Tempus Magazine | Issue 69 | August - September 2020

TIMELESS INSPIRATION

GAL G A D OT The Wonder Woman 1984 star on unleashing her inner action hero

DECADENT FINE DINING | BRITISH WATCHMAKING | RADICAL RESTOMODS ISSUE

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elcome back! This is the message we’re hearing loud and clear – and with increasing frequency – from so many of our favourite restaurants, hotels, members’ clubs and boutiques as they begin to reopen their doors to indulgence-starved patrons. It’s a move that denizens of good taste have embraced wholeheartedly since lockdown began to ease, despite the many changes and safeguards we must now become familiar with. For many, these are a small price to pay to reconnect with one another after what seems like so long apart.

This has been the feeling at Tempus HQ over the last few weeks, as business began to resume for our distinguished distribution partners across the capital, and we’re excited to introduce our latest issue knowing it will again be enjoyed in a familiar fashion. To celebrate being back out about town, in this issue we gather some of London’s best restaurants serving up diverse fine dining on page 70, discover why a country pile escape is so perfect right now (40) and preview September’s London Craft Week (24).

As the world begins to turn again, we’ve also seen some great movements gain momentum. From the renewed urgency in tackling the climate crisis and the historic Black Lives Matter protests, to the impact of Covid-19 upon our collective mental health, there is a common assertion from our expert contributors across a diverse range of industries that now is the time look towards rebuilding our economy – and our society – with compassion.

This is nowhere more perfectly exemplified than by the sudden rise in B-Corps and the #BuildBackBetter movement, as our wealth editor explores on page 80, while even property market trends have turned to the creation of sustainable boutique ecosystems to attract socially conscious young buyers (54). Entertainment Mindframe founder Adaire Byerly delves into the psychology of these trends, and reveals how creative minds might be the key to pushing through troubled times (76).

This positive outlook continues in our star interviews, led by Wonder Woman 1984 powerhouse Gal Gadot on page 44. In our cover feature, we chat with the in-demand Israeli actress about what it takes to be an action hero and working with women who excel.

Elsewhere, the world’s most influential tennis coach Patrick Mouratoglou tells us how he’s revolutionising the game beyond his exceptional work with Serena Williams (30); Maddox Gallery’s Jay Rutland shares his love for contemporary art and reveals some exciting news about the brand’s next venture (20); and, on page 62, Bremont co-founder Giles English tells us why he’s passionate about bringing haute horology back home.

We hope you enjoy the issue Michelle Johnson Editor Tempus

Tempus magazine is published by Vantage Media Limited. 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.

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CONTRIBUTORS EDITORIAL TEAM Lauren Hill Travel and design expert Lauren heads closer to home this issue, to meet some of the most exciting British artisans preparing to showcase their handcrafted works at London Craft Week (24).

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

Rory Smith Our motoring editor Rory explores the ‘restomod’ phenomenon sweeping the classic car world, and attempts to find out whether modernising the classics is sacrilege or just good sense (16).

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

Cheryl Markosky Something interesting is happening in the world of property development. Cheryl takes a tour of London’s most exciting and fashionable new postcodes to find out more about the rise of ultra-boutique inner-city villages (54).

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

Juliet Herd Freelance writer and editor Juliet travels to the picturesque Paarl Valley to discover how Brookdale Estate is making something more of the new wave of South African wine (66).

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

Responsibly printed COVER IMAGE Wonder Woman 1984 star Gal Gadot Credit: Peter Yang / AUGUST Article on page: 44

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 In the driver’s seat Ferrari’s Jane Reeve tells Tempus why the marque is gearing up for an equal pay revolution 16 To restore or restomod Is the restomod phenomenon sacrilege or just good sense? We head to Thornley Kelham to find out 20 In the frame Maddox Gallery founder Jay Rutland talks contemporary art, virtual galleries and an all-new concept for 2020 24 Capital creativity Tempus previews London Craft Week and meets four of its most exciting artisans 30 Changing the game Champion tennis coach Patrick Mouratoglou tells us how he is revolutionising tennis forever 34 A modern classic Tempus takes the thoroughly modern Morgan Plus Four for a countryside spin 40 A place to call your own Discovering how a quintessentially English country estate has become the ultimate VIP escape 44 Golden Force Wonder Woman 1984 star Gal Gadot on acting, action and how one role has changed her life 48 The show must go on We examine the effort to save Britain’s brilliant theatres 52 Village people Find out why property developers are transforming tired streets into fashionable enclaves 60 Life and sole Alan Buanne debuts his revolutionary new footwear brand for men 62 Time to fly Bremont co-founder Giles English on bringing fine watchmaking back home to Henley-on-Thames 66 A certain vintage We travel to South Africa to visit one of the world's most exclusive wine estates 70 The world on a plate Make your reservation at some of London’s finest restaurants 76 Model of a mind Entertainment Mindframe founder Adaire Byerly on what creative minds could teach us about leadership 80 And now we rise How a growing number of businesses are using tough times to set a new course for a better future 84 Making waves Princess Yachts CEO Antony Sheriff tells Tempus why he's determined to drive innovation in the yachting industry 88 By royal appointment Looking for a craftperson with palace pedigree? These luxurious Royal Warrant Holders may fit the bill 94 The hidden art Paper Nations founder Bambo Soyinka explains why we should all be picking up our pens 96 Save the date The finest events of the season

