilling race around Brooklyn’s Red Hook neighbourhood for the second year running. Don’t miss out on the crowning of a new champion to the back drop of the iconic concrete jungle, Statue of Liberty and Manhattan skyline, as season four draws to a close.

Film buffs, pay attention, because your next cinematic fix is pending in the form of La Biennale di Venezia’s iconic Venice Film Festival. Having celebrated and recognised every form of international film for 75 years now – from art and entertainment to behindthe-scenes – the event is the perfect opportunity to star-spot to the glamorous backdrop of Venice Lido. labiennale.org

fiaformulae.com

Porsche Carrera Cup Great Britain Snetterton, Rounds 9 & 10: 27 – 29 July Knockhill, Rounds 11 & 12: 24 – 26 Aug

Salon Privé

The unique concept of the Porsche Carrera Cup, which pits leading and emerging racers – including Tempus-sponsored driver Will Bratt – against one another but in identical vehicles, positions it in a whole league of its own. New for 2018, participants will be racing the 911 GT3 Cup, dubbed a ‘precision instrument for the race track’, and we can’t wait to see who comes out on top.

The regal grounds of Blenheim Palace are playing host to 2018’s Salon Privé, the motoring event no classic car aficionado should miss. This year, the event is divided into three parts: Chubb Insurance Concours d’Elegance, renowned for attracting the world’s most significant cars, on Thursday 30th; the glamorous Boodle Ladies Day on Friday 31 August; and Concours Masters Tribute to 70 years of Porsche on Saturday 1 September, presenting more than 60 iconic models of the marque from around the world.

porsche.com

salonpriveconcours.com

30 Aug – 1 Sept

Concours of Elegance 31 Aug – 2 Sept Ever since it was established in 2012, Concours of Elegance, akin to ‘a beauty pageant’ for automobiles, has remained an exciting fixture on every classic car enthusiast’s calendar. Presenting a selection of 1,000 of the rarest motor cars from across the globe, this year viewers can enjoy a special Jaguar showcase of the finest XK models in history, from the XK models120 Roadster to the XK150 Fixed Head Coupe, to mark 70 years since the launch of the XK120. concoursofelegance.co.uk

For more exciting events, visit our website: W W W. T E M P U S M A G A Z I N E . C O . U K 128

B E R I N G129I C E . C O M

SUBSCRIBE NOW G e t a l l t h e e s s e n t i a l n ew s a n d v i ew s fr o m t h e wo r l d o f l u x u r y d el i ve r e d d i r e c t t o yo u r d o o r

Six copies of Tempus magazine delivered to your address every year (free postage within the UK) Exclusive invitations to private events, from shoot days and polo matches, to supper clubs and boutique showcases Access to exclusive digital content VIP offers on the Tempus Boutique Regular newsletters featuring the latest news and reviews as well as exclusive member benefits Visit tempusmagazine.co.uk/subscribe

TM

The Tempus Boutique is your one-stop shop for luxury products and services.

Visit the boutique to: - Purchase luxury goods using sterling or several crytopcurrencies - Book private consultations with luxury brands - Enjoy added value extras (members only)

131

If there had to be only one Kalpa Hebdomadaire

Manufactured entirely in Switzerland parmigiani.com

BOUTIQUE PARMIGIANI FLEURIER 97 MOUNT STREET, MAYFAIR | LONDON W1K 2TD | UNITED KINGDOM | T. +44 20 7495 5172 LONDON | WATCHES OF SWITZERLAND | FROST OF LONDON | CHISHOLM HUNTER EDINBURGH, GLASGOW, INVERNESS | CHISHOLM HUNTER LEEDS | OGDENS OF HARROGATE | CW SELLORS MANCHESTER | CHISHOLM HUNTER

132