Tempus Magazine | Issue 68 | June - July 2020 by Vantage Media

TIMELESS INSPIRATION

BRAD P I TT The Oscar-winning star on becoming Hollywoodâ&#x20AC;&#x2122;s most powerful player

BRITISH BRANDS GIVE BACK | VIRTUAL HAUTE HOROLOGY H | ART IN ISOLATION ISSUE

Introducing the worldâ&#x20AC;&#x2122;s most advanced car tracker. Created by a team with over 100 years combined experience in Britainâ&#x20AC;&#x2122;s most elite military and intelligence units.

Luxury vehicles and classic cars are always on the criminalâ&#x20AC;&#x2122;s shopping list. Often stolen to order, they are almost instantly sold on, meaning your prized asset could quickly be on its way out of the country never to be seen again. Manufacturer supplied trackers can be easily identiďŹ ed, defeated and quickly removed by experienced criminals. Valkyrie has the capability to provide specialist covert tracking equipment that is easily installed in a single vehicle or multi-vehicle collection, reports in daily and can be monitored from any internetenabled device. It is self-powered, quick and easy to install, adding immediate, state-of-the-art security protection to your prized possessions.

+44 (0) 20 7499 9323 security@valkyrie.co.uk sentinel www.valkyrie.co.uk

n the two short months since we published our last issue, the world has changed in ways that were unimaginable before the Covid-19 pandemic reached its peak. Now, finally, we are starting to look more practically towards life after lockdown and find room for positive change, celebration and, most importantly of all, reconnection. These are feelings shared by leaders across a variety of industries, who are inspiring us with their pragmatic but reassuringly optimistic predictions for the UK’s recovery. Oliver Gregson, head of the UK and Ireland markets for J.P. Morgan Private Bank, says one only needs to look to the UK tech boom that came out of the 2008 financial crisis to see just how powerful our entrepreneurial spirit can be – with more than 72 ‘unicorn’ firms (valued at over $1bn) Britain’s tech SMEs are truly formidable. Read more on page 46. Gregson also notes the changing ways his UHNW clients are engaging with their wealth. From ESG investments to sustainable spending, the concept of ‘responsible’ luxury has only become more important. This fits well with Breitling CEO Georges Kern’s assertion that the very definition of luxury itself has changed, and brands must respond. When we spoke during a recent London-Geneva Zoom interview, he painted a picture of the new luxury as authentic, discreet, informal, ethical, engaged with the world and still retaining a sense of je ne sais quoi (60). If there’s one man who embodies this sense of cool, it’s Breitling’s Cinema Squad member – and our cover star – Brad Pitt. The Oscar-winning actor and producer looks back on his remarkable career on page 34, where he recalls the directors who have shaped his stratospheric rise to stardom. Elsewhere in the issue, we step back in time to find out why the 1976 Lotus Esprit is still a James Bond favourite (30) and invite Formula E founder Alejandro Agag to share his plans for climate action (74). Ferretti Yachts reveals a new era of interior style (64), designer Daisy Knatchbull redefines women’s tailoring (20) and jewellery maverick Theo Fennell invites us into his Fulham Road atelier (80). Finally, we present a special feature examining the importance of art in times of crisis (50) and a celebration of the companies that have been changing the game to support keyworkers (16). The Tempus team joins these companies and, indeed, all our featured stars, in sending a shared message to those frontline medical professionals: thank you. The luxury sector will no doubt have a great role to play in shaping consumer behaviour in the coming months, as we look to reconnect with the passions and people we value most. Those brands that flourish will, as our experts suggest, be those that can offer that extra, human touch. Enjoy the issue. Michelle Johnson Editor

Tempus magazine is published by Vantage Media Group. www.vantagemediagroup.co.uk © 2020 Vantage Media Limited Articles and other contributions published in this journal may be reproduced only with special permission from the Publishers. The Publishers, Vantage 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.

CONTRIBUTORS EDITORIAL TEAM Lysanne Currie Our wealth expert Lysanne turns her eye to the luxury British brands rolling their sleeves up and giving back to their communities during the Covid-19 crisis (16).

Editor Michelle Johnson michelle@tempusmagazine.co.uk Creative Director Ross Forbes ross@tempusmagazine.co.uk Wealth Editor Lysanne Currie

Juliet Herd Australian-born Juliet is a London-based freelance writer and editor, specialising in fashion. She talks to designer Daisy Knatchbull about the passion for tailored suits that inspired The Deck (20).

Motoring Editor Rory FH Smith Sub-Editor Dominique Dinse COMMERCIAL TEAM Events & Partnerships Director Georgia Peck georgia@tempusmagazine.co.uk

Rory Smith Motoring writer and electric car enthusiast Rory shares his passion for two of the world’s best EVs in this issue. Discover Lotus’ fascinating history on page 26 before joining him on a race to Berlin with Porsche (68).

Sales & Content Executive Freddy Clode freddy@tempusmagazine.co.uk VANTAGE MEDIA LIMITED Chairman Floyd Woodrow Managing Director Peter Malmstrom

Lauren Hill Travel expert Lauren heads to the most fashionable address in Paris to find the exclusive hotel that’s revitalising the approach of French boutiques (76).

Operations Director Colin Clark colin@vantagemediagroup.co.uk GET IN TOUCH Tempus Magazine Vantage Media Limited 22 South Audley St London W1K 2NY +44 (0) 203 519 1005 info@tempusmagazine.co.uk tempusmagazine.co.uk @tempusmagazine @tempusmagazine

COVER IMAGE Brad Pitt attends the premiere of Once Upon A Time In Hollywood during the 72nd Cannes Film Festival, 2019 Credit: Andrea Raffin/Shutterstock.com Article on page: 34

Responsibly printed Printed by Park Communications, UK on Edixion Offset (FSC® certified paper) using vegetable inks and sustainable printing methods. www.parkcom.co.uk 7

CONTENTS

10 The luxe list This season’s top 10 must-haves 14 Leading with decency Do nice guys finish last? Writer David Bodanis explains the art of fair leadership 16 Retail theray Tempus salutes the British brands supporting frontline professionals during the Covid-19 pandemic 20 Reshuffling the deck Tempus meets The Deck founder Daisy Knatchbull and discovers a world of women’s tailoring 24 Good vibrations How Swiss brand JMC Lutherie is giving a new voice to prestige watches 26 The lightness of being Lotus’ historic roots and the rebellious traditions that inspired the all-electric Evija 30 From Hefel with love Is the 1976 Series 1 Lotus Esprit the coolest Bond car ever? 34 Brad Pitt The Oscar-winning actor and producer reflects on his stratospheric career 40 Extraordinary times Discover the best watches from the world’s first virtual watch fair 46 The wealth report JP Morgan’s Oliver Gregson sheds light on today’s key economic and investment trends 50 The art of isolation Why is art so vital during times of crisis? We speak to the artists and galleries putting culture first 58 Sonic relief The Sound Therapist explains the low-maintenance wellness trend hitting the A-list 60 Ahead of the times Breitling CEO Georges Kern on the rise of informal luxury and the future of watch fairs 64 Ocean colour scene Why the Ferretti Yacht 500 is ushering in a new era for the Italian shipbuilder 68 Blitz to Berlin How will the Porsche Taycan Turbo S fare on a cross-country dash through Germany? 74 Alejandro Agag The Formula E founder on what Covid-19 can teach us about battling the climate crisis 76 Chic retreat Why Hôtel Particulier Villeroy is Paris’ most fashionable retreat 80 Jewel purpose Tempus steps inside the atelier of London’s favourite jewellery maverick, Theo Fennell 84 The scent of summer The fine fragrances that are ripping up the florals rulebook 90 La dolce vita Riccardo Illy on why super-premium chocolate is the next great disruptor 92 Chelsea back in bloom How the virtual Chelsea Flower Show triumphed in uncertain times 94 Save the date The finest events of the season 100 Tried & Tasted The luxe delivery services bringing refined dining to your door

ISSUE 68

34 Brad Pitt

Brad Pitt stars in Brioni’s Spring/ Summer 2020 ‘Tailoring Legends’ campaign, shot by Mikael Jansson

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

NIO Cocktails Bring mixology home without hassle, with cocktail creations from NIO. The founders called on mixologist Patrick Pistolesi – founder of Drink Kong in Rome, one of the World’s Best 50 Bars – to create a menu featuring 15 individual cocktails ranging from the classics to signature house fusions. Using premium ingredients – NIO stands for Needs Ice Only – and delivered to your door, the curated cocktails are packaged in handy, ready-to-pour sleeves. There are collections for every taste. Choose from sour, bitter-sweet, or dinner party selections, or build your own box for the perfect personalised mix. Salute! niococktails.co.uk

Brioni This ultra-cool menswear couture house was established in Rome in 1945, and has become worldfamous for its tailored suits, high-fashion seasonal collections and leather couture. In fact, Brioni is so stylish it invented the men’s runway show in 1952, the trunk show and ready-to-wear haute couture – no wonder it attracts heads of state, business leaders and movies stars, like current ambassador Brad Pitt. The brand’s spring/summer 2020 collection is full of subtle pops of colour and fine silhouettes to make you instantly catwalk ready (left). Dressing to impress is definitely back in style. brioni.com

A Lange & Söhne Odysseus Super-fine watchmakers A Lange & Söhne are known more for their precious metals and ultra-luxe pieces than for sporty fare. But the Odysseus line brings effortless elegance to a more casual style. With a new mechanism developed especially for the line, the athletic timepiece (left) features large-format date and day display on a textured grey dial, encased in a 40.5mm white gold case and finished with a leather or rubber strap. The brand also developed the L155.1 Datomatic manufacture calibre exclusively for the new line, which marks the sixth distinct collection in A Lange & Söhne’s history. Exciting times, indeed. alange-soehne.com

Theo Fennell For more than 40 years, Theo Fennell has been creating beautiful, unique jewellery and silverware by hand in the atelier on London’s Fulham Road, determined that everything created there should be unique, exquisitely crafted and bring pleasure for generations. The latest silverware collections to catch our eye include his signature Bloody Mary Set – with silver Pimm’s Spoon, Tabasco sleeve, Lea & Perrins sleeve, 4in pepper mill and 70cl bottle of Stolichnya vodka, all in a fitted leather case for the ultimate at-home cocktailmaking kit; hand-blown coloured crystal and sterling silver decanters; and exquisite cocktail shakers featuring Fennell’s signature playfulness (check out the Blue Crystal Shaker complete with diver’s helmet, right). For more one-of-a-kind pieces, Fennell’s latest addition to his iconic Bombé jewellery collection is a stunning hand-crafted cuff bangle with a 16.35ct amethyst. Find out more in our exclusive interview with the designer on page 80. theofennell.com

Bennett Winch SC Holdall Handmade in England using traditional skills and materials, Bennett Winch produces elegantly minimalist and utterly sumptuous accessories built to last. Sharp and understated, we love the brand’s SC Holdall (short for suit carrier). The perfect fusion of style and function, the weekend bag and suit carrier can be used separately or together. The suit case wraps around the central bag to minimise creases and folds, while the lightweight holdall – made from 18oz twill – ensures a solid structure without any added heft. It also comes with a slimline coathanger and waterproof bag for shoes or other accessories. It’s no surprise that the SC Holdall sold out three times during its soft launch – it’s the ideal travel companion for the discerning gentleman. Talk about bags of style… bennettwinch.com

Manscaped The perfect gift for the gentleman who prefers to be perfectly groomed, even in lockdown. Manscaped’s Lawn Mower body trimmers are designed to be precise and delicate – ideal for both sensitive skin and sensitive areas. The launch of the new Lawn Mower 3.0 (right) on 8 July will see the popular trimmer upgraded to feature 7,000rpm motor with QuietStroke technology and a replaceable ceramic blade with advanced SkinSafe technology. Other key features include a 600mA Li-Ion rechargeable battery and waterproof ergonomic design. For gift ideas, the Perfect Package kit includes extra essentials designed for athletes and sportsmen, including a luxe travel and storage bag, anti-chafing deodorant and skin toner spray. uk.manscaped.com

Aston Martin Vantage V12 Zagato Heritage TWINS by R-Reforged Bespoke manufacturer R-Reforged is producing just 19 pairs of its Aston Martin Vantage V12 Zagato Heritage TWINS to celebrate the centenary of the Milanese Zagato Atelier. The 19 Coupés and 19 Speedsters feature a reworked version of its 5.9 litre 48 valve, naturally aspirated engine to produce 600bhp (85bhp more than the original). Developed with a carbon-fibre body, both incorporate an active aero and deployable rear wing to improve stability at high speeds. Other design tweaks include new centre locking 19in bespoke alloy wheels designed by APP Tech, the overall effect is muscular, purposeful – and unmistakably Aston Martin. Start your engines. r-reforged.com

Swarovski Optik ATX Interior Spotting Scope An inspired Fathers’ Day gift for nature lovers, the Swarovski Optik ATX Interior Spotting Scope is the first long-range optical device that allows wildlife enthusiasts to observe, identify and share their sightings through its technology. Designed for indoor or outdoor use, the elegant scope (left) comes with a carved wooden tripod and terra brown coloured armouring and allows bird watchers to spot even the smallest details thanks to its Swarovision technology, remarkable 25-60x magnification and a field-of-view of 41–23 metres (m/1,000m). This kind of precision is sure to ruffle some feathers… uk.swarovskioptik.com

Salvatori Design for Soul table Italian designer Salvatori is renowned for its breathtaking use of natural stone in its fine furniture design. This year its designers have teamed up with Milanese designer Piero Lissoni to create the Design For Soul table, supporting the non-profit zero-waste organisation Food for Soul founded by chef Massimo Bottura and Lara Gilmore. This exquisite piece of furniture (right) is composed of reclaimed marble slabs and supported by a simple, sturdy frame for ultimate elegance with a message of sustainability. Truly turning the tables. salvatori.it

Ellustria Specialising in unique, premium and storytelling spirits, family-owned Ellustria is on a mission to enrich our drinking experience by curating a collection of rare and remarkable spirits and beverages. Highlights of the brand’s extensive collection include Amuerte White Edition, the world’s only Peruvian coca leaf gin; Moko’s Caribbean Rum, expertly blended using premium sugar cane from across the islands of Jamaica and Trinidad and Tobago and aged in Panama before maturing further in French oak cognac casks; Prunier vs Cognac, a sophisticated blend of cognacs aged for at least 30 months in oak casks from Limousin; and Snow Queen’s Enigma Edition (left), subtly perfumed with three floral notes of lavender, rose and vanilla to achieve a balanced, distinguished and fashionable premium vodka. Cheers! ellustria.com

LEADING with DECENCY Do nice guys always finish last? Futurist and writer David Bodanis explains the benefits of fairness in a world gone mean

have always been struck by how some people can rise to the top by being horrible human beings while, at the same time, it remains entirely true that nice guys finish last. The problem with nice guys is that they can be taken advantage of; they lack authority and tend to try and help rather than encourage others to move forward. Bullies are the exact opposite, but may find their success is short lived. So, is there an intermediate ground between the two extremes? In 2012, Hollywood director Danny Boyle created the opening ceremony of the London Olympic Games with a total cast and crew of more than 10,000 people, and yet not a single word, photo or hint was leaked to the world before the night itself. He managed this through the art of fairness. Where other organisations might subject volunteers to fierce non-disclosure agreements and confiscate mobile phones, the Slumdog Millionaire Oscar-winner took a different route, combining his sense of decency with a healthy dose of street smarts and cunning. Boyle employed highly experienced professionals to sift through his 10,000 volunteers to ensure they could be trusted; he listened to his peers (London 2012 chairman Seb Coe suggested they ask volunteers to ‘save the surprise’ rather than ‘keep the secret’); and he led by example, so ceremony participants would later describe feeling that Boyle was, crucially, on their side. They were all in it together. We know bullies can succeed in the short term and there are, admittedly, certain advantages to being a terrible person. Fear will inspire obedience, even if someone disagrees, and cynicism can help you view the world more objectively, allowing you to make difficult decisions very quickly and unemotionally. But there are major disadvantages to arrogance and aggression. People don’t want to be diminished or yelled at, and so they will withhold accurate information in order to keep the peace. Resentment builds and loyalty is non-existent, causing people to quietly leave organisations for environments where they can thrive. But fair leadership isn’t about being ‘soft’. American baseball coach Leo Durocher was infamous for his aggressive leadership style when his team, the Chicago Cubs, were number one in the 1960s. Now, professional athletes

know discipline – they can push themselves to the limit and take a verbal beating – but Durocher was mean about it. He was personal, and the result was that his players hated his guts. They lost the 1969 series to the New York Mets whose coach, Gil Hodges, was widely regarded as the most decent man in baseball. Hodges was by no means soft. He was a coalminer’s son, a combat medal-awarded veteran, a baseball player turned coach, and an uncompromising leader – but he had his players’ respect. Fair leadership also allows for greater success when dealing with outside threat. Former Microsoft CEO Steve Ballmer built impenetrable walls against outsiders, dismissing Apple and Linux out of hand and missing every new development. When he left Microsoft, the stock price immediately went up by something like 10% – the ‘Ballmer Bump’ – and he was named the worst CEO in America by Forbes. Satya Nadella, who replaced Ballmer, turned Microsoft around by inviting collaboration with outsiders and other companies, employing another major strength of decent leadership: making great alliances. Leading with decency is equally powerful in business and warfare, from the ability to foster alliances to inspiring your troops. As Abraham Lincoln famously said: “I destroy my enemies when I make them my friends”. This is, by no means, about being a ‘nice guy’, but about creating a culture where aggression isn’t needed to reach your goals. This style of leadership invites a highly accurate flow of information and creativity, where people are encouraged to be honest and take ownership. It’s easier to get buy-in on difficult decisions, because being up front builds trust. Instead of resentment, you get gratitude – which is an incredibly powerful tool. And personally? There are many advantages and strengths that come with being a fair leader. You’ll receive clear information, be able to assess things authentically and develop a culture of gratitude and generosity, but you’ll also have the satisfaction of knowing you have succeeded in the right way, without putting stumbling blocks in anybody’s path. 'The Art of Fairness: The Power of Decency in a World Gone Mean' by David Bodanis is released by Bridge Street Press in November 2020 14