ISSUE 69

36 Golden force

Wonder Woman 1984 Š2020 Warner Bros Pictures/ŠDC Comics 9

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

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MayfairSilk When it comes to a good night’s sleep, the quality of our bedding truly does make the difference. MayfairSilk specialises in a range of beautiful, luxury bedding that is designed to leave you feeling – and looking – refreshed no matter the time of year or the sensitivity of your skin.

Made of finest 25 momme grade mulberry silk, MayfairSilk bedding absorbs less than 0.3 times its weight in water, keeping your skin and hair hydrated and radiant, unlike highly absorbent cotton – not to mention how perfectly its luxe pillowcases reduce the dreaded bed hair. Antibacterial, mite-resistant, thermoregulating and hypoallergenic, the benefits of silk bedding are far more plentiful than just the dreamily luxurious feel – no wonder it’s recommended by dermatologists and beauty experts alike. Sweet dreams, indeed.

READER OFFER

Enjoy 30% off any order before 30 September, with the code Tempus30 mayfairsilk.com

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Pared Eyewear A favourite of the world’s most fashionable stars, including Beyoncé, Gigi Hadid and Priyanka Chopra, Australian brand Pared Eyewear has finally arrived in the UK. In a dazzling range of sculpted styles, these glasses and shades are the ultimate finish to a refined summer style for women and men, thanks to high-end collaborations with the likes of Stærk & Christensen ( founded by model Helena Christensen and artist Camilla Stærk). From oversized frames with angular detailing – like this Big Mamma style in black (left) – to vintage oval-shaped frames with printed lamination and sharp cat-eye styles designed for racing down the French Riviera… with these witty and wonderful designs there’s no reason to pare back your summer style. uk.paredeyewear.com

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Omega Constellation Gents’ Collection The latest gentlemen’s novelty in Omega’s exquisite Constellation collection is the brand’s boldest and most sophisticated yet. The 41mm watch comes in 18K gold, stainless steel or a combination of both, and features the design’s famous claws and half-moon facets at either end of the case. We’re particularly enamoured of the blue polished ceramic bezel of the gold (left) – a nod to the original 1982 Constellation Manhattan’s sapphire glass bezel – with roman numerals produced in Omega ceragold or liquidmetal. The slimline update also features new hands and indexes that take inspiration from the Manhattan skyline, including the Freedom Tower, and runs on the brand’s co-axial calibre 8900/8901 for assured precision.

Never miss a New York minute…

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LG Signature A new range of premium home appliances and electronics inspired by art, LG Signature redefines state-of-the-art living for discerning customers.

Marrying exceptional tech with timeless aesthetics, this range of smart televisions, washers, wine cellars and refrigerators – including the InstaView Door-in-Door LSR100 Refrigerator, 569L (right) – is made from highest quality materials to complement any interior while remaining intuitive and responsive. An LG Signature Hosts’ Experience saw fans gather at Glorious Goodwood from 30 July for a VIP private dining event, too – proving this lifestyle brand is a sure bet. lg.com/uk/lg-signature

omegawatches.com

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Time 4 Diamonds Founded in 2005, Time 4 Diamonds is one of the UK’s leading watch, jewellery and customisation specialists, offering a range of exclusive and rare watches available from brands such as Richard Mille, Patek Philippe, Audemars Piguet, Hublot, Cartier and Rolex (left). From faithfully restoring vintage watches to creating individual bespoke parts – including dials and bezels – there is no limit to how you can customise your favourite pieces. What’s more, the brand’s team of horologists and Hatton Garden veterans is devoted to sourcing the most extraordinary timepieces and highest-quality gems, and offers a concierge-level service to clients – all ensuring that every purchase stands the test of time. time4diamonds.com

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Château de Pommard For a truly special experience designed for oenophiles, this year’s Château de Pommard’s signature cuvée, Clos MareyMonge Monopole 2018 (right), has been released alongside a new tailor-made tasting focused on the creation of the Burgundy estate,s exceptional cuvées. The vineyard’s 2020 release blends cuvées made from six distinct terroirs – Simone, Chantrerie, Nicolas-Joseph, Grands Esprits, 75 Rangs, and Micault – and connoisseurs are invited to enhance their knowledge through the Clos Marey-Monge Vintage Experience. This bespoke tasting is perfectly designed for anyone wishing to understand both the blending process and the estate’s seven terroirs through a tasting of the various expressions of the estate’s most iconic cuvée, either online or – for an unforgettable experience – by visiting the château in person. Santé! chateaudepommard.com

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The Outlierman The Outlierman’s range of stylish driving gloves offers a thoroughly modern take on the classic car driver’s style. Designed to capture the independent, confident gentleman with a passion for exceptional vehicles, the brand’s collection of driving gloves, travel bags, ties, pocket squares and scarves are all inspired by the world’s most beloved car models. The crowning jewels of the range are the Italian-made driving gloves (left), in colours from Ferrari red to deep Bentley racing green. Fast fashion at its finest. theoutlierman.com

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Brompton Superlight Handmade in London since 1975, Brompton’s folding bikes have become synonymous with savvy commuters. Designed for stylish city-slickers with a love of active living, both the standard and electric versions of the Brompton are lightweight and foldable for easy storage – whether at home, in the boot or at the office. Choose from a range of designs and specs in the manual and electric ranges, or opt for special and limited editions including the Black Edition, with stylish matt black componentry complementing a selection of four bright colours. Now that’s what we call bespoke… brompton.com

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Purdey As game season begins with the Glorious Twelfth, those in the know turn to London gunmakers Purdey to prepare for luxurious country shoots.

Established in 1814, Purdey is known for made-to-measure shotguns and rifles designed to perfect your aim. For those who cannot wait the 18 to 24 months it takes to complete a bespoke order, a limited number of fine finished guns are stocked in the brand’s Audley House gun room.

A Purdey Side-by-Side (right) is the recommended shotgun for grouse shooting; it benefits from the brand’s Beesley action for faster loading, leaving you perfectly poised to take your shot. purdey.com

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Cookson Adventures If you’re ready for an escape that combines isolation from city crowds with a true digital detox, look no further than Cookson Adventures.

The bespoke travel specialist’s most recent remarkable excursion was a trip beneath the waves around the Solomon Islands in a U-Boat Worx CS7 submersible – accompanied to the South Pacific by 63m explorer superyacht SuRi and her guests. Large enough to seat a small family, the submersible features air conditioning, revolving seats (enabling stunning 360˚ views) and can dive to depths of 300m for hours at a time. The perfect way to explore unchartered waters – and take your relationships to new depths. cooksonadventures.com

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In the DRIVER’S SEAT

IN THE PAST FEW YEARS WE’VE SEEN

AN EXCITING ACCELERATION OF WOMEN IN STEM ROLES

As Ferrari becomes the first car manufacturer – and first firm in Italy – to receive the Equal-Salary Certificate, chief communications officer Jane Reeve explains why women should be more than merely passengers in the industry

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hen we announced that Ferrari had ended the gender pay gap within all areas of the company, it shouldn’t really have made the news.

Although we are happy to receive the EqualSalary Certification – and, in fact, to become the first company in Italy to receive this from the Equal-Salary Foundation – we are adamant that paying the same salary to men and women with the same qualifications and positions should be the norm, rather than something for celebration.

That said, we understand that Ferrari might not seem like the most obvious company to be promoting gender equality, given that there is a high masculine bias in the automotive industry.

But, for the past four years, we have been working steadily on how we can improve our representation in all areas of the company. Over this time, we have seen an increase in our female employees, and today more than 14% of our 4,285-strong workforce is female – an increase from 11.5% in 2016.

Our female employees are spread across many different professional levels, too. It starts with me, in the senior management team, but also encompasses my female colleagues throughout the company. In the past few years we’ve seen an exciting acceleration of women in STEM roles, and today we employ women working in engineering, in emissions control as well as the body shop. In fact, 12% of our manufacturing team are women, although the highest saturation of female employees is in our marketing and communications department and our brand diversification team, where 64% and 59% of the teams, respectively, are female.

When it came to addressing the gender balance at Ferrari, our approach was never to specifically say: “We need to go out and get more women”. We believe that diversifying our workforce shouldn’t just be about creating an arbitrary 50/50 split between genders, as that is still unrealistic for this business. In fact, having

a scenario where we’re scrambling to fill quotas can itself become counterproductive.

Instead, being a company that represents and demands excellence, we work on hiring the very best people in the marketplace. The first thing we look for – from the thousands of requests we receive to