COLUMN

London during the 2012 Olympic Games; David Bodanis (left)

RETAIL THERAPY Tempus salutes the luxury British brands whose compassion and empathy have driven them to help others during the Covid-19 crisis. From hotels and fashion house to skincare and jewellery, we meet just a few of those brands helping to ease the pandemic, feed the hungry and help the heroes Words: Lysanne Currie

A WARM WELCOME Grand dame hotel Claridges has, in its time, given lodging to everyone from Queen Victoria to Audrey Hepburn, and lately it’s been opening its doors to some 40 NHS workers from St Mary’s Hospital, Paddington, who have been unable to go back to their own homes during the pandemic. In addition, kitchen staff from The Connaught and The Berkeley – both hotels in the Maybourne Group that owns Claridges – provided free meals for NHS professionals, which were delivered by the Helpforce charity. “Just as it has in the past world wars, Claridges has a duty to step up and support the people of London,” says Paddy McKillen, co-owner of the Maybourne Group. “Teams from all our hotels have volunteered to help and support the dedicated NHS workers at this critical time. We are forever in their debt.” Away from the capital, the PIG Hotel Group is celebrating frontline workers by offering 190 overnight stays in any one of its six luxury country bolt holes, which includes hotels in Bath, Combe and the New Forest. Founders Robin and Judy Hutson also plan to throw a special NHS house party for medical workers at each PIG hotel upon reopening, during which frontline staff will be lavished with feasts from the hotels’ sustainable kitchen gardens, along with bed and breakfast. The promotion is part of the #TreatOurNHS initiative, founded by Devon proprietor Sarah White, which will see NHS workers offered holidays once the hospitality industry opens its doors again. The PIG Group was the first hotel group to sign up for the initiative, which includes holiday homes ranging from Scottish castles to French chateaux. »

Party time: The PIG at Bridge Place (right) will host a lavish event for frontline workers 16

CRYSTAL CLARITY The jewellery industry has rocked up to help, with the likes of Tiffany & Co and De Beers donating millions to emergency workers and causes. British jeweller Graff announced in April that its foundation had donated $1m to the Covid-19 Solidarity Response Fund in support of the World Health Organisation. Asprey announced a zero-profit initiative supporting The National Emergencies Trust – a disaster charity that provides support to organisations and services on the Covid-19 frontline. The jewellery brand is selling specially engraved silver editions of its 167 Bond Street Pendant (right) through its website, with all funds going to the trust. “Our modest initiative is the least we can do show our support of these incredible and vital institutions working tirelessly to aid those most in need,” says Asprey chairman John Rigas. DRESS TO IMPRESS Sometimes the right outfit at the right time can really be a lifesaver, and this year Burberry produced its most desired line yet: designer PPE. The British brand repurposed its manufacturing facilities in Castleford, West Yorkshire, to make non-surgical gowns and more than 100,000 surgical masks for NHS workers and their patients. The label also donated to UK food poverty charities including FareShare and The Felix Project, and is funding research into a vaccine developed by scientists at Oxford University, which has one of the world’s best track records in emergency vaccine development. “Covid-19 has fundamentally changed our everyday lives, but we hope that the support we provide will go some way towards saving more lives, bringing the virus under control and helping our world recover from this devastating pandemic,” says Burberry’s CEO Marco Gobbetti. “Together, we will get through this.” Elsewhere, Barbour has also been producing thousands of protective gowns and face masks for frontline medical workers in the north-east of England. Better known for its wax jackets and country fashion, such as the Barbour Beadnell Jacket (left), the clothing retailer has repurposed its production line to help plug the PPE gap (below left). “I offered to see how we could help because I have a lot of machinists that are locked down at the moment,” Dame Margaret Barbour told BBC Radio 4. “It has been difficult because we had to undertake the strict guidelines laid down to make sure that they have plenty of protection and plenty of space around them.” Mulberry, too, pledged to make more than 8,000 re-usable PPE gowns for frontline workers in its Somerset factories. Destined for the University Hospitals Bristol and Weston NHS Foundation Trust, the gowns are made with a specially sourced material that is fluid-resistant and washable. The UK fashion house has also teamed up with a network of local community groups making scrubs to order, using its factory machinery to cut large volumes of fabric into patterns for volunteers to stitch. Meanwhile, it has raised more than £75,000 through its Coronavirus Appeal in support of the National Emergencies Trust since March. 18

WEALTH SCENTS OF DUTY Proving that kindness smells sweet, London perfumer Miller Harris (below) was one of the first luxury brands to rise to the challenges to the UK presented by Covid-19. As early as March, the brand announced a collaboration with Age UK that saw the donation of its entire stock of 11,000 lotions, soaps and handwashes to the over-70s. Products were distributed nationwide to the vulnerable. Miller Harris, which has since donated soaps and shower gels to food banks, called on other SMEs to help charities. “We are seeing huge acts of kindness among the gloom of the news, and it is these acts of kindness that bring us hope,” says CEO Sarah Rotherham. “As a brand, we feel compelled to help in any way we possibly can, and it would be a sin to see our stocks of soap sat in warehouses rather than reaching the most vulnerable in our society. Alone we are small, together with other brands we can have a huge social impact.” Other brands to heed the call have included Jo Malone, whose Petersfield manufacturing facility produces hand sanitiser for healthcare professionals, and its parent brand Estée Lauder Companies UK & Ireland, which has gifted hand cream and body wash products to key workers as a gesture of appreciation. Care has come from abroad, too, with Italian brand Bulgari donating over 160,000 units of hand sanitiser to the NHS.

TO CREATE SOMETHING FOR OTHERS THAT SAYS:

WE’RE THINKING OF YOU, WE’RE HERE FOR YOU, WE THANK YOU

- Lulu Dillon, Cook-19

SHARING CHEFS A venture to provide isolated NHS shift-workers with hampers and restaurant-quality meals was, quite literally, cooked up by film PA Lulu Dillon in her own kitchen. The idea, Cook-19, soon found the support of Dillon’s friend and neighbour, Michelin-starred chef and Murano restaurateur Angela Hartnett, who contributed everything from frittatas to apple crumble to be distributed to locked-down NHS staff by an amazing army of volunteers, including 15 drivers and some 30 chefs. So far, Cook-19 has raised more than £120,000 with the support of volunteers and hospitality brands. Upmarket steak restaurant Hawksmoor offered up the use of its restaurant kitchen while Fortnum & Mason donated 800 Easter eggs. By Friday 8 May, they’d delivered their 25,000th meal to frontline professionals. “We believe that there is magic in the nourishment of good food cooked by good people,” says Dillon. “Food that is given with no strings attached, but with the hope it gives strength to those that receive it. Food cooked with love by those that give their time freely, who use the skills they have to create something for others that says: we’re thinking of you, we’re here for you, we thank you.”

STYLE

RESHUFFLING THE DECK Tempus meets designer Daisy Knatchbull to find out why tailoring is not just for boys Words: Juliet Herd

style guide – released in anticipation of the equestrian event usually held each year in June – is proof, indeed, of how far she’s come; or, more accurately perhaps, of how much attitudes have changed in the four years since she made that show-stopping entrance. Knatchbull, 27, first had a hunch that she was on to something special when she was working as communications director for renowned Savile Row menswear tailor Huntsman & Sons. “I was lucky enough to be given the chance to have my own suit made and I will never forget wearing it for the first time, and the incredible feeling of confidence and empowerment that it gave me,” she says. “Every time I put that suit on I felt like a million dollars.” Wearing bespoke morning dress to Royal Ascot seemed a natural step, if a somewhat daunting one at the time. “I was absolutely terrified walking into the Royal Enclosure,” recalls Knatchbull. “I could hear comments from certain men, saying things such as: ‘Rules aren’t there to be broken.’ They did try to stop me by suggesting I wasn’t wearing the correct footwear – I was in a six-inch pair of Louboutin heels – but they eventually let me in and I was clapped into the Royal Enclosure, which was really lovely. I also received so many positive comments from fellow female racegoers asking where they could buy [a morning suit].”»

hen she became the first woman to enter the hallowed Royal Enclosure at Royal Ascot wearing top hat and tails in 2017, Daisy Knatchbull (left) not only stood tradition on its head, she almost single-handedly made it cool and sexy for women to claim the suit as their own. “A suit isn’t a male thing, that’s just what we’ve been told,” says the stylish fashion disrupter, who last year opened her London-based tailoring house The Deck, which exclusively makes suits to order for women. As she acknowledges, the timing couldn’t have been more perfect, coinciding with both the sartorial revival of the suit and a gear shift in the female empowerment movement. “What I like to say is, luxury is not just about the product or experience but the ethos that underpins that,” says Knatchbull over lattes in a café near her boutique on the Savile Row satellite of Lower Sloane Street, Chelsea. “As trouser suits have increasingly become a go-to in a woman’s wardrobe so, too, has what they represent: strength and independence.” Certainly, her clients wholeheartedly agree, with orders outstripping sales projections and a growing number of high-profile women opting to dazzle in The Deck on the red carpet, including The Crown actress Gillian Anderson and British-American model Arizona Muse. The fact that one of her three-piece summer suits is featured in the 2020 Royal Ascot

STYLISH HERITAGE Knatchbull, who comes from a long line of dynamic, feisty women – her great-grandmother was Edwina Mountbatten, the last Vicereine of India – quickly realised this was the proverbial gap in the market she’d been looking for, having long nurtured an ambition to start her own fashion business. She’d been obsessed with fashion since childhood and can remember sitting with her paternal grandmother “pawing through the pages of Vogue and her talking me through the different epochs of fashion”. “It’s very clichéd, but I loved the way clothes made me feel,” she says, the epitome of androgynous chic in tailored trousers, black polo neck and Veja trainers. “There are pictures of me at eight in some ridiculous feather boa and hat. I always liked dressing up but I also went through a tomboy phase and used to hate putting on a dress. I love dresses now, don’t get me wrong, but I’m much more of a trouser-wearing girl. That feeling has really stayed with me as I have defined what I really like in fashion. I always felt sexy and more comfortable and elegant in really beautifully cut trousers and a shirt.” After interning for various magazines, including assisting the late fashion director Lucy Ewing at The Sunday Times’s Style magazine, she decided she wanted to learn about menswear and tailoring because “the womenswear market just seemed too swamped”. Huntsman proved the ideal springboard for her to branch out on her own, but while she gained invaluable experience working there, she is keen to stress she is not a tailor herself. “That’s an incredible craft that takes years and years [to learn],” she says. She wanted to hire the “best people in the business” to make investment pieces for women. “Women often feel intimidated to go [to men’s tailors] and don’t feel their bodies are understood,” she says. “Made-to-measure for women is incredibly tricky, and that’s why a lot of people called me crazy when I started out. They’ve put men on the moon, so I’m sure we can tailor suits for women,” she adds with a laugh. With only one other tailor specialising in the female form – Phoebe Gormley of Gormley & Gamble – Knatchbull had to produce a business model from scratch and learn on the job while trying to raise investment. “I had 100 coffees in three months and spoke to everyone I ever knew who had a business, whether in the industry or not, and just talked about it non-stop, soaking everything up,” she says. “I needed to raise money but didn’t know how many suits I was going to sell – everything was based on conjecture. I managed to raise

£150,000 to help grow and scale the business, to really capture this unfulfilled territory of women looking for bespoke suiting.” Knatchbull’s businessman father, Philip, is a key mentor and made sure to educate her and her siblings about business from a young age. “We were always taught to understand how much things cost, so I was always very good with my money and financially independent from a young age,” she says. And the pitfalls of starting her own business? “Loneliness,” she says with candour. “No one ever talks about it, but it’s incredibly lonely, especially not having a co-founder. But why not try and do it on your own? I like to push myself and as long as you’ve got a really good team around you, you are capable of doing much more than you think. A lot of people are hesitant because of fear. I’m trying to avoid basing any decisions on fear but fear of failure is a very real thing and imposter syndrome is particularly prominent among female entrepreneurs. I’m very hard on myself, almost my own worst critic, but I’ve started to celebrate the small things.” DESIGNED DISRUPTION Knatchbull can be rightly proud of the “secret space” for women she has created at her bijou atelier. The label offers four styles of suits – just as there are four suits in a deck of cards – but the name also represents a “reshuffling” of traditional tailoring by prioritising women. Each suit comes with an ace of spades stitched into the inner cuff of the right sleeve as a kind of coded message to remind women, “we all have an ace up our sleeve.” Offering templated styles – ranging from single-breasted and boyfriend-style jackets to cigarette leg and flared trousers – Knatchbull’s suits have a starting point of £2,200. “What you are getting is something you know will fit you like a glove, last a lifetime and become one of the hardest working pieces of clothing in your wardrobe,” she says. Part of the pleasure of made-to-order is the personalised fittings. “We have a great relationship with all of our clients; we know the ins and outs of their lives,” she adds. “As much as we are delivering a product, it’s also about getting to know the person so you can understand their needs and emotional relationship with clothing. “A suit is synonymous with so many things. It’s not just how well it fits but how it makes you feel. We have clients who burst into tears because they have never owned a pair of trousers that fit them properly. Women are often pre-programmed [to accept ill-fitting

clothes]. Most of us bloat after we eat, so we add side adjusters to keep the trouser shape but allow more room, post-meal. I have size eight feet, so I like to put in hem slits as I get my foot stuck if the trousers are too narrow.” Model Lauren Hutton, now 76, who set a cover girl record of 26 appearances on the cover of Vogue during her career in the 1970s and 1980s, sums up the appeal of The Deck, describing Knatchbull’s designs as “a peace pill, a rare find. English suits that will lift your spirits, your face and your hair, highlighting your shape and giving you confidence and strength… They are forever fashion.” While age is clearly no barrier, neither is size. Knatchbull is at pains to point out that “it is so outdated to believe that you have to be skinny and embrace a certain style to wear a suit. I have clients of every different shape and size you can imagine and they all look fantastic.” Once a client has met with Knatchbull and her head tailor to have her measurements taken, she is invited to make her selection of styling details, including cloth (there are thousands of choices), lining, buttons, pockets, thread colour and even monogramming. Each unique piece is then sent to an atelier in Portugal, where basted garments are crafted by a specialist team of seamstresses. The basted garments are then returned for final adjustments and to ensure the client is happy with the fit. One of the bonuses of made-to-order is that it ticks the sustainability box as there’s no inventory or leftover stock and off-cuts are recycled. “We’re able to almost eliminate waste entirely,” says Knatchbull. “We only work with Savile Row cloth merchants, so we’re dealing with premium quality natural fibres, 90% of which come from British mills.” While Knatchbull has been delighted by the support she’s received from Savile Row, she’s in no rush to start designing suits for men. “Right now, I’m enjoying just making for women. It’s in no way a ‘stick it to the man’ business; that has never been my attitude at all. It’s about creating a level playing field.” As part of her altruistic ethos, Daisy plans to mentor young women from disadvantaged backgrounds. “I want to help girls who don’t have the opportunities I did,” she says. “Only 1% of venture capital backing goes to female businesses and that needs to change. It’s never been a better time to be a woman and I’m excited to run a business that empowers women.” thedecklondon.com

STYLE

Tailor made: The Deckâ&#x20AC;&#x2122;s womenswear collection is inspired by Savile Row tailoring; (previous page) Daisy Knatchbull wears a suit by The Deck

I ALWAYS FELT SEXY AND

MORE COMFORTABLE AND ELEGANT IN REALLY

BEAUTIFULLY CUT TROUSERS AND A SHIRT 23

GOOD Meet the Swiss lutherie making beautiful music with prestige timepieces

Chiming in: The Métronome du Risoud (below) and Orbe Musicale (right) are made of resonance spruce

he picturesque Vallée de Joux is well known as the birthplace of Swiss horology. The mountain valleys, crystal-clear lakes and pine-covered peaks still frame the backdrop for some of the most famed watchmakers, including Audemars Piguet, Blancpain, Breguet, Patek Philippe, Vacheron Constantin and Jaeger-LeCoultre. While such picturesque landscapes inspire these prestige watchmakers, the world of horology has proven equally inspiring to the area’s artisanal businesses, including JMC Lutherie. Founded by master luthier and guitar-maker Jeanmichel Capt and entrepreneur Céline Renaud, JMC Lutherie uses the resonance spruce wood of the Risoud Forest, the largest single wooded stretch in Europe, to produce both musical instruments and modern acoustic-amplifiers. “The resonance spruce has been known to luthiers for its excellent response to vibrations since Stradivari created his worldfamous violins,” Renaud tells Tempus. “This incredible response to vibration is thanks to the unique lightness and resistance in the wood. Therefore, we can find the best balance for a warm and powerful sound. “Some of our products may combine this exceptional material with carbon, silk or Nomex – a Kevlar honeycomb well known for its combination of lightness and resistance by Alinghi or Solar-Inpulse.” JMC Lutherie’s mission is to use the craftsmanship of the master luthier to create instruments for the modern day. The brand’s most famous inventions include the JMC Soundboard, a large, wall-mounted piece of art that acts as a remarkable speaker for your audio system; acoustic docking stations, which act as natural loudspeakers for your phone without the need to plug in; and, of course, resonance holders for luxury watches. “Our acoustic docking station and other musical gifts for smartphones are inspired by violin- and guitar-making techniques to amplify and enhance the harmony of portable music. Enhancing the medium tones, they bring warmth, beauty and the emotion of music to the fore,” says Renaud. Though impressive, attractive and hugely practical for any home, it is the resonance holders for minute repeater watches that truly capture our imagination, thanks to the dazzling array of metronomes, trays, orbes and other sculptures that are 24

designed for various watch brands. “The resonance holder is a purely acoustic stand for striking watches, mainly minuterepeaters,” explains Renaud. “The sound of these watches is quite low in volume because, with the times, we have moved from pocket watches to wristwatches. Modern wristwatches are made of materials that are more resistant to damage, perhaps waterproof, which can muffle the chimes. “Therefore, the idea was to amplify the beautiful sound of minute repeater watches with an acoustic musical instrument. Using the exceptional 350-year-old resonance spruce from the Vallée de Joux, we can underline the beauty and the musicality of these masterpieces. It reveals all the emotion of these most complicated watches.” The 2,200-hectare Risoud Forest is unique thanks to its size and positioning 1,200m above sea level, creating a natural border between Switzerland and France. Just one in 10,000 trees has the qualities required to become tone-wood, and it is these rare trees that become the heart of the resonance holders for the world’s most prestigious watch brands. “Every single resonance holder has been designed and developed for each brand, respecting its style and DNA,” says Renaud. “For example, we love to integrate carbon and Nomex for watch brands that put these materials into their products. Some brands want to offer a true musical instrument to their customers. Some prefer a more demonstrative element for a show and others use it as a sales tool in their boutiques.” This year, Le Brassus-based company J Bodenmann, which specialises in furniture making and equipment for watch brands, has taken over the resonance activities of JMC Lutherie to assure the continuation of a production signed ‘Made in the Vallée de Joux’. “Bodenmann is in its sixth generation and is well-known for its excellent craftmanship. Its furniture was the precursor for modern watchmaking benches,” Renaud says of the new partnership. “With such links between our profession, it offers us a new branch to our highdemanding customers.” She adds that this will only increase the chance to offer watch collectors, “a moment of pure poesy, a true musical experience and a more sensual way to interact with each watch.” jmclutherie.com; bodenmann.ch

DESIGN

THE LIGHTNESS OF BEING From humble beginnings, British motoring brand Lotus became one of the most successful racing teams in the history of motorsport. One year on from the launch of the marque’s all-electric hypercar comeback – the Evija – we look back at the company’s turbulent and inspirational history

Words: Rory FH Smith

hen an engineering student skipped lectures one day in 1946 to head to Warren Street’s famous secondhand car market, few would have guessed it would amount to anything more than a misguided hobby. But Colin Chapman was unlike any other car salesman on the street that day. Born in Richmond, London, in 1928, the young student would eventually create one of the most successful racing teams the world had ever seen, alongside a fleet of racing-focused road cars. Today, Lotus flourishes well beyond its founder’s ambitions. When Chinese car giant Geely bought a controlling stake in the British brand in 2017, Lotus was given a new lease of life. The marque confidently showcased its plans for the future in the form of all-electric hypercar the Evija in summer 2019. With a powerful 2,000ps and astonishingly light weight of 1,680kg, the Evija (left) is the culmination of 71 years of success and survival that spans from Lotus’ first manufactory in a dilapidated stable block to its Formula 1 success – Lotus has won 13 world titles – and silver-screen appearances within the James Bond franchise. “It really started in 1948, when the first Lotus car was built,” says the brand's longstanding manager Alistair Florence. “It was based on an Austin 7, which was left unsold on Colin Chapman’s books when he sold cars on Warren Street.” That homemade vehicle, cobbled together in a semi-derelict former stable block behind Chapman’s father’s pub, would change the course of his life for ever. In 1950, Chapman started to compete on the track, and headed down to RAF Silverstone – the former Second World War airfield turned racetrack – for his first real race. Against all odds, the young engineer managed to pitch his high-riding Lotus against the competition to take the flag, even blasting past a Bugatti with three times the power. The foundations for success were laid. » 27

REMEMBER THE NAME The Lotus moniker remains something of a mystery, with many tales still circulating as to how Chapman named his brand. One suggestion is that ‘Lotus’ was Chapman’s affectionate nickname for his then-girlfriend Hazel; another guess to its origin is that ‘LotUS’ was an abbreviation for a ‘lot unsold’ in Chapman’s sales books – just as the Austin 7 that began it all was marked. Harbouring a unique ability to read between the lines of a rulebook, Chapman’s racing acumen soon started to draw the attention of envious competitors, who began to ask him to develop parts and even whole cars for them. But Chapman never thought of himself as a carmaker. With no financial backing from his publican father and no fully equipped garage, he was no match for the wealthy racers and motorsport elite at the time. He would need to look elsewhere for funding and, with the help of his now-fiancée Hazel, who bankrolled him to the tune of £25 in 1952, the Lotus Engineering Company was founded. From that moment, Chapman wasted no time in scaling Team Lotus beyond recognition. He competed at the gruelling 24 hours of Le Mans – piloting his own creations – before establishing Group Lotus PLC in 1958 and moving the company to new, purpose-built premises the following year. The scrappy engineering operation founded in his father’s outbuilding just seven years earlier was but a distant memory. Still, Chapman was far from satisfied. The university drop-out had always dreamed of reaching the racing pinnacle that was Formula 1 and, in 1958, that dream was finally realised when he entered two Lotus 12s into the Monaco Grand Prix with drivers Graham Hill and Cliff Allison behind the wheel. Despite finishing far down the order, Chapman had proved it possible for an underdog to run alongside racing royalty like Ferrari, BRM and Vanwall. Just two years later, Chapman went one step further and proved he was capable of building a winning Formula 1 car: the late Sir Stirling Moss recorded the first victory for a Lotus, again in Monte Carlo. The marque went on to dominate racing for the next two decades in everything from sports car track racing to touring and rally racing. One of the brand’s most celebrated racing stars was Scottish driver Jim Clark, who claimed seven wins in 10 races during the 1963 Formula 1 World Championship. The secret to the brand’s success was Chapman’s unique engineering philosophy: “Simplify, then add lightness”. This fast became the ethos that defined both the man and the marque. Chapman’s steadfast commitment to making cars as lightweight as possible ensured the Lotus name remained at the top of the timesheets for the rest of his life. Alongside the success on track, Lotus gained a reputation for making nimble, lightweight and attractive sports cars such as the wedge-shaped Lotus Esprit. With wins on the track, superstar drivers and newfound fame in the film industry, Lotus seemed unstoppable. ERA OF ENGINEERING Tragedy struct in 1982 when, despite no obvious health issues, Chapman died suddenly of a heart attack. His passing marked the end of a remarkable

era of engineering excellence and unparalleled racing supremacy, and his once-indefatigable company limped on as a shell of its former self. Through the 1980s to the 2000s, Lotus passed through the hands of General Motors, Bugatti and Proton before the marque was purchased by Geely in 2017. Geely ushered in a new era for Lotus by returning to that same core philosophy of simple, lightweight engineering. The brand’s true showcase was the radical Evija all-electric hypercar, launched in July 2019. “Lightweight is always at the forefront of what we do,” says Evija exterior designer Anthony Bushell, a year on from the car’s debut. “We worked to make Evija lightweight as a product but also visually. Even though it’s a hypercar, we still wanted to make it look agile, compact and hunkered down. When we design every section, we look for the lightest solution possible and with the parts that we put on the car, we look to get two functions out of one part, so it always has to be a lightweight solution.” Of course, this design focus is only one part of the equation; the tougher task is turning Lotus’s new ambition into reality. Bearing that responsibility is CEO Phil Popham. “I joined Lotus the day after its 70th anniversary and we immediately got to work on what we call Vision 80, which defines what Lotus wants to be in the next 10 years,” says Popham. “Our belief is that the future is in electrification, and that was one of the reasons why our £2m hypercar Evija is the first product to come out of the stable under Geely ownership.” This radical statement of intent is a bold move for the British carmaker but not unbefitting of its past. “Look back and you’ll see we have a strong pedigree in being first to market and pioneering new technology,” Popham says. “Chapman was great at taking ideas and making them work.” While electric technology would be an alien concept to Chapman, it was well within the character of the company’s founder to grapple with new and unproven technology, and Popham believes he would have been the biggest supporter of the brand’s new direction, which has grown to include Lotus Exclusive – the marque’s bespoke finishing service – and a core collection of cars in the forms of the Elise, the Exige, the Evora (whose GT4 model is a return to Lotus’ international racing concept) and, of course, the Evija. “Evija is about putting us back on the map, and Chapman would have loved to have the financial backing we’ve got now,” says Popham, who adds that part of his goal is to restore Lotus’ reputation for astonishing design. “I remember having a Lotus Esprit poster on my wall when I was a teenager.” With such highs and lows, Lotus’ backstory is a rollercoaster ride through automotive history, but the future of the Norfolk-based company looks bright once more. Armed with newfound investment, a full inventory of ideas and a dedicated army of engineers, Lotus is well prepared to embark on a new era. Now, with a fresh vision in mind and a new dawn breaking, the time has come for the lightweight champion to prove it can still pack a punch. lotuscars.com 28

SPEED

Radical intent: Lotus founder Colin Chapman with his Formula 1 team (below), and the all-electric Lotus Evija hypercar (left) ©Lotus

FROM HETHEL WITH LOVE 30

The Series 1 Lotus Esprit was the undisputed star of James Bond film The Spy Who Loved Me, but, 43 years later, does the classic sportscar still retain its high-octane appeal? Words: Peter Malmstrom

Shaken not stirred: Wet Nellie emerges from the waves in The Spy Who Loved Me and on set with Roger Moore (right, ©Lotus); this page, the Esprit's sumptuous '70s trim © Andrew Green/Tempus

AS THE HIGHLY TUNED 1,973CC ENGINE BURSTS INTO ACTION, THE CAR FEELS TRULY ALIVE

ot since the early days of James Bond’s explosion onto the big screen, with films Dr No and Goldfinger, sporting his heavily augmented and now iconic Aston Martin DB5, had there been such excitement about a Bond car than in 1977’s The Spy Who Loved Me. This Roger Moore classic featured the stunning Series 1 Lotus Esprit, well-equipped by Q Branch with mines, missiles and subaqua capabilities to complement its legendary above-water road holding. As a small boy, I watched enthralled as Bond and his rival-turned-lover Anya Amasova – played by the lovely Barbara Bach – were chased down mercilessly by the beautiful Caroline Munro, piloting a sinister, machine gun-toting black helicopter. I gasped as our hero drove his striking white, wedge-shaped Lotus Esprit off the jetty, only to be amazed as it transformed into the Wet Nellie custom submarine as soon as it hit water, primed to defeat the hordes of baddies lying conveniently in wait beneath the waves. Bond naturally emerged unscathed from an azure sea, as sunbathing holiday makers looked on with jaws dropped as his car made its way back to shore. The car itself was the brainchild of Lotus founder Colin Chapman, whose cars were built from his factory in the village of Hethel in Norfolk. He was the leading exponent of the classic British motoring tradition of agility over outright power, building very light fiberglass bodied designs, with small but highly tuned four-cylinder engines. The Lotus Esprit’s now-iconic look was penned in the design studios of Giorgetto Giugiaro after a meeting with Chapman in 1972. Among the first of Giugiaro’s famous ‘folded-paper’ designs, the car made its debut at the Paris Motor Show in 1975, heralded by Motorsport Magazine as the most exciting British car since the legendary Jaguar E-Type some 14 years earlier. The car was so striking in its design that Chapman was keen to get the car into the Bond inventory, and he thought up a cunning plan to have his new creation strategically planted in the car park of Pinewood Studios where filming took place. The Esprit, with its futuristic looks, was an immediate hit with the production. It is still considered futuristic today: the original Wet Nellie was bought by Tesla founder Elon Musk in 2013, and he says it was the inspiration for the Tesla Cybertruck, unveiled last year.

Today, finding an original Series 1 in top condition is rare, even for well-connected classic car enthusiasts; rarer still to find one so identical to the one driven so brilliantly by Moore’s 007. With the same chiselled good looks, gleaming white paintwork and wonderful 1970s kitsch orange and green upholstery, the car I am ready to put through its paces was, in fact, lovingly restored and trimmed by the same gentleman who had trimmed the cars for the original film. Getting into the Esprit proves to be my first challenge. At 6ft 2in I am at the height limit, and so a certain technique is needed, a kind of sideslide into the cockpit (Jeremy Clarkson is 6ft 5in – sorry, sir, you’ve got no chance). The rakedback driving position leaves me in no doubt that this is a thoroughbred sportscar. Innovations like the single-cluster dashboard help me overlook the British Leyland switchgear, but all criticisms of the car end there. As the highly tuned 1,973cc engine bursts into action, the car feels truly alive. Early criticism of the noise in the cabin was probably justified, but for short-sprint enjoyment the volume of the engine is wonderful. Despite the relative lack of power at 160bhp, the whole car weighs less than 1,000kg, propelling the Esprit from 0-60mph in less than seven seconds. The engine is light and responsive, and there’s that wonderful potting in the exhaust as I come off the throttle and the Weber carburettors over-fuel the twin-cam engine. It will instantly put a smile on your face. The most striking feature of the Esprit’s performance is, without doubt, the responsive handling. With a wheel literally positioned at each corner of the chassis, and Chapman’s legendary focus on set up, the Esprit is truly agile, and responds quite incredibly through a series of tight, high-speed bends. In fact, the handling is so good that stunt drivers on The Spy Who Loved Me could not get the car to step out of line – Lotus had to draft in their own driver, development engineer Roger Becker, to truly put the car through its paces, in order to create the drama of those unforgettable chase scenes. Built at a time of industrial action when the British motor industry was probably at its lowest ebb – turning out such classics as Austin’s Princess and the legend that is the Morris Marina – the Series 1 Lotus Esprit’s wild futuristic styling, bold interiors and thoroughbred racing lineage still, just like James Bond, make you proud to be British. 32

SPEED

BRAD PITT Celebrating his most successful year yet, the Oscar-winning actor and producer reflects on his remarkable career: and how he went from Hollywood heartthrob to the film industry’s MVP Interview: Lucy Allen/Hotfeatures

hen Brad Pitt landed his breakout role in 1991’s Thelma & Louise, it would have been easy for the charismatic young star to cash in on his leadingman good looks. Instead, Pitt has defied any attempt to pigeonhole in order to forge a career centred on character-driven roles and challenging expectations. His critical and commercial successes show this best. Pitt’s credits span sci-fi flick 12 Monkeys, crime thriller Se7en, cult hit Fight Club, comedy caper Ocean’s 11, action-romance Mr & Mrs Smith to sports biopic Moneyball. He is a multi-award-winning actor, landing two Golden Globes and an Academy Award for his acting – including winning this year’s supporting actor Oscar for his role in Quentin Tarantino’s Once Upon a Time in Hollywood – as well as multiple Academy Awards and an Emmy as a producer. If the price of fame for the 56-year-old is the fascination that surrounds his personal life, behind the scenes it’s Pitt’s business acumen that has made him one of the most influential figures in the American entertainment industry. His production company, Plan B, has developed a slew of award-winning films – including Martin Scorsese’s The Departed, Steve McQueen’s 12 Years a Slave and Barry Jenkins’ Moonlight, which have all won the best picture Oscar. Away from the silver screen, Pitt has a keen interest in photography, architecture – his humanitarian efforts include the Make It Right Foundation, which constructed sustainable housing for victims of Hurricane Katrina – and US politics, while lending his star power to brands he authentically loves – including Breitling (he is part of the watchmaker’s Cinema Squad) and menswear label Brioni. Celebrating his most successful year, Pitt looks back at his career highlights and shares how it all began... »

Brad Pitt, part of Breitlingâ&#x20AC;&#x2122;s cinema squad, shot by Peter Lindbergh

I’M NOT A BIG CONTROL GUY. IN FACT, I’D JUST AS SOON SAY: ‘YOU GUYS DO IT’ Hollywood heavyweight: Brad Pitt in Once Upon a Time in Hollywood (right, ©Sony Pictures Entertainment) and with director Quentin Tarantino (inset) What inspired you to set up your production company, Plan B? I’m not a big control guy. In fact, I’d just as soon say: ‘You guys do it.’ But there was this time around 2001 to 2009 where the interesting, ’70s-style films were not getting made. Films that were big, big tentpole budgets were emerging, and studios were able to bet on them, or cheaper films that were maybe $10-$18million. There was this huge gap in between, where really interesting stories with interesting filmmakers couldn’t get their shit done because it was such a gamble [ for the studios]. So, I started getting in to push the kinds of stories that I was still interested in, and that the artists I had great respect for were doing. That was really the impetus for the beginning of it. You’ve had incredible success this year with Once Upon a Time in Hollywood. How’s the experience been? It’s really fun when your number comes up. It’s so nice to see your friends go through this and then it’s nice to be here myself. I have a lot to be grateful for. What is Tarantino like to work with? He has such a verve for the filmmaking process. He has such reverence for filming and for film that he makes a party out of it. And he loves a story: if we’re in the middle of a good story, the take is going to wait. We’ll get to the take and it’s going to be good, but we’re gonna finish the story. [Tarantino] writes everything by hand, and once he has a script he gives it to you with his famous cover page, which is handwritten. Inglourious Basterds is misspelled because that’s the way he originally wrote it, so that’s the way it went on the marquee. His writing is so specific that I could hear the character from the first reading, and I don’t normally have that [experience]. Also, I got to the part where he kills Hitler and I was like, ‘Can you kill Hitler? I guess so.’ Quentin can. It was funny. He rewrote history again in Once Upon a Time in Hollywood. Why do you think viewers enjoy this? [With Quentin,] I see this kid who grew up on film and television where the good guys won and things worked out all right. I really think

he’s coming from a beautiful place of, ‘If only the world could be this way.’ He talked about when he wrote the scene about killing Hitler, he wrote it on a Post-It and he put it by his bedside, and he woke up in the morning and it still felt like it was a good idea. He’s playing on our collective wish that the world could be this way. I see innocence and a purity in that. Looking back at your career, do you see any common themes in your work? I’m noticing a theme of hubris. In Se7en, my character sees the world very black and white, doesn’t see what’s coming and doesn’t understand. I see it in Burn After Reading. There’s an idiocy, but I see hubris. And in Babel, it’s that everything’s always going to be all right, and not valuing the ones around him. I think that’s a theme. Hubris has always gotten me in trouble. I think it’s the thing that gets our nation in trouble. It’s something I’ve been rather fascinated with, along the way. You originally studied journalism at the University of Missouri. What made you pursue acting? I had a friend, not even a close friend, who talked about going out to LA[…] I’d always lamented that there wasn’t an avenue for film in Southern Missouri but then it occurred to me that I could just go. I didn’t graduate. All I had to do was hand in a term paper but, in my head, I was done; I was going west. Within a week, I was a film extra and I was really, really happy. How long did it take to progress? I did extra work for maybe two years. I actually got a job, but went back [to extra work] because it was Less Than Zero, with Robert Downey Jr. I was like, ‘I gotta do this.’ There was this catch-22 where, to get your SAG card, you had to have a line, but to have a line you had to have a SAG card. In one movie they pulled me out to be a waiter. I was supposed to pour champagne and I thought: ‘I’m gonna try it.’ So, I poured Charlie Sheen’s glass of champagne, I poured the next actor’s glass… and then I went: ‘Would you like anything else?’ I heard the 1st AD yell: ‘Cut! Cut!’ He came over to me and said: ‘If you do that again, you’re outta here.’ So, I didn’t get it then. » 36

INTERVIEW

Leading man: Brad Pitt stars in Brioni’s Spring/Summer 2020 ‘Tailoring Legends’ campaign, shot by Mikael Jansson

INTERVIEW

Did you take acting classes? I did. I found a brilliant guy named Roy London, who’s no longer with us. He shaped a lot of careers, like Hank Azaria, Geena Davis and Sharon Stone. I was really lucky to land there, and he pointed me in a nice direction. Just really about learning to make it personal, and not to bullshit or to present someone else’s idea. No mimicry. He was harsh. He would call you out and embarrass you. I’m really grateful for working with him.

effects, is they have a very distinct point of view about the story they’re telling. That was the first time I heard it, talking to Finch, and that really stood out to me. [Benjamin Button] was pushing technology and pushing boundaries, and my man was all over it.

Was there a point where you could say: ‘I’ve made it’? A couple of weeks ago! I’ve had some different junctures, along the way, where I would actually call myself a professional actor. After Thelma & Louise, one of the big pinnacles for me was meeting [director] David Fincher. I’d had a couple of experiences on films where it wasn’t what I expected, and then I met my dear friend David, who was talking about film in a way that was much more articulate; he understood so much more than I did and I found direction, that way. That was a big moment.

Then there was Robert Redford, who directed A River Runs Through It. What was it like working with him? Oh man. He doesn’t understand a call time; he often shows up very late. But Redford was one of my heroes, growing up. I certainly feel he’s very underrated as an actor. There’s this naturalism that he started, the way he can move the plot along in Condor is just mesmerising. He was a great director. I was doing something in the scene, and he just came up and said: ‘You’re sighing.’ and I said: ‘Yeah.’ And he said: ‘Don’t do that. When you do that, you let the power out. You let the water out of the scene.’ That’s always stuck with me. That’s one of those little Redford-isms, like the double take, that he’s mastered and passed on to me.

You worked with Fincher on Se7en, Fight Club and The Curious Case of Benjamin Button. What made those experiences so special for you? When you’re on a Fincher film, you know that you’re in good hands. It’s well-oiled and he has a vision. The thing that became clear to me, besides that good directors talk with sound

Are there any movies that you regret not making? If we were doing a show on the great movies I’ve passed on, we’d need two nights... Okay, I’ll give you one, only because I really believe it was never mine. It’s someone else’s and they make it. I really do believe in that. But I did pass on The Matrix. I took the red pill.

EXTRAO RDINARY

TIMES Tempus rounds up the most innovative timepieces from the worldâ&#x20AC;&#x2122;s first ever virtual watch fair

Words: Harry Malmstrom

or any watch connoisseur, the trade shows of Baselworld and SIHH have long been hallmarks of the horological world, offering a glimpse into the workings of the most prestigious watch brands – who compete for the most exciting or lavish display stores – as well as their latest novelties. But with 2020’s two April shows cancelled due to the Covid-19 pandemic, and prestige brands having pulled out of future Baselworld shows in their droves, there seemed to be the hint of an ending to the watch world’s biggest shows. Enter the Fondation de la Haute Horlogerie, organisers of Geneva’s SIHH show, which was due to celebrate its 30th year with a rebrand, becoming Watches & Wonders as it expanded its reach and appeal. Faced with the prospect of cancelling outright, the Fondation chose instead to enter the virtual world to present the first ever all-digital horology fair. 30 prestige brands, including Panerai, Cartier, IWC Schaffhausen and Vacheron Constantin, chose to showcase new novelties and developments via video presentations and fine image galleries on the digital platform – perhaps ironically offering regular visitors a chance to view presentations by brand executives and designers that would usually only be available to retailers and the press. “As the industry’s recognised authority and advocate for fine watchmaking, it is the mission of the Fondation de la Haute Horlogerie to respond to the current challenges and offer to the entire watch community the digital platform it deserves and the ability to gather together virtually,” said a spokesperson. Here, we take a look at some of the most intriguing – and coolest – timepieces on show this year, and explore why we can’t wait to get up close and personal with these 2020 novelties. » watchesandwonders.com

Cartier Privé Tank Asymétrique 41

Jaeger-LeCoultre Master Grande Tradition Grande Complication This beautifully celestial timepiece is a new interpretation of the master watchmakers’ standout complication, incorporating two of the most romantic yet technically challenging complications in horology – a minute repeater and a celestial vault – elevated even further by an orbital flying tourbillon. This tourbillon is an astronomer’s dream; not only does it turn on its own axis in 60 seconds to keep ‘civil’ time, it also measures each ‘sidereal’ day, which is used by astronomers to follow the movement of stars. Limited to eight pieces each in rose gold and in white gold. jaeger-lecoultre.com

Roger Dubuis Excalibur Diabolus in Machina This extraordinary minute repeater from Roger Dubuis subverts the very best of horological creativity synonymous with the brand. Visually, the dial’s famous skeletonised star is imploded, with the deconstructed star placed across multiple levels in fascinating 3D fashion. The minute repeater itself is tuned to a tritone interval; known as ‘diabolus in musica’, this dissonant chord was outlawed in medieval religious music and its distinctive sound can be found in Saint-Saëns’ Danse Macabre. Powered by an RD0107 Calibre and featuring a single flying tourbillon and fine Côtes de Genève finishing on bridges and plate, the devil is very much in the details here! rogerdubuis.com

WATCHES Piaget Altiplano Ultimate Concept What started as a micro-engineering experiment has now become reality, as fine watchmakers Piaget introduce the thinnest mechanical watch in the world. At a world record-breaking gossamer 2mm, the Altiplano Ultimate Concept has seen Piaget introduce innovations including a case that forms part of the movement, a unique, integrated winding crown, an ultra-thin crystal and all new constructions for the barrel and energy regulation, with a respectable power reserve of 40 hours, and filing no fewer than five patents. Not content with revolutionising watchmaking, the Antiplano Ultimate Concept also looks phenomenal thanks to the skill of Piaget’s artisans, who added fine sunburst and satin-brushed finishes, chamfered and polished bridges and a sophisticated PVD treatment to the combined case and baseplate. The concept was first unveiled at SIHH in 2018 and is now finally available to purchase. piaget.com

Vacheron Constantin Traditionelle Tourbillon Chronograph Vacheron Constantin’s Grandes Complications workshop introduced this super stylish novelty, combining the precision of a monopusher chronograph with the sophistication of a tourbillon. Powered by the brand’s 3200 calibre, this unique timepiece reflects the distinctive hallmarks of the Traditionelle, including “Etagé” case and lugs, a fluted case-back, a railway-type minute track, and dauphine-type hours and minutes hands. The watch’s elegance is completed by its 18K 5N pink gold case and hour markers, hand-finished silvered opaline dial, and dark brown Mississippiensis alligator leather strap. » vacheron-constantin.com

Panerai Luminor Marina DMLS This high-tech and high-spec watch is a remarkable feat of engineering by the Panerai team. Dark, dramatic and sporty, what makes this watch truly special is its materials and construction. The case is made of titanium with Direct Metal Laser Sintering (DMLS) technology, a 3D-printing process by which titanium powder, sintered by a high-power fibre optic laser, takes a solid shape that grows 30 microns (0.03mm) at a time. Carbotech, an equally advanced carbon composite developed by the Panerai Laboratorio di Idee, is then used for the bezel, crown and lever of the safety lock crown protection bridge. An unpolished anthracite dial with tone-on-tone SuperLumiNova indexes and numbers, completes the statement. Powered by the brandâ&#x20AC;&#x2122;s P.9010 calibre and with a water resistance depth of 30 bar (300m), this is fiercely masculine and rugged expression from the brand. panerai.com

WATCHES

Cartier Privé Tank Asymétrique Quite literally designed to turn heads, the Asymetrique is Cartier Privé’s most striking addition to its Tank range. Tilted on its axis to 30 degrees, this unusual watch is fantastically modern, while still recognisably Cartier. The new Tank model follows the release of new versions of the Crash, Tonneau, and Cintrée watches since Cartier relaunched its Privé range in 2015. Radical, functional and très chic. cartier.com

IWC Schaffhausen Portugieser Yacht Club Moon & Tide Chronograph Introducing several new models to the Portugieser line, IWC’s 2020 novelties incorporate the best of its classic components with new innovations. Our favourite is the Yacht Club Moon & Tide Chronograph (left), which is the first watch to feature IWC’s newly developed tide indication, indicating the arrival of the next high and low tide, as well as information about the strength of tides via the spring and neap enhancements to the double moon phase display. While sailing enthusiasts and coastal connoisseurs will find this of practical use, for the rest of us this feature is the perfect addition to the nautical sports style, presented in 18-carat 5N gold case, blue dial, gold-plated hands, and 18-carat gold appliqués. iwc.com 45

THE

WEALTH REPORT JP Morgan’s Oliver Gregson reveals the financial trends we should already be considering in our changing times

orget what you thought you knew about the future of finance. The year 2020 has been indelibly marked in the first quarter by two ‘black swan’ events – rare outliers that cannot be predicted but have huge economic consequences – in the form of the Covid-19 pandemic and oil hitting negative prices for the first time in history. But swift, decisive and creative action from governments, financial institutions and businesses may yet inspire a recovery that proves, in the long run, more robust than any before it. Oliver Gregson (right), managing director and head of the UK and Ireland markets for JP Morgan Private Bank, says that even in challenging times, he treats each client’s unique needs and questions individually – but there are some overall trends that can help savvy investors shape their portfolios. “I’ve always felt that wealth management and private banking is a compelling part of the overall financial services ecosystem: the people we work with and the relationships we form through multiple generations,” Gregson says. “In challenging times, being there for your clients through any concerns is absolutely critical. Whether there’s an individual perspective needed, a family angle to be covered, operating private or public companies, we can really make a difference in difficult times.” Gregson says that major investment trends – such as environmental, social and governance (ESG) investments as well as the rise of AI – will continue to grow over the next few years, with ethical investments expected to become a stalwart of any portfolio regardless of immediate market trends. His own expertise supports this: Gregson sits on HRH Prince of Wales’ Sustainable Markets Council, the UK Philanthropy Governance Committee of the bank’s corporate foundation, is a member of the Private Strategic Advisory for UK Finance and a trustee for Blue Ventures Marine Conservation and Help for Heroes. “ESG and sustainability are undoubtedly important trends in every part of business and finance, and really show a change in the way people are thinking about money,” he says. Here, Gregson shares his insights into some of the key market areas that business owners and investors alike should consider in the challenging months to come. 46

WEALTH

BLACK SWAN RECOVERY We came into 2020 on the back of one of the strongest economic cycles in 100 years, only to face two ‘black swan’ events in quick succession – a global pandemic and the oil price drop – on top of the ongoing challenges of Brexit for those in the UK. Extensive measures have already been taken to cut the tail risk affecting assets and investments in the subsequent downturn; the efficacy, speed, co-ordination and creativity of fiscal policy in government and central banking has been incredibly impressive, and measures have been far beyond what we saw in the financial crisis of 2008. In addition, we’ve seen many firsts, such as the US Federal Reserve stepping in to support the high-yield market. We estimate an injection of some £16trn – £8trn in central bank liquidity and £8trn in other measures – which is a huge amount of money. But, for individuals and companies alike, there are a variety of considerations to take into account. Credit management, operational and risk oversight, customer and supplier connectivity and, of course, financial management are but a few of these considerations – and in times of crisis, liquidity is of utmost importance. Covid-19 has placed an extreme burden on businesses by exacerbating the mismatch between reduced revenue streams and

SENSATIONAL START-UPS The role of small and medium-sized enterprises (SMEs) in the UK cannot be understated. SMEs represent almost 95% of UK businesses, with family-owned companies employing about 12.5m people and generating £450bn in GDP; but with four out of 10 start-ups only lasting five years, it’s important to create greater resiliency and diversity, particularly with the end of Brexit on the horizon. Two key areas of current growth are technology and female entrepreneurship. During the 2008 financial crisis, as many as 50 small businesses were closing each day. But the chaos made room for tech startups to step in and, a decade on, London’s Silicon Roundabout in Old Street is second only to California’s Silicon Valley. UK tech companies have attracted a substantial amount of funding, with more than £5bn in VC funding from US and Asian investors – 80% of that in London alone – and creating around £60bn annual turnover from 8,000 start-ups, employing 300,000 people. Building resiliency in an SME requires access to vital resources, support networks, workspaces, mentoring, networking, collaboration and financial services. The next stage is the evolution from disruptive start-up to meaningful, impactful business. What’s interesting is that companies are

staying private for longer, which has led to 72 UK firms achieving ‘unicorn’ status (valued at more than $1bn) in the last two decades. On the other hand, women are typically underrepresented among entrepreneurs, making up just a third of the country’s business leaders, and female-owned startups often have lower levels of growth as they struggle to attract capital investment. This is why JP Morgan has created a multi-pronged approach to supporting female entrepreneurship, providing grants for business support and management training, access to networks of funders and founders, and providing insight and data to help ensure resiliency. As an organisation we have long focused on female empowerment and advancement. Our firm is consistently recognised as a leading employer of women around the world; our Women on the Move initiative started as a way to empower our own female employees and, in 2018, we expanded the programme to include female clients and consumers. WOTM currently has three main objectives: expand women-run businesses, improve women’s financial health and empower women’s career growth. We’ve committed to extend £10bn in credit to female-owned businesses by the end of 2021. » 47

ongoing operating expenses, so two important considerations for extending available liquidity are accelerating the receipt of receivables (such as focusing on collections and offering incentives like quick pay discounts) and prioritising the timing of cash disbursements. During this crisis, owners need to identify their critical key performance indicators (KPIs) such as quick and current ratios, customer orders, receivables, workforce callout, operating expenses and equipment utilisation. Additionally, owners should continuously monitor cash buffer days and working capital to ensure business solvency. In order to determine what the future looks like, we have to ask some key questions: who and what is going to pay for this support and debt, what will be the depth of the economic recession and duration of ongoing virus-related measures? At JP Morgan, we think a recovery towards the end of 2021 is a realistic expectation, based on a high-level view that we will see a U-shaped economic trajectory. We’d give a 35% change of a more positive V-shaped recovery, while a worse L-shaped recovery has about a 15% probability. Keep in mind that there is opportunity in adversity for every business – but owners have an obligation to maintain a strategic vision for the future.

CYBER SECURITY It has never been more important to protect and prepare against cybercrime. We’ve seen a massive increase in fraud, cyber-hacking and other issues, and the overall unpreparedness of corporations and individuals is concerning. Companies are being attacked every 30 seconds, individuals every 10 seconds, and we’ve seen thousands of data breaches exposing billions of records. The average cost of these breaches has increased rapidly to about £4m each time but, remarkably, our research shows that two thirds of UHNW individuals have taken zero countermeasures to safeguard from malicious emails, phishing scams, spoofing and hacking. We have not yet had the 9/11 of cyber-attacks on critical infrastructure, which would lead to loss of life, but one only has to think about the Central Bank of Bangladesh – which lost $80m

at the New York Federal Reserve bank in 2016 through security hackers – or 2017’s WannaCry Ransomware attack to understand the scale of the danger from this very sophisticated form of organised crime. JP Morgan Private Bank dedicates $700m each year to cybercrime prevention and protection for our clients, employing 3,000 dedicated cybersecurity specialists in New York, London and Singapore. For us, it’s about making sure we stay ahead of the external threats and counter internal weaknesses; building in denial of access, reducing gateways or end points that can host intrusion, and ensuring robust security of the cloud. We’re also creating very strong automation of security protocols through AI and machine learning – which is also experiencing an investment boom and is one of our secular long-term investment themes.

IT HAS NEVER BEEN MORE IMPORTANT TO PROTECT AND PREPARE AGAINST CYBERCRIME

FAMILY VALUES One of the most interesting elements of private banking is how we can help UHNW families protect their wealth through the generations. Individuals are becoming more aware of the challenges that wealth can bring; our research shows that a substantial proportion of clients’ wealth is lost by the third generation, not from bad investment decisions but through family dynamics, poor communication or lack of trust. So, we are dedicated to providing education for our clients’ families to provide the tools to effectively manage and talk about wealth throughout their lives. Not to be melodramatic, but there are serious consequences of not getting this right, like the possibility of children going off the rails or the risks of drugs and alcoholism. Financial education can include how to save well and spend wisely, investing as a wealth owner, borrowing effectively, sharing thoughtfully and how to stay safe online. We also share how to think about earning throughout a lifetime.

For a three-year-old this might just be helping with chores and putting money away in a piggy bank, while for teens to 20-year-olds we provide full next-gen programs, with education on the financial markets and how they work. But the younger generations can also guide their parents in global social trends. We’re seeing incredible socioeconomic and political changes in our lives, and that’s influencing how we think about wealth. The idea of ‘wealth for wealth’s sake’ has become ostentatious and, actually, there is a real drive to make a difference and a positive impact, which is often led by younger generations. I often talk to families and children about the fact that you don’t have to trade value for your values. Instead, investments can be intentional, and can make an impact that’s aligned with your values – which we’re seeing in the broader framework of sustainability and ESG investment, a trend we expect to see increase in the future. jpmorgan.com/GB 49

THE ART OF ISOLATION In times of crisis, art becomes more important than ever. We speak to the artists and galleries finding ways to bring great works into our homes Words: Michelle Johnson

Search for Enlightenment Â© Simon Gudgeon

ablo Picasso once said the role of art is to “wash away from the soul the dust of everyday life”. The Spanish painter, sculptor and changemaker was born in Malaga in 1881, raised in Barcelona and spent most of his adult life in France: Paris, where he helped shaped the great artistic movements of the 20th century, and Mougins, where he died aged 91. The artist is best known for his prolific genius and fearless variation of style, but his work was profoundly affected by the tumultuous times through which he lived: the suicide of his friend Carles Casagemas, the impact of World War I on his anarchic French compatriots, the Great Depression that followed and the Nazi occupation of Paris during World War II – where he remained despite the dangers presented by his outspoken left-wing politics. And, of course, the Spanish Civil War, which inspired his most famous work, Guernica (1937), still considered one of the most powerful anti-war paintings in history. “What do you think an artist is?” Picasso asked. “He is a political being, constantly aware of the heart-breaking, passionate or delightful things that happen in the world, shaping himself completely in their image. Painting is not done to decorate apartments. It is an instrument of war.” It’s perhaps this notion that has seen the world’s contemporary artists and galleries take up arms in the light of the Covid-19 pandemic. From the Louvre Paris to MOMA New York, galleries have offered unprecedented virtual access, while individual artists are engaging in social media showcases and digital workshops that reveals their methods like never before. In the UK, The National Gallery, British Museum, and Royal Academy of Arts (which extended its popular Picasso & Paper exhibition online) are among the institutions embracing virtual tours. “The National Gallery has weathered many national emergencies and provided solace and respite for people in Britain and all over the world for almost two centuries,” says Caroline Campbell, director of the gallery’s collections and research. “Our current online activities, including talks and creative sessions, are partly inspired by the gallery’s activity during the Second World War, when it was one of the few places in London where you could find a programme of cultural activity.” »

Clockwise from above: Tobias and the Angel from the workshop of Andrea del Verrocchio, Portrait of Ludovicus Nonnius by Peter Paul Rubens, both © The National Gallery, London; Counting-Blessings by Haris Nukem, 2020 © Maddox Gallery; Femmes à leur toilette by Pablo Picasso, 1937–38, © RMNGrand Palais (Musée national Picasso-Paris) / Adrien Didierjean © Succession Picasso/DACS 2019

ART

ART SPIRIT OF RESILIENCE This sense of public cultural duty might seem at odds with the exclusive openings or ticketed exhibitions that have become the mainstay of many galleries in recent years but, to Campbell, the jump to open access is a natural move given the vital role of art during times of crisis. “As a curator, it’s inspiring to see our digital initiatives are giving great joy to people and helping to foster a resilient spirit in these challenging times,” she says. “With digital resources we can give people the chance to treasure great art, and make it their own, by looking at and reflecting on it in their homes.” For Opera Gallery, a leading international dealer and representative of artists including David LaChapelle and Anthony James, there is the additional question of investor behaviour: how will art collectors respond to digitalisation? “Many galleries had already begun a digitalisation of their content, and this crisis has accelerated the process. Galleries and art fairs that developed interesting and engaging digital contents over the past years will be rewarded,” says the gallery’s London director Federica Beretta. “We have seen an increasing number of online exhibitions easily accessible to a broader public, and this is definitely an interesting aspect of this situation as it’s providing a more accessible and democratic way to appreciate art. I think this was very much needed in the art world – it will certainly speed up the digitalisation and online selling process.” With 13 Opera Galleries operating worldwide (including New York, Paris, Monaco, Singapore and Dubai) Beretta notes that, rather than a reluctance to invest, collectors are instead merely changing behaviour. “In times of crisis, [collectors] often wish to diversify their portfolio and decide to place part of their revenues in established artists with

Clockwise from far left: Red Rabbit by Jeff Koons exhibited at XXI © ARTCELS/HOFA Gallery; Anthony James exhibits at Opera Gallery London; Game Changer by Banksy, 2020, © Banksy / Instagram/ PA; Strawberry Donut by Banksy, 2009, © ARTCELS/HOFA Gallery

a strong and stable art market value, such as Picasso, Warhol, Basquiat…” Elio D’Anna, gallerist of London’s House of Fine Art (HOFA) and co-founder of investmentdriven virtual exhibition ARTCELS, adds that the art world is currently “a buyer’s market”. “As has been seen in previous periods of uncertainty, the art market has the ability to self stabilise remarkably quickly compared to others, and it will be the online art platforms such as ARTCELS that will thrive in this period of self isolation,” he tells Tempus. HOFA had moved to a new 4,000sq ft gallery on Bruton Street and was planning its grand opening when lockdown began. It immediately orchestrated a series of virtual exhibitions, including ‘Here and Now’, using state-ofthe-art technology to create accurate 3D representations of the works. Simultaneously, ARTCELS was launched by D’Anna and commodities trader Gijs de Viet in May with an innovative, entirely digital exhibition, XXI, featuring rare and unseen works by blue-chip artists including KAWS, Damien Hirst, Retna, Jeff Koons and Banksy. The first ever assetbased contemporary art exhibition, XXI aims to capture a younger market eager to invest in contemporary art for the first time, offering investors shares in famed artworks. “Core to ARTCELS’ investment strategy is expert insight on art and market trends.” D’Anna says. “The response from [artists and the public] has been hugely enthusiastic. The most important thing is to bring some light into these otherwise dark days of the lockdown. It’s a small way of helping the global art community come together and connect in a positive way.” »

WITH DIGITAL RESOURCES WE CAN GIVE PEOPLE THE CHANCE TO

TREASURE GREAT ART, AND MAKE IT THEIR OWN

- Caroline Campbell, the National Gallery 55

CRAFTED FROM CHAOS If tech-savvy galleries have been focused on providing digital access for the public during the lockdown, artists themselves have been eager to share new works, too. David Hockney shared 10 of his most recent iPad-drawn works from where he was isolating in Normandy; Damien Hirst created a rainbow with butterfly wings in tribute to NHS workers, making it available to download and display; and Banksy’s poignant tribute to the NHS was given as a gift to Southampton General Hospital in May, depicting a child playing with a nurse doll, Batman and Spider-Man toys discarded in a wastepaper basket. The artist included a note for hospital workers that read: “Thanks for all you’re doing. I hope this brightens the place up a bit, even if it’s only black and white.” With so many artists eager to share their support for medical personnel, Mayfair’s Maddox Gallery launched Art for Heroes with the goal of raising £2m to benefit NHS staff through the sale of pieces donated by 30 contemporary artists, including photographer David Yarrow, street artist Mr Brainwash, contemporary Spanish artist Coco Dávez, plus Grayson Perry and famous names Boy George and Noel Fielding. Proceeds are donated to HEROES, a charitable organisation founded by NHS doctors and nurses to support the welfare and wellbeing of frontline staff. “Like everyone in the UK, I feel enormous pride as well as a sense of huge debt to the NHS. They are the heroes not just of my generation, but every generation that is living through this global pandemic,” says Yarrow. “The debt of gratitude we collectively owe our frontline workers has never seemed so high.” For other artists, the potential impact of isolation has been a primary motivator. Sir Antony Gormley, best known for his towering Angel of the North, shared a visual diary with White Cube Gallery, documenting his work during lockdown, including a miniature of his 1986 sculpture Hold and the destruction and reconstruction of metal ‘apples’. “I suppose I was trying to make an objective equivalent for the state that we’re all in,” he said. Magnus Gjoen, whose fans include Kate Moss and The Duchess of Sussex, launched his ‘art therapy’ project to invite budding artists to complete prints of his best-known works, explaining: “One can always get lost in beauty

LIKE EVERYONE IN THE UK, I FEEL

ENORMOUS PRIDE

AS WELL AS A SENSE OF HUGE DEBT TO THE NHS - David Yarrow

and art, it takes your mind away from the current and offers solace and escape.” For sculptor Simon Gudgeon, connection to nature has always been an intrinsic part of his work, much of which is on permanent display at Sculpture by the Lakes – a 26-acre park in Dorset created by Gudgeon and his wife, Monique. “Nature is a constant source of inspiration,” he tells Tempus. “Walking here in the evening is quite extraordinary at the moment; there is no background hum, no noise – you can’t hear anything except the incredible birdsong. This crisis is a crisis for human beings only. The rest of the world isn’t being affected.” Unable to cast in his preferred bronze during lockdown, Gudgeon has been experimenting with ‘spare’ metals during the pandemic. His latest works – three 4m steel swallows – will stand as a tribute to the resilience of humans and nature alike when the park reopens on 3 June. “Looking back over history we have lurched from one crisis to another and art has always helped people get through – it will be interesting to see what comes out of this time,” he says. “As an artist my interpretation of the artwork isn’t as important as the effect the art has on others; it is how the viewer responds, how art uplifts their spirits and connects with their emotions – that is what matters.” Clockwise from above: Swallows © Simon Gudgeon, 2020; There Are No Extraordinary People Only Ordinary People Who Do Extraordinary Things by The Connor Brothers, and When Things Get Dark Reach For The Light Switch by Boy George, both © Maddox Gallery; Silver Swans © Simon Gudgeon; Blame Game Portfolio by Kaws, 2016, © ARTCELS/HOFA Gallery

ART

SONIC RELIEF It promises to boost your productivity, calm your mind and even help you sleep better. Best of all, it requires minimal effort from you. The Sound Therapist, Farzana Ali, reveals why sound healing is the latest trend for better mental health

here’s nothing quite like a pandemic to make us all reevaluate our relationship with our health. But, while our focus quite naturally turns to our physical wellbeing, with diet and exercise taking centre stage, it’s just as important to take control of what’s going on in our heads, too. It will come as no surprise that a recent Office for National Statistics survey showed more than 25 million people in the UK have battled feelings of high anxiety since lockdown began, while Anxiety UK reports that calls to their national helpline have jumped by more than 300%, with figures across the globe much the same. If feelings of angst or mental fog are exacerbated by the lockdown, plus economic uncertainty and fear for loved ones, merged with the challenges of navigating a new world, then sound therapy could be the lifeline you need. How does sound therapy work? From Australian aboriginal tribes to ancient Greeks and shamanic practices of yesteryear, music has been used to heal, motivate and inspire for millennia. And this ancient method is gaining new traction with modern celebrities, with actors such as Robert Downey Jr and Charlize Theron reported to be fans. The Duchess of Sussex is even thought to have introduced her husband Prince Harry to the technique. Sessions – known as sound baths because the sound is said to wash over you – involve lying under a blanket with your eyes closed, as a practitioner uses pure sound (as opposed to just music) to take you into a calmer, alpha-dominant brain state. Instruments such as crystal singing bowls, Himalayan singing bowls,

drums and gongs are used to create these therapeutic sounds. They work by using a process called auditory driving and sympathetic resonance – which basically means that your brainwaves change to match the sound and, in doing so, take you into that dreamy state where rest and relaxation happens. This also means that, unlike other popular meditation or mindfulness methods, you don’t have to do a thing. In fact, it requires very little effort on your part should you choose this method to switch off. Sound therapy isn’t just an excellent stress reducer. It’s in this restorative alpha state (as opposed to the dominant beta state of being awake, concentrating and alert), that your brain is also able to recharge and reorder your thoughts. The result? More mental clarity and even increased productivity. A skilled practitioner can even help you fall into a deeper theta-dominant brainwave state, meaning that this shortcut to zen can also help lower blood pressure and improve sleep quality as well. Relax, recharge or refocus? Whatever your needs, now is the best time to try out digital offerings but, to get maximum results, bespoke is best. I include reflective practice at the start of my sessions to help clients – including company CEOs and celebrity agents who are traditionally time poor – to resolve any deeper concerns. Sessions can be as short or as long as you want and all you need is a pair of headphones and a spot to lie down. What could be easier than that? For more information or to book a session visit thesoundtherapist.com 58

SOUND THERAPY REQUIRES VERY

LITTLE EFFORT,

Sound practice: Farzana Ali (inset) uses Himalayan Singing Bowls during sessions

AND IS ATTRACTING EVERYONE FROM A-LISTERS TO ROYALS

WELLNESS

AHEAD OF THE TIMES Breitling CEO Georges Kern sheds fresh light on the future of watch fairs, timepiece trends and the new meaning of luxury Words: Michelle Johnson

eorges Kern is a driving force in the world of watchmaking. CEO of Breitling, he has overseen a dramatic modernisation of the brand’s approach to the market, transforming the image of a refined but complicated watchmaker into a modern, ultracool company that exudes relaxed luxury and celebrates its enviable heritage. You need look no further than Breitling’s #SquadOnAMission campaign – starring ‘squads’ of pioneering ambassadors from the worlds of cinema (Charlize Theron, Brad Pitt and Adam Driver), aviation (Scott Kelly, Rocío González Torres and Luke Bannister), exploration (Bertrand Piccard, Inge Solheim and David de Rothschild) and surfing (Kelly Slater, Sally Fitzgibbons and Stephanie Gilmore) – or the conservation and charitable causes the brand supports to get a feel of this approach. Kern joined the brand in 2017 following a 15-year career at Richemont, where he became the group’s youngest CEO at 36 upon taking up the mantle at IWC Schaffhausen, before being appointed head of watchmaking, digital and marketing for the group. At the time, Breitling was one of Switzerland’s last independent familyowned watchmakers, but new acquisition and investment showed Kern it was ready to take operations to the next level. Now, the brand seems unshakeable and, frankly, ahead of the curve. It is committed to sustainable causes, working towards becoming carbon neutral and capturing a new generation of connoisseurs ready to buy into a brand’s ethos as much as its products. In the midst of the Covid-19 pandemic, Kern hosted Breitling’s first summit webcast to digitally launch three modern-retro novelties for 2020: The Chronomat Collection, the ladies’ Navitimer Automatic 35, and the Superocean Heritage ’57 Capsule Collection, along with the 250-piece limited edition with rainbow-inspired highlights. The popularity of this watch was such that it sold out in just a few hours. Here, Kern reveals all about the changing luxury market, Breitling’s transformation and the future of Swiss watch fairs. »

Modern-retro: Breitling CEO Georges Kern; the new Navitimer Automatic 35 60

How is Breitling approaching the market following the Covid-19 pandemic? The good news is we’re now seeing the light at the end of the tunnel. Many countries are beginning to open their businesses and resume normal activities, so I’m hopeful that, with all the right measures and continued discipline, we’ll be able to overcome this situation soon. Certainly, things will be different. I fundamentally believe consumer behaviour and attitude will move even further towards meaningful and sustainable consumerism. Breitling engaged on that path before Covid-19 – with our commitments towards Ocean Conservancy and [South Africanbased charity] Qhubeka, as well as the progress we’re making towards being carbon neutral – and all this will become even more important than it’s ever been. I think we did many things right intuitively, and this will help us to rebound in the coming weeks and months following the crisis. What changes in consumer behaviour do you expect to see? I believe that luxury will become more informal and casual. Things which were cool a couple of years ago might not be cool at all today. We will see new values. We won’t be jumping on a plane from Zurich to London when you can do video conferences instead. We are a social species, though – we need contact with people, we’re made to be in groups and to enjoy life – so this will come back. There will be unemployment, poverty and other problems, because Covid-19 is affecting the whole population. It is normal that society is evolving, and brands have to engage. If they [stick to] excessive luxury, some brand behaviours might become embarrassing, actually, because it just doesn’t fit our society anymore. What inspired Breitling’s move towards embracing a more informal luxury? In 2017 I knew Breitling, but I couldn’t differentiate between the product lines. It used to be a very loud and masculine brand and positioned primarily in aviation watches. But being in one segment like this restricts you in terms of design, and so all the collections – the Avenger, the Navitimer, the Colt – were becoming blurred and missing coherent design codes. The first thing we did was to reposition Breitling to air, land and sea in line with its rich history. It immediately gave us more room to breathe. Then, we differentiated the lines aesthetically – so the Avenger now has a more military look, while the Chronomat is sporty-chic. Finally, we dramatically decreased our number of references from over 600 to around 150. Each collection carries 15 to 20 models and is now comprehensive and clearly structured, rather than offering too many choices and confusing our customers, especially the guys. The new collections all reference Breitling’s design heritage. Could you tell us more? We have a history that many brands would kill for, and therefore we don’t have to invent stories. When you look at the watch industry, all the big product successes from the last 50 to 70 years are evolutions of iconic designs, just like the evolution of a Porsche 911 over the decades. When you have these designs, you should own them – such as the concave bezel of our Superocean Heritage ’57 or the Chronomat Rouleaux bracelet – because Breitling was the first brand to introduce these product elements and characteristics;

we are still leading the way. When you can modernise the engineering or design but keep the heritage, I think you have a fabulous success story. At the end of the day, watches are emotional products that tell unique stories. Do you have any favourite pieces within the new collections? The Chronomat, for me, is the ultimate product. It is a perfect watch in terms of functionality and features; it’s robust and all-purpose. You can wear it with a tuxedo or with shorts – it’s applicable for any situation. Our designer did an excellent job of defining ‘modern retro’. The copper dial reference is my favourite. The Navitimer Automatic 35 is also aesthetically quite amazing; it’s very difficult to make a unique product in the ladies’ market. The Superocean Heritage ’57 Capsule Collection reinterprets our first diving watch from 1957 and takes its cues from styles associated with the surfing scene of the ’50s and ’60s. With this capsule collection, we’ve focused on the relaxed Southern California fun-in-the-sun culture that defined an era. The surfing itself in those decades is at the heart of our storytelling here, but that era offered so much more: the great music, the amazing cars… The colourful Superocean Heritage ’57 Limited Edition was a big surprise. It has been phenomenal. In our history, we’ve never sold a reference so quickly. The 250 pieces were sold out online in just a few hours. Do you think this experience will drive you towards expanding your e-commerce? We’ve launched e-commerce in the US, UK, China and Europe, but this won’t replace our physical stores. We invest a lot into online and are active on social media, because 70% of the decision-making process is made online. However, I would estimate that, in the next 12 to 18 months, only about 10% to 15% of those purchases will be made online. The shutdown during Covid-19 has accelerated e-commerce – it’s why we were so successful with our summit webcast – but the act of purchasing is different. Millennials and young people still want a physical experience. We want to demonstrate that we are in contact with the customer and able to communicate our products whenever they are available, not just concentrating on one specific week [of watch fairs] in April. What are your thoughts on the future of watch fairs, such as Baselworld? Is there still a benefit to concentrated annual showcases? A year and a half ago, we had already decided on a new format that is more flexible in terms of time and location: local roadshows for retailers and summits for the media. With this approach, we are close to our customers, retail partners and media representatives, and we can introduce new models nearer to their date of availability. Consumer behaviour has changed fundamentally and our customers today expect new products to be available immediately after launch. We also want to introduce new products regularly, not just once a year. Accordingly, this new concept has proven to be successful for us in every respect. As far as the timing and location of our summits are concerned, we make those decisions depending on our market focus and product theme. We are currently evaluating various options for the coming autumn and next spring. breitling.com 62

WATCHES Breitling 's new Superocean Heritage '57 Limited Edition

THE CHRONOMAT COLLECTION A modern-retro reimagining of the bold 1984 original, this 2020 Chronomat incorporates the signature rotating bezel with rider tabs at both 3 and 9 o’clock – designed for the wearer to use for a count-up or count-down function – and a return of the highly recognisable stainless-steel integrated Rouleaux bracelet with a butterfly clasp. The all-purpose watch comes in a 42mm case size and is available in a choice of metals (stainless-steel and 18k rose gold) and different dial options, including a Bentley-green dial (pictured above). The highlight of the collection is the 250-piece Frecce Triclori Limited Edition – named after the legendary jet display team of the Italian Air Force. NAVITIMER AUTOMIC 35 Breitling’s ultimate wristwatch for pilots, the 2020 Navitimer Automatic 35 is a stylish and elegant answer to the desire for a feminine version of the classic watch. Based on the original Navitimer launched in 1952, this update boasts the renowned circular slide rule and its unique style, without sacrificing heritage or functionality. The collection includes six references of different materials and straps, including luxurious versions with inset diamonds, sumptuous leather straps in deep jewel tones and bracelets including stainless steel to 18k gold. SUPEROCEAN HERITAGE ’57 CAPSULE COLLECTION Taking inspiration from Breitling’s original 1957 Superocean, this capsule collection is available for a limited time only. Key references to the historic watch include the attractive concave bezel and oversized indexes, while the three designs offer a contemporary twist, embodying the cool, informal surfing lifestyle. The collection also includes the Superocean Heritage ’57 Limited Edition whose 250 pieces were snapped up within hours of its release. Splashes of rainbow colour mark the quarters, while Super-LumiNova coating of the hour and minute hands creates a graduation of colours and makes the watch easy to read in a variety of lighting conditions. 63

How the Ferretti Yacht 500 is marking a trailblazing and stylish new era of design moods for the Italian shipbuilder

erretti Yachts has always put comfort at the heart of its shipbuilding. The Italian yachtmaker was founded in 1968 and is known today for its fleet of 50ft to 96ft luxury flybridges and scores of high-tech innovations. The yard has created the underbody exhausts, the tilting window between lounge and cockpit, F-TDR (Ferretti Trim and Drag Reduction) and electro-hydraulic active Steer-by-Wire systems. Each of its innovations has been inspired by, and created for, the ease of its clients. The question at the heart of every new solution is: how can this be easier, better, more intuitive for our owners? From this question, the Ferretti Yachts team has introduced integrated monitoring and navigation systems, joystick packages for easy mooring and other improvements to what the brand calls the ‘human-yacht interface’. The brand’s latest project, Ferretti Yachts 500, is now pushing the boundaries further – not by scaling up, as so many superyacht builders do, but by focusing on new design solutions and interior moods that accentuate how owners actually live in and spend time in their yachts. The 500 is the first of a complete redesign of Ferretti’s entire range, starting from the strategic 50ft right up to the fleet’s flagship. To create a new look that would enhance the practical experience of Ferretti Yachts, exterior design architect Filippo Salvetti followed the philosophy of the brand’s high-tech contemporary models, introducing several new concepts to create exterior and interior solutions that are more often found on larger yachts, in order to optimise every feature. “This project is ushering in a new era for the brand,” says Salvetti. “We want to combine the nautical adventure of ocean cruising with domestic comfort. That will come through larger spaces of the interior and many other solutions found on much larger yachts.” The Ferretti Yacht 500 boasts an aerodynamic, streamlined shape that maximises practical use; the stern features a soft and sporty design with generous leisure spaces – such as a retractable swimming platform – while the hull shape allows for wide, modern windows. Dual side access » 64

DESIGN

Choose your mood: The Ferretti Yacht 500 features customisable interiors and clever features to maximise space leads up to the cockpit, which is organised with a structural sofa and table to allow the space to double as a lounge or dining area for up to 10 people. On the flybridge, the aft dining area features a C-shaped sofa extending along the back, and the starboard bow area features a luxurious sun pad. An outside steering station introduces Ferretti’s newly designed helm and pilot’s station, and forward is a beach area designed for relaxation. Inside, the shipyard’s customisable layouts for the lower deck include options of a large master cabin and VIP cabin, both with private bathroom and laundry, or master, VIP and double cabins with two bathrooms and separate shower. “The design of the new Ferretti Yachts 500 highlights an overall dynamism thanks to new and innovative stylistic features of the superstructure. A natural heir to the Ferretti Yachts 720, it reinterprets the new styles of the range in a very personal way. It proposes a layout based on a design centred on people and their life on board, a typical approach of the Ferretti DNA,” said Salvetti, who collaborated on the project with Ferretti’s product strategy committee headed by Piero Ferrari, the Ferretti Group Engineering Department and architects Ideaeitalia. “The two different moods of decor by Ideaeitalia studio perfectly reflect the brand’s ‘Just like home’ philosophy and are able to satisfy the tastes of every customer.” These new interior moods are Portofino, with its warm tones and classic style, and the contemporary Santorini, inspired by Mediterranean colours. Portofino is dominated by dark oak combined with glossy and matte monochrome lacquers; earth-toned fabrics and leathers and dark marble-effect stoneware in the bathrooms. Santorini features sand-coloured oak on bulkheads, furniture and parquet, white shades of glossy and matte lacquers. Glass, polished steel and ocean-inspired fabrics create a contemporary environment, with white marble-effect stoneware in the bathrooms. Both share interior design house Ideaitalia’s ‘made in Italy’ approach: luxurious furnishings are sourced from Graniti Fiandre, Galassia and OML for the bathroom, Pellini lacquered Venetian blinds, Paffoni sink taps and, of course, the Gentili Mosconi Home collection of fabrics for Ferretti Yachts to complete the experience. With the Ferretti Group having begun the year picking up five industry awards at the Oceanway China Yacht Annual Awards – including “innovation yacht award” for Ferretti Yachts 720 – the Ferretti Yacht 500 is designed to push the brand even further towards its goal of fusing high-tech nautical solutions with a familial environment that puts guests at ease. Powered by twin 550hp Cummins QSB6.7 engines, the 500 will have a top speed of 30 knots and available gyroscopic stabilisation to provide a yacht that feels, in performance and design alike, just like home. ferretti-yachts.com 66

DESIGN

SPEED

BLITZ to BERLIN Putting Porsche’s first all-electric car through its paces, we pilot the Taycan Turbo S across Germany in a thrilling crosscountry dash Words: Rory FH Smith

hen Wolfgang Hatz, Porsche’s head of research and development, pulled the covers off a curious four-door concept car at the International Motor Show Germany in 2015, the world took note. The launch event was no different from any other that took place that day – with smartly dressed bosses reading well-rehearsed speeches before revealing their latest creations to emotive music and a plume of dry ice – but it soon became obvious that Hatz had unveiled something seminal in the automotive world: the first all-electric Porsche. “With this car, we intend to start a new era with Porsche, similar to the 911 [launch] 50 years ago,” he said. Called the Mission E, the sleek white concept car pulled no punches in declaring the marque’s future vision. One of the best-known performance carmakers in the world was going electric. While the idea of an all-electric car was far from revolutionary even five years ago, it represented a radical shift for this marque that had built its name on petrol-powered performance. Since 1931, Porsche had honed and perfected the art of the combustion engine, proving its worth on the racetrack on countless occasions. Less than five years on, I find myself cocooned in the cockpit of the top-of-the-range roadgoing version of that very concept, the Porsche Taycan Turbo S, on a quiet road outside the Bavarian city of Munich. Surrounded by dense coniferous forest, all is still. Only the patter of rain and occasional birdsong can be heard. The Porsche is silent, waiting for what’s about to come. Before me lies more than 500 miles of Germany’s finest back roads and autobahns which lead to my destination: Berlin. From the twisting country lanes of the country’s carmaking heartland of Bavaria to the switchback roads of Saxony, all the way to the glamour and grit of Berlin, my 48-hour road trip across Germany is designed to put Porsche’s new arrival firmly through its paces. » 69

SPEED

Electric feel: The all-electric Porsche Taycan Turbo S (top); cultural Munich is our starting point(left); stopover at the Bavarian town of Hof ( far left) 71

MUNICH TO HOF The capital of Bavaria, Munich is one of Germany’s most important cultural and artistic hubs, known for its arts and sport as much as for its vibrant modern party scene and annual Oktoberfest. Queen singer Freddie Mercury described it as “paradise”, while famous residents have included Albert Einstein, Pope Benedict XVI, and composer Richard Wagner, who was embroiled in fascinating scandals in the royal court of the 1860s. Steering clear of Munich’s many cultural traps and beer halls, I hit the road and head north towards the town of Ingolstadt. This small city on the banks of the Danube river is a picturesque example of traditional Bavarian towns, full of Gothic buildings, such as the old ducal castle and a well-kept 14th-century Kreuztor city gate. Ingolstadt is also home to fellow German carmaker Audi; the four-ring marque has been a longstanding motorsport rival of Porsche on the gruelling endurance racing scene and, most recently, Formula E. It was only in late 2019 that Porsche joined Audi, Mercedes and BMW among others on the grid of the all-electric ABB FIA Formula E Championship, bringing all four German powerhouses together in international singleseater racing for the first time ever. With all four battling to show their electric technology is the best, Porsche is looking to prove itself. Breezing along silently, the Taycan appears to have borrowed much of its power plant from its Formula E sibling, the 99X. Making short work of the road to Regensberg, the Taycan Turbo S will cover the 0-60mph dash in a staggering 2.8 seconds and continue on to a top speed of 161mph. For perspective, that’s faster to 60mph than some Italian-made supercars that sport prancing horses on the bonnet. Not that we’d mention any names, of course. After passing through the medieval city of Regensburg, it’s time for a well-earned recharge. Stopping off at one of the Ionity fast-charging points littered across Europe, I pick up an apple strudel and an espresso while the Taycan charges up. Capable of pumping up to 350kW of power in the car, the Taycan can go from 20% to 80% charge in just short of 20 minutes, which is more than enough for the final 120-mile blast through the picturesque tree-lined lanes to Hof for the night. With a battery brimming with charge, the silent Taycan is the perfect partner for the sunset cruise to my overnight stopover. Hof has a rich and romantic history to match its Biedermeier facades. The highest point in Bavaria, it is now known for hosting the Hof International Film Festival, theatre and Symphony Orchestra. It is also famed for its local delicacies, such as the town’s specialty, Hofer rindfleischwurst. This classic Bavarian dish is, of course, best enjoyed with a glass of Schlappenbier, the secret-recipe Hof beer that is brewed just once a year for ‘Schlappentag’ in January. »

HOF TO BERLIN Up bright and early the following day, I jump back in the Taycan for my blast to Berlin. Creeping out of the hotel car park, the Taycan proves to be a discreet getaway car, providing a calm start to a long day at the wheel. The views soon prove my early start well worth it. Zipping through towns and villages, the countryside starts to open up as I edge close to the Czech border, exposing rolling hills ablaze with the low morning sun. With more than 300 miles on the clock to Berlin, there’s plenty of time to appreciate the Taycan’s meticulously laid-out cabin. Like the car itself, the interior is a futuristic take on Porsche’s familiar design with well laid-out, crisp controls accompanied by more screens than the Millennium Falcon. Even the front passenger is treated to a chest-height touchscreen, which allows your travel companion to take control of navigation, search for a charge point or just watch a movie. Making sure the driver keeps their eyes on the road is a curved, digital instrument binnacle displaying all of the traditional driving data and readouts. Passing through the Ore Mountains, which run just north of the Czech border, a mist descends to add a touch of mystery to every turn through the dense forests of Saxony. The space between each turn allows for a short burst of acceleration, accompanied by the Taycan’s spaceship-like swoosh. While Porsche makes no excuses for the Taycan’s artificially amplified backing track, the company claims the less desirable drive noises are dulled down, meaning the low-pitched whizz of the motor and powertrain are all that make it through to the cabin. With the option to reduce or amplify the sound of the car, the Taycan can be either a quiet and calming haven or a curious, electrifying assault on the senses. Out of the woods and facing a 170-mile charge down the autobahn to reach Berlin, I’m more than happy to opt for the quiet ride. After another fast charge, I’m off on my last leg, passing by Saxony’s capital of Dresden before heading north to Berlin. Known for its unrestricted motorways, Germany’s autobahn presents a rare opportunity to test the Taycan’s top speed. Surging to the challenge, the Taycan Turbo S is relentless in its power delivery, coolly reaching its top speed in near silence. Only the wind and road noise through the tyres can be heard. All is still, even at 161mph.

Long and winding road: Making quick work of the forests of Saxony on the way to Berlin (bottom left)

IN THE DENSE FORESTS OF SAXONY, EACH TURN ALLOWS FOR A SHORT BURST OF ACCELERATION, ACCOMPANIED BY THE TAYCAN’S SPACESHIP-LIKE SWOOSH INTO BERLIN The build-up of traffic soon signals my approach into Berlin – I’ve entered to the east, where the city’s austere architecture is a welcome sight for the close of my epic cross-country dash. Gliding through the streets, sharp-eyed onlookers glance at the Taycan’s subtle yet futuristic take on Porsche’s trademark styling. To the untrained eye, the Taycan can fly under the radar as a stylish four-door saloon but, to those in the know, it’s a sneak peek of the German carmaker’s future styling direction. From Munich’s historic haunts, to the rolling hills of Bavaria and dense forests of Saxony, my all-electric 500-mile cross-country cruise has proved to be a formidable test for Porsche’s latest arrival. Weighing in at just short of £140,000, the Taycan Turbo S is an exceptional first shot at an all-electric car. While the engineering is a radical departure from anything that’s gone before it, the Taycan still drives like a Porsche, helped by the fact its centre of gravity is actually lower than the marque’s flagship 911 sportscar. With more electric cars emerging by the day, the Taycan is already one of the most polished and high performing EVs on the market. Five years on from its first foray into electric road cars at the Frankfurt show in 2015, Porsche is already close to bringing more battery-powered cars to fruition. After setting the bar high with its debut model, it’s safe to say the Taycan of tomorrow – whatever form it takes – looks destined to change the game once more. With a range of 250 miles, the Taycan may not satisfy some of the more adventurous motorists but, now safely parked up outside my hotel overlooking Berlin’s iconic Brandenburg Gate – the ideal spot to begin my discovery of this most explorable of cities – it’s certainly capable of covering a substantial cross-country dash in comfort and style. porsche.com/uk 72

SPEED

â&#x20AC;&#x153;Covid-19 is a test run for when we need to act on climate change. That time is now.â&#x20AC;?

Alejandro Agag, founder and chairman of Formula E, explains why the coronavirus outbreak is a warning for the future, unless we urgently address the climate crisis

COLUMN

une sees the television premiere of And We Go Green – a documentary film chronicling the rise of Formula E and its positive impact in combating global warming and air pollution. Directed by Academy Award-winner Fisher Stevens and produced by Leonardo DiCaprio, the film provides a behind-thescenes view of the ABB FIA Formula E Championship and profiles how we use the attraction and competition of electric street racing as a testbed for the clean-air technology of the future. The phrase “and we go green” is our commentator’s opening line at every Formula E race, but its sustainable symbolism is clear for all to see, and the film couldn’t be released at a more poignant time. The global health emergency prompted by the Covid-19 outbreak has been a very unsettling situation for all of us. In countries that I am very close to – such as Spain, Italy and the United Kingdom – this pandemic has assumed dramatic proportions. Our community’s health, economy and way of life is under threat, with tragic consequences that governments, businesses and individual citizens are facing with courage. Our support has rightly gone to those health workers on the frontline. As part of public health measures, sport, as well as all forms of public entertainment, were among the first activities to be completely shut down. The postponement of the Tokyo Olympics to 2021 – a deferment of a year, an action that has never been taken during peacetime – is the most striking decision of the global sports community. A total government lockdown, like those observed in countries around the world, is certainly a last-resort measure intended to deal with a very shortterm danger such as a pandemic. However, we have a duty to look beyond this crisis and try to understand how and when such scenarios could reoccur in the medium and long term. As I posted on Instagram recently, I strongly believe

Covid-19 has acted as a test run for when we need to act to combat climate change. That time is now. Why is the climate relevant to this crisis? There are two connected facts to look at. First, the greatest risk of our time for human health is air pollution, which also makes us less resistant to the symptoms of respiratory infections such as those caused by Covid-19. In many parts of the world air pollution warnings are already affecting daily life and stopping people from leaving their homes. Secondly, scientists warn that an uncontrolled increase in greenhouse gas emissions will lead to more extreme weather episodes. If we fail to act on their warning, acts of natural disaster could make public lockdowns a more frequent occurrence for us all, leading to an end to normal life as we know it, including sport. As the resilient human response to the Covid-19 crisis has shown, it is not too late for us to all make a difference. The dramatic reduction in pollution over China – as well as across our European cities – from the suspension of travel and temporary closure of factories, shows that it is not too late for us to collectively change our course. Just as talented engineers and scientists are finding innovative solutions to help the fight against Covid-19, technology will also play a major role in creating a cleaner future, faster. These technological developments will also be essential to make the fight against climate change compatible with sustainable and balanced economic growth. Governments and businesses are responding to environmental issues by introducing specific measures and seeking technological solutions to reduce

the environmental impact, thanks to an attentive public that is becoming actively involved in raising awareness about this universal issue. Reducing global emissions through electric mobility is an example of what technological research can do for the environment, and it is on this premise that Formula E was conceived in 2011; showing how electricity is a sustainable alternative to combustion engines. In the time since, together with our partners, we have carried out constant research into important technological advances, such as developing more efficient 52kW/h batteries, introduced last season and profiled throughout And We Go Green. It is with the same vision on environmental issues that I am proud to have also launched the Extreme E racing series, Formula E's off-road counterpart. Starting in 2021 this will represent a new concept in off-road rallying, with 100% electric SUVs run in remote places on the planet that are also most at risk from a climate viewpoint. Races will be held in areas already damaged by climate change such as glaciers in Greenland and rainforests in the Amazon. This will offer sustainable mobility as one of the possible solutions, and utilise our resources to implement positive legacy initiatives dependent on local needs. The challenges we are all experiencing right now may well be replicated in the coming years as a result of climate change. Not just in the remote places where we are taking Extreme E, but the towns and cities where we live, work and play every day. While Covid-19 is fresh in our minds, we should make every possible effort to ensure that this does not happen again. With red lights flickering, it’s time for us to all go green. Let’s not take our foot off the pedal. 'And We Go Green' airs on Channel 4 on Tuesday 2nd June at midnight and will be available on All 4 for one year

Green carpet: Actors Orlando Bloom and Leonardo DiCaprio with Formula E drivers Andre Lotterer and Jean-Eric Vergne (inset) at the Cannes Film Festival for the premiere of And We Go Green; and Alejandro Agag (left) © ABB FIA Formula E 75

CHIC RETREAT Parisâ&#x20AC;&#x2122; most stylish mansion-turnedboutique hotel makes for a rare home away from home at the heart of the 8th arrondissement

Words: Lauren Jade Hill

TRAVEL

SITUATED ON THE EDGE OF LE TRIANGLE D’OR, THE HOTEL’S ENVIABLE LOCATION IS THE MOST FASHIONABLE ADDRESS IN PARIS

ucked discreetly among the stately residences that line Rue Jean Goujon lies Paris’ exclusive new Hôtel Particulier Villeroy, a private mansion-turned-sumptuous stay on the edge of le Triangle d’Or. From perfect pied-à-terre apartments to elegantly themed suites, the hotel takes its style cues from 16th-century French architect Jean Goujon, personal sculptor to King Henry II, from whom the street takes its name. Situated between the Champs-Elysées, Avenue George V and Avenue Montaigne – with its renowned couturiers, boutiques and restaurants – the enviable location is the most fashionable address in Paris. Unlike the city’s opulent but large Palace Hotels – a government-sanctioned status regarded as superior to five-star – this Villeroy property between the River Seine and Grand Palais offers just 11 suites and guest apartments, with the option to reserve your own floor or take over the entire mansion. The facilities and interiors match even the most lavish of Paris’ grand hotels – but, here, you revel in this grandeur with the addition of complete privacy and 24-hour butler service. When a Michelin-starred chef helms the kitchen of a newly opened restaurant in this part of the city, you expect tables to be hard to come by. This is why Hôtel Particulier Villeroy decided to make its Restaurant Trente-Trois available for hotel guests only. The hotel’s Michelin-starred chef, Sébastien Sanjou, pours all of his creativity into mouthwatering menus of contemporary French cuisine designed especially for each guest, using locally sourced ingredients such as oysters, asparagus and truffles to create his signature dishes. The sommelier then pairs each gastronomic dish with selections from an impressive wine and champagne list, with its rare vintage bottles. Trente-Trois’ elegant design reflects the wellstated grandeur of the residence: Calacatta marble fireplaces, wood panelling and gold-leaf moulding fill the high-ceilinged interiors of this 1908-built listed property, with circular atrium and stairway decorated with ornate cast-iron railings running up the middle. The suites are as decadent as you could dream, with classic Parisian decor providing a backdrop for custom furnishings by the master craftsmen of Italian furniture brand Promemoria, handmade Vispring beds, premium details like Rivolta Carmignani Italian linen, home technology infrastructure including iPad light and temperature control

Clockwise from far right: The grand atrium; Restaurant Trente-Trois; Spa Villeroy; suite Celeste

and carefully curated objets d’art throughout. Positioned between the grand atrium and intimate restaurant, Bar Jean Goujon provides an opulent social space reminiscent of the world’s most lavish members’ clubs. Here, an impressive collection of Japanese whiskies and champagnes complements a series of classic cocktails reimagined by the hotel’s in-house mixologist, all to be enjoyed in the comfort of sumptuous sofa and mood lighting. Try the signature Jean Goujon creation, which balances bitterness with Amaretto and lemon. Beneath all of this, the lower-ground floor now houses a serene spa retreat. This is, perhaps, the only area of the locale that eschews the hotel’s classic style in favour of more minimal design than the floors above; the spa integrates giant slabs of marble, two treatment rooms, a sauna, hammam, Jacuzzi and hydrotherapy pool. Both Spa Villeroy and the 45sqm fitness area – with the offer of personal trainers – spill out on to a sheltered outdoor terrace, which is heated in winter. Before opening, Hôtel Particulier Villeroy established an exclusive partnership with the French perfumery L’Officine Universelle Buly 1803 to create organic essential oils and other products for the spa, products which guests can benefit from via the hotel’s specially designed Buly treatments. For Villeroy, the experience you have once stepping outside into the bright lights of Paris is as important as what you feel when actually at the property. As an exclusive destination, it’s only natural that the hotel’s well-connected concierges would draw upon their ability to open otherwise closed doors; the hotel is able to offer a range of private, behind-thescenes experiences and tours. A helicopter flight, for example, will take you to the bucolic Champagne region for a private tour of 200-year-old domain Maison Billecart-Salmon. Perhaps most intriguingly, Villeroy is the first hotel in The Collection, a portfolio of landmark and statement villas and private residences in upscale destinations including Saint-Jean-CapFerrat, Saint Barth’s, Courchevel, London, and now Paris. Upcoming hotel projects include properties in New York and Los Angeles. Hôtel Particulier Villeroy’s own future plans include opening its restaurant, bar and spa up to members of The Collection’s own ultra-exclusive club, bringing like-minded guests together in a truly sumptuous space, capturing the heart of one of the Europe’s most captivating cities. hotelvilleroy.com 78

JEWEL PURPOSE

Tempus takes an exclusive look inside the workshop atelier of British jewellery and silverware design icon Theo Fennell Words: Michelle Johnson

t is impossible to define Theo Fennell. Calling this artistic maverick a fine jewellery and silverware designer hardly does justice to the explosion of colours and oddities found upon entering his impressive atelier on Fulham Road. When I last visited, an enormous chess board dominated the heart of the boutique gallery, each piece of the set painstakingly crafted from sterling silver and gilt into various game birds – including pheasants, grouse and partridges – all poised to take flight. Silverware and jewellery are displayed side by side, each item skilfully crafted and bursting with life. Refined sculptured busts – called portraits – of Queen Victoria, William Shakespeare, Sir Winston Churchill and Elvis are displayed alongside ornate skulls, keys and crosses that sit somewhere between Elizabethan memento mori and the height of punk fashion. Elsewhere, vintage-style Bombé rings are replete with rare and colourful jewels, while his playful Arts collection embraces pop art styles – bejewelled pendants and earrings spell out Pow!, Love! and OMG!. Quirkier still: silver pots and lids are crafted to resemble Marmite and Tiptree Jam jars. But it’s in his bespoke pieces that Fennell’s boundless imagination truly gets a workout. “We’re aiming to create the kind of jewellery you’ll see in the British Museum and ‘ooh’ and ‘aah’ over; the kind of artefact that could be a medieval piece someone left for their loved one,” Fennell (left) tells Tempus. “There’s that level of emotion and admiration. It really is about storytelling and, to do it well, you have to have unbelievable craftsmen in the workshop. “At our level, it’s about understanding stones and geology, but all jewellery should be sentimental in one way or another – certainly personalised. I’m a huge enemy of mass production, of wearing the same thing as everybody else. I find it absolutely extraordinary that advertising has persuaded us that things that are mediocre have to be owned.” »

STYLE

POLISHED PERFECTION That quality of storytelling is abundantly clear in the design of each Theo Fennell piece, he says, whether his clients are designing a bespoke piece from scratch or resetting a beloved relative’s heirloom jewels. “You can buy someone a 10-carat diamond without putting much thought into it, but with our bespoke jewellery – perhaps a ring has your loved one’s name entwined in leaves, their birthstone and other little quirks – the emotional impact is 10 times greater,” he says. “We had a client whose wife is mad about orange blossom, so we designed the shape of the ring to be a subtle heart topped by a lovely orange stone, with intricately engraved blossom underneath.” Fennell’s eponymous brand was founded in 1982 and has since become a treasure in the heart of Chelsea. In 1997 the brand moved to its purpose-built gallery, above which is the workshop where he and his small team of jewellers and silversmiths hone their craft. “We’ve always been atelier, with the workshop and studio together, and have always had a large number of women clients,” Fennell says. “That was very rare, in the early days. Women didn’t buy jewellery for themselves – people thought jewellery was something that should be bought for women. It was strangely patronising. We found that women were much more adventurous with their jewellery. A man’s just going to buy a row of pearls or a pair of twinkly diamond studs, but our clients were actresses, models, painters – selfsufficient and creative women – who wanted to spend their own money on something unique.” Fennell says that in those early days, his clients’ interest in design-led pieces offered a practical benefit, too. “It was great for us, because we couldn’t really afford to be a diamond business. That led us into working with lots of bright, coloured stones like tanzanite and garnet. “Today our clients are still a pretty creative lot. They’re self-sufficient, they have confidence in what they want, but they want us to do what we do best – especially with silver, which is a more complicated and structural element to create pieces with but also ideal for personalisation. It’s almost impossible to design bespoke items in silver without knowing how things are made, how the metals will heat or how stones will react. Our craftspeople are incredible, and without them it would be hopeless.” Fennell says that the trend towards commissioning bespoke jewellery has become more common, and wants to educate clients about the many creative ways their ideas can be achieved: the only limits are what they want to spend and their timeline. “I think people don’t necessarily understand that they can go to Savile Row and have a suit made by the greatest tailors in the world for much less expense than buying a high-fashion piece from whomever,” he says. “Bespoke is just a different way of telling your story. A lot of people are now finding the self-belief and confidence to have things made rather than staying with the crowd, and we want to make that fun for our clients.”

ALL THAT GLITTERS One of Fennell’s favourite challenges is the revitalisation of ‘unwearable’ jewellery – pieces that are broken, older or out of fashion or style – into colourful new pieces or objets d’art. “There are certainly trends in terms of wearability. You’d be surprised how beautiful some pieces can look once revitalised. Things like brooches are wonderfully easy to make interesting or expressive. They’re also a great way to revitalise heirloom jewels. For instance, you could take three rings and a broken necklace from a grandmother’s selection and make that into a stunning brooch using the stones and gold. It gives the opportunity to honour the legacy of a loved one while creating something really unique.” Fennell takes his inspiration from his clients, but also from his rich artistic and cultural life. Born in Egypt to a British Army family, his early years were spent all over the world. His formative education spanned Eton, York College of Art, followed by the Byam Shaw School of Art (now part of the University of the Arts London), and he apprenticed for Hatton Garden silversmith Edward Barnard before establishing his own brand. Now, Fennell is never without a sketchbook or two, ready to take inspiration from the shapes of birds in flight or architectural intrigue. He has a voracious passion for the creative arts – music (the Kinks’ Waterloo Sunset is a familiar reference point), theatre, cinema and literature – but says he has grown to determine his own style. “My mind is a bit like a junkshop in Brighton at all times,” he laughs. “However, I think ‘creative’ is a terrible word. Often, people think the more ideas the better, but what you learn, as you get older, is the editing process. I’ve become less fickle in my interests and notice the things that I always come back to, like the pomp of Elizabethan jewellery or gorgeousness of Renaissance Italy. We are slightly soaked in our culture and traditions – to try and force otherwise is a bit like an opera singer attempting rock ’n’ roll. It’s just a bit embarrassing.” Equally horrifying, to Fennell, is the idea of “letting the old man in”. Instead, he says its crucial to keep innovating. “You can get away with murder just by claiming old age and infirmity, but you’ve got to keep allowing new things in all the time – to remain vital and interested,” he says. “We’re always on an evolving journey. I think that’s really important – especially for us old hippies. We like to find the truth in the trip, you know? It would be very dull to bang out the same old thing; our mission is to be rather extraordinary. That runs through everything we do.” theofennell.com 82

Vital jewels: silver Sipsmith gin sleeve (top); Joshua Tree opening ring (centre); olive diamond and pink spinel bee brooch (bottom and right).

MY MIND IS A BIT LIKE A

JUNKSHOP IN BRIGHTON AT ALL TIMES

Clive Christian 84

THE SCENT OF SUMMER With summer in bloom, luxury perfumiers routinely turn to nature for inspiration. But some fragrance houses are ripping up the rule book when it comes to flirting with florals. From reviving Victorian favourites to embracing the clean beauty movement, Tempus gathers some of the most alluring scents of the season

TURKISH DELIGHT | PENHALIGON’S Best known for its incredible bespoke fragrances, Penhaligon’s selection of intriguing eau de parfums are not to be sniffed at. The newest fragrance, Halfeti Leather, reimagines the sensation of the Turkish city’s riverfront with a perfume that combines desert-cracked cardamom, bergamot and citrus in the head notes, saffron and cedar in the heart and warm suede and oud in the base – with its fabled black rose and leather tying it all together for an everso-masculine bouquet. Promising to transport the wearer to the sun-drenched bazaars of Halfeti, this is a world away from classic florals and a sensuous take on the brand’s classic Halfeti black rose scent. » penhaligons.com

LA VIE EN ROSE | CREED The House of Creed has turned to the versatile scent of rose for its three new and fresh summer scents. Love in White is a light and powdery floral eau de parfum, combining Bulgarian rose and iris blended with feminine notes of orange, magnolia, warm vanilla and sandalwood. Jardin D’Amalfi, meanwhile, promises to transport the wearer to the Italian coastline, with a zesty burst of mandarin and bergamot, sweet apple and petitgrain, and aromatic heart of cedar and rose. The addition of pink pepper and cinnamon draws out the rose’s spicier undertones, alluding to the warm, heady air of the Amalfi coast, while vetiver and musk provide a lasting freshness. Finally, Aventus for Her presents the feminine counterpart of Creed’s Aventus Men’s fragrance: a fresh and fruity perfume that opens with crisp green apple, fragrant pink pepper, bergamot and patchouli. Bulgarian rose, lilac, styrax and ylang ylang complete the heart above woody notes of sandalwood, musk and amber. creedfragrances.co.uk

STYLE FLOWERS OF THE SEA | MIKIMOTO Japanese pearl house Mikimoto is bringing its new signature scent to the UK in June, the month of the pearl. Mikimoto Eau de Parfum launched in Japan earlier this year, and is described as the olfactory expression of the brand’s story, created by fragrance designer Raymond Matts and master perfumer Frank Voelkl. The timeless, gender-neutral scent is inspired by Japan’s cultural heritage, lush forests and, of course, the stunning cultured pearls of Mikimoto jewellery. Sea-fresh top notes include citrus and grapefruit, orange bigarade and bergamot; sophisticated heart notes blend iris and magnolia; and ambergris, saffron, royal oud and sandalwood make up the base, evoking the aromatic forests of the region. The perfume’s bottle, a minimalist ‘pearl’ within its shell, is designed by specialist Lance McGregor. » mikimoto.co.uk

THE TIMELESS, GENDER-NEUTRAL SCENT IS INSPIRED BY JAPAN’S

CULTURAL HERITAGE, LUSH FORESTS AND, OF

COURSE, CULTURED PEARLS

HOLDING COURT | AMAFFI Ultra-exclusive perfume house Amaffi claims to have its historic roots in Napoleon’s court where, they say, a perfumer in the South of France was instructed to create a distinctive, original fragrance for the French Emperor. Napoleon was said to be enraptured by the result, but infuriated when he discovered it was the perfumer’s female companion who had created the scent. Inspired by this family legend, Amaffi now produces perfumes for men and women, available from the brand’s new Sloane Street boutique where you can expect to drop a cool £3,000 to £8,000 for a bottle. Signature scents include Forever Tango, with absolute oils of champaka, jasmine sambaka and tuberose for a long-lasting and feminine fragrance; Ovation, a sophisticated blend of narcissus absolute, rose centifolia and iris absolute, and masculine eau de colognes like Power, an imperious fragrance combining absolute oils of capricious rose, daring labdanum and royal patchouli at the base. amaffi.com

ROYAL BOUQUET | CLIVE CHRISTIAN Luxury perfume house Clive Christian offers a suitably decadent choice for summer. Inspired by Queen Victoria – whose crown sits atop each bottle of the brand’s scent – both extraordinary fragrances contain orange blossom; a homage to the orange-blossom brooch Prince Albert presented to Victoria upon their engagement, and the flower which became a symbol of their enduring love. 1872 Mandarin is a vibrant and energetic citrus musk perfect for summer. Mandarin and green accords meet with aromatic juniper berry before delving into sweet violet and a distinctive citrus fusion, giving longevity to flighty citrus top notes. X Neroli is a fresh and exhilarating limited edition of the house’s X fragrance, completed with accents of bitter orange and neroli flowers. Floral and fresh aromas unfurl around green petitgrain while a tuberose heart settles into a soft cashmere and musk base with mysterious hints of vetiver and moss. » clivechristian.com; harrods.com

INTO THE WOODS | MAISON SYBARITE As the first ever water-based fine fragrance brand, newly launched Maison Sybarite is leading the next generation of perfumes towards ‘clean beauty’. Richly scented yet alcoholfree, vegan-friendly and sustainable, the core collection consists of four gender-neutral perfumes to be worn on the pulse points. French master perfumer Antoine Lie crafted signature scents 720, with its rich spices and deep wood, birch tar and lavender; Opulent Wood, inspired by the winery traditions of Sybaris – antiquity’s voluptuous city, now Calabria in southern Italy – with notes of warm spice, grapes and fruit, orange blossom and cedarwood; and Bed of Roses, a sensual, masculine mix of rose and orris, saffron, bergamot and cardamom, cedarwood and patchouli. Spicy Calabria is created by master perfumer Laure Santantoni and combines narcotic wormwood and fresh ginger, orris and black pepper to create a surprising scent that is at once woody and fresh. maison-sybarite.com

LA DOLCE VITA Illy Group president Riccardo Illy tells us why luxury items like premium chocolate could be the next great disruptor Words: Harry Malmstrom

INDULGE

hen it comes to pure indulgence, we know that life should be sweet. In fact, our consumption in the UK of £3.5bn-worth of chocolate each year has led Riccardo Illy (below), president of the Illy Group, to suggest that super-premium chocolate could well be the next luxury disruptor within our economy. The Italian businessman and politician began his illustrious career with premium coffee making firm Illycaffè in 1977, founded by his grandfather Francesco in 1933. His entrepreneurial spirit saw the group thrive during his tenure as CEO, expanding into 140 countries worldwide. His business acumen and public spirit has also been key to his great success in Italian politics; he has served as Mayor of Trieste (1993-2001), Member of Parliament (2001-2003), President of the Friuli-Venezia Giulia region (2003-2008) and President of the Assembly of European Regions (2004-2008). Illy’s latest passion project is the Illy Group’s Polo del Gusto, which focuses on the ‘disruptive quality’ of the Group’s extra-coffee brands, such as Taittinger champagne, Mastrojanni winery, Dammann Frères teas, Agrimontana jams and chocolatiers Domori and Prestat. Domori takes pride in producing arguably the finest chocolate in the world, with a mission to preserve the rare Venezuelan cocoa beans it prefers, while chocolatier Prestat – one of London’s oldest chocolate brands and Royal Warrant Holder – has been known for more than 100 years for its high-quality truffles, pralines and other gourmet goodies (top right). Here, Illy tells Tempus why the universal allure of super-premium chocolate may prove not merely a treat for the taste buds but could, in fact, provide an economic sweetener in the months to come…

Riccardo, how do you define a ‘disruptive quality’ product? Affluent people are looking for higher quality products, and these disruptive quality products will have a big role to play in giving the consumer more value, and education in the culture of excellence and superior quality. What we define as disruptive quality relies on four pillars. First, [our product] has an unmistakably superior quality perceivable by a non-expert; second, we use the best existing raw materials; third, our production process is totally different than those of mainstream manufacturers; and, finally, our commitment to sustainability, which we interpret in its broadest meaning to be inclusive of economic, social and environmental aspects. What does the integration of Domori and Prestat into the Polo del Gusto family bring to the Illy Group? The acquisition of Domori really brought the Illy Group back to its origins. Domori shares many affinities with the uniqueness of Illycaffè, from a shared mission of creating the best product in their category and in the world. With Prestat, the group welcomes a glorious brand: founded in 1902 and Royal Warrant Holders to the Queen as well as the late Queen Elizabeth, the Queen Mother. Prestat was the first producer of pralines and truffles. We were able to accomplish a true integration in chocolate production, since Prestat doesn’t produce chocolate as raw material, and now has access to the best quality chocolate manufactured by Domori. What makes super-premium chocolate stand out to connoisseurs? Domori’s chocolate is made only with Venezuelan Criollo – the world’s rarest and most 91

precious cacao species – and with Trinatario, a hybrid of Criollo and the more common Forastero. The aromatic beans are roasted at a lower temperature and during the process we only add cane sugar, no other ingredients such as cocoa butter, soy lecithin or artificial flavors. Finally, we use a proprietary process that accomplishes the processes of grinding, refining and conching simultaneously, in just eight hours and at low temperature, which preserves the delicate flavours of our cocoa beans. How do you promote sustainability in your business? Our effort is to minimise, if not eliminate, our carbon footprint, throughout the whole production chain – from the farm to finished product. Moreover, we are also committed to supporting the social environment in which our local companies are based. Regardless of the official market prices, we are committed to paying our growers fair prices to cover all their costs, plus a margin and an extra award fee when the quality goes beyond our standards. What are your predictions for luxury brands over the next few months? It will probably take some time until we will go back to a new ‘normal’ but, as the level of confidence rises, the desire for luxury goods will increase as well. During difficult times, like in a recession period, the sales of the most expensive products do suffer the most, but this is often compensated by what we call ‘affordable luxury’ products – whether that’s a box of Prestat truffles or Domori bars. Buying these products will not only help to restart the economy but, by consuming them, will also lift our spirits. prestatchocolates.com; domori.com

CHELSEA BACK IN BLOOM Royal approval: The Queen attends the Chelsea Flower Show with the Duke and Duchess of Cambridge in 2019 (© RHS/Luke MacGregor); and (right) the plant of the decade winner (© Burncoose Nurseries)

The RHS Chelsea Flower Show’s transition to digital has proved a triumph of adaptability and creativity. We explore how this perennial favourite is now inspiring a summer where virtual festivals will flourish

he RHS Chelsea Flower Show has long been a fixed point in the British calendar. The world’s greatest garden show, it marks the start of summer for many of us and, with a growing 157,000 visitors each year, has never been afraid of modernisation. Born from the Royal Horticultural Society’s Great Spring Show, launched in 1862, the festival has been held in its current form in the Royal Chelsea Hospital grounds since 1912 – with the now-famous Chelsea tea parties launched during the Roaring ’20s and the infamous ban on gnomes lifted in 2013 (the likes of Dame Helen Mirren and Sir Elton John painted the much-derided garden figures to sell for charity). Throughout its 108-year run, the Chelsea Flower Show has only been cancelled twice: first in 1917 and 1918 – the last two years of the First World War – and during the Second World War, as the land was required by the War Office for an anti-aircraft site. The question of whether to cancel the 2020 show, then, was not taken lightly. In fact, the decision to go virtual wasn’t made until designers and contractors were ready to set up on Main Avenue, on 1 May. With vocal naysayers adding to a seemingly unsure start, RHS organisers – led by the charity’s president Sir Nicholas Bacon and director general Sue Biggs – quickly brought together a robust schedule of virtual events from 18 to 23 May, with highlights featured on BBC television. Well-known designers and landscape gardeners including Sarah Eberle, Adam Frost, and Andy Sturgeon invited the public into their own gardens; the School Gardening Club provided hands-on activities for children and their parents; daily online floristry masterclasses and plant surgeries were hosted by experts and awardwinning nurseries hosted behind-the-scenes tours of Britain’s best blooms. The show also saw a multitude of famous faces pitching in, including the Prince of Wales, RHS ambassador Alan Titchmarsh, chef Raymond Blanc, astronaut Tim Peake and the Chelsea Pensioners – who starred in their own virtual tour. The Queen, Chelsea’s most famous fan and RHS patron, shared her own enthusiasm for the online event in a letter expressing her “best wishes” for all those involved. “My family and I have always enjoyed visiting the show,” she wrote. “As patron of the Royal Horticultural Society I was pleased to hear that 92

you will be providing gardening advice and virtual sessions on your websit… I’m sure that my grandmother, Queen Mary, who first attended the Chelsea Flower Show in 1916, would be delighted that many people today have enthusiasm for horticulture and that gardening remains a popular pastime in the United Kingdom.” These virtual sessions were a diverse mix of events designed not only to showcase the full breadth of the RHS’s work, but also offering the organisation an opportunity to rethink how a variety of fans, from across demographics such as age and socio-economic background, can engage with the show in modern times. This was clear in the show’s fascinating range of events: Lee Connelly – the Skinny Jean Gardener – taught viewers how to make a seed bomb piñata. Elsewhere, a tour of the David Austin Rose Nursery, which shed light on the history of English roses, stood in delightful contrast to gold-medal winner Kazuyuki Ishihara’s zen garden paradise at home in Japan, and landscape designer Charlotte Harris took a lockdown tour of London’s green spaces in her urban garden workshop. “It feels like Virtual Chelsea has only got more relevant, with lots of people at home trying out gardening for the first time and seeing the physical and mental benefits,” Harris says. ” There were also votes for two plants of the decade – Streptocarpus ‘Harlequin Blue’ was chosen by Sir Nicholas, while a public vote awarded Viburnum plicatum f. tomentosum Kilimanjaro Sunrise (‘Jww5’) by Burncoose Nurseries the top prize – and fans were also called upon to select their favourite gardens and submit their own images, while a collection from the RHS Lindley Library meant Chelsea’s heritage was kept in bloom, too. “The Chelsea Flower Show is for everyone to enjoy, in the UK and all around the world,” said Biggs, as the event closed its virtual doors. “I hope [others] have been as inspired as I have by all the designers, landscapers, florists, growers at our great British nurseries. We are so lucky in this country to have such talented professionals.” With decisive action, creative events and sheer volume of participants, Virtual Chelsea 2020 has planted the seeds of success for the best of digital shows, and set the bar high for any festivals yet to bloom. rhs.org.uk

SAVE the DATE Your luxury events calendar for June and July 2020

EXCLUSIVE

INVITE

TEMPUS X HOME HOUSE: EMBRACING CHANGE VIRTUAL EVENT Private members’ club Home House invites Tempus readers on an exciting adventure to rediscover the best, most fulfilled version of you. Join the club's in-house expert Dr Nicola Bunting (left), personal coach and author of Who Do You Want to Be? How to Embrace Change and Live Your Dream, for the most transformative hour you’ll spend in 2020. This one-hour interactive workshop promises to take you on an illuminating and fun journey to discover what kind of life and work is really possible. Whether it’s changing career, starting a new business, moving across the world, freeing yourself from limitations or discovering the you you were meant to be: this is your time. Wednesday 17 June, 7pm To attend, RSVP to Sarah@homehouse.co.uk

STYLE London Fashion Week (12-14 June) returns with a new digital-only platform, londonfashionweek.co.uk, hosting multimedia content from designers, artists and brands. British Fashion Council CEO Caroline Rush says this will put storytelling at the heart of LFW. “There will be inspiration in bucketloads. It is what British fashion is known for,” she says. In Geneva, Christie’s Magnificent Jewels (27 June-1 July) auction will return to the Four Seasons Hotel des Bergues, featuring a curated selection of jewels spanning more than 150 years, and the largest collection of Cartier clocks ever to come up for auction. »

LONDON’S MOST ICONIC PRIVATE MEMBERS’ CLUB

Find out more about becoming a member. membership@homehouse.co.uk | 02076702083 20 Portman Square, London, W1H 6LW | homehouse.co.uk | @homehouselondon 95

ART & CULTURE If you’re missing this year’s classical music festivals, Munich’s Bayerische Staatsoper is bringing its summer Opera Festival to our homes, with video performances every Monday throughout June on staatsoper.de, while BBC Proms (17 July-12 Sept) prepares to delight classical music lovers with a full programme of music celebrating its 125th year. We might not be able to get to the Royal Albert Hall, but concerts will be televised, on radio and online. Finally, London Art Week (3-10 July) is launching its own virtual show (left). Expect in-gallery exhibitions of early art, Old and Modern Masters and fine pre-contemporary works plus talks and events. Real-life shows will take place where possible. Visit londonartweek.co.uk.

RACING & SAILING BOAT International’s three-month Virtual Boat Show concludes with all new events on 6-10 July. Virtual visitors can even step on board thanks to video walkthroughs, 360˚ tours, click-through galleries and more via virtualboatshow.boatinternational.com. Motorsport fans will be delighted as Formula 1 restarts its engines in July. The British Grand Prix (17-19 July) is on track to return to Silverstone (left) and although it’s unlikely that fans will be in the grandstands, we have no doubt the spectacle will be as fast-paced and action-packed as ever.

SPORT One of Her Majesty’s favourite events of the year, the Cartier Queen’s Cup (28 July-23 Aug) tournament this year celebrates its 60th anniversary at Guard’s Polo Club, with hot competition from the world’s best riders. International Cricket (left) is also expected to resume from 1 July, with new fixtures for tests including the West Indies Test Series and the women’s series against India coming soon.

For more exciting events, visit our website:

While every effort has been made to ensure accuracy, changes to event calendars may occur. Please check with individual event organisers for more information.

WWW.TEMPUSMAGAZINE.CO.UK 96

TIMING IS EVERYTHING

Heesenâ&#x20AC;&#x2122;s Project Triton offers the rare opportunity to own and enjoy a brand new yacht without the waiting. 50-metre Triton combines advanced Heesen engineering with Dutch craftsmanship, timeless exterior lines by Clifford Denn and contemporary interior design by Reymond Langton. With her full displacement steel hull and a range of 3,800 nautical miles, Triton is a true blue-water motor yacht. Ready for delivery and perfectly on time for cruising this summer. heesenyachts.com

SUBSCRIBE NOW

TEMPUS ONLINE

Get all the essential news and views from the world of luxury delivered direct to your door

FOR YOUR DAILY DOSE OF THE BEST IN LUXURY NEWS, FEATURES AND

Six copies of Tempus magazine delivered to your address every year Exclusive invitations to private events, from shoot days and polo matches to supper clubs and boutique showcases

EXCLUSIVE CONTENT

Access to exclusive digital content Regular newsletters featuring the latest news, reviews and exclusive member benefits Visit tempusmagazine.co.uk/subscribe

tempusmagazine.co.uk

S AV O U R E X P E R T LY - C R A F T E D C O C K T A I L S A T H O M E C U R AT E YO U R P E R S O N A L S E L E C T I O N F R O M O U R M E N U O F 1 5 C O C K TA I L S D E L I V E R E D T H R O U G H YO U R L E T T E R B OX

DISCOVER MORE AT 99NIOCOCKTAILS.CO.UK

TRIED & TASTED While we wait patiently for our favourite restaurants to reopen their doors, Tempus celebrates some of the home-delivery heroes bringing fine dining directly to ours...

Fresh fruit and veg from Doggart & Squash

MODERN BRITISH | DORCHESTER AT HOME The Dorchester's delivery programme offers a selection of afternoon teas (below) and Make It Yourself hampers courtesy of the hotel’s prestigious restaurant The Grill. Create dishes such as Beef Wellington (right) or Lobster Thermidor tart to head chef Tom Booton’s recipes. A percentage of all proceeds will be donated to Manorfield Primary School, Tower Hamlets. Booton says: “We can’t wait to get back in the kitchen, but until then we’ll help you make our favourites at home.” dorchestercollection.com

CHEF’S SPECIAL | THE UPPER SCALE

PANTRY ESSENTIALS | DOGGART & SQUASH

ENGLISH SPIRIT | BOLNEY WINE ESTATE

Fish and seafood wholesaler The Upper Scale is used to supplying London’s finest restaurants, but is now making home deliveries from its home in Billingsgate Market. Chefs Jason Atherton and Pierre Koffmann are among famous fans enjoying the exceptional variety of sustainably sourced seafood at home.

Bespoke event caterer Doggart & Squash began making home deliveries in London and Surrey to support their suppliers, and now offers fresh fruit and veg plus essentials including milk, home-baked bread and eggs. They have also partnered with Lucy Vail Floristry to provide beautiful blooms with their boxes.

England’s oldest winery, Bolney Estate creates award-winning still and sparkling wines from the heart of Sussex. From virtual wine-tasting packages to pantry goodies celebrating local produce, Bolney has the perfect accompaniment for any meal – from Zoom dinner party to socially distanced aperitivo.

Sales director Phil Reed says: “Everyone wants to show off their dishes – they could definitely grace any restaurant in London.”

Co-founder Clare Doggart says: “We know the importance of great ingredients in order to cook delicious meals.”

Head winemaker Sam Linter says: “We find making wine endlessly fascinating and want to share this passion.”

theupperscale.co.uk

doggartandsquash.com

bolneywineestate.com 100

Ever since we planted our first vines in 1972 we have been guided by nature. Proud to have been pioneers of English Wine, we have gone on to create award-winning still and sparkling wines on our 104-acre Sussex vineyard. Weâ&#x20AC;&#x2122;re also offering free delivery on all online orders over ÂŁ15 placed from now until 30th June 2020.

UNEARTH OUR SECRETS. Sign up to our newsletter to be the first to hear our latest news, updates and offers, plus get 10% off your first order. Visit: bolneywineestate.com

British Engineering Tested Beyond Endurance

102

Tempus Magazine | Issue 68 | June - July 2020

Articles inside

Tempus Magazine | The Luxe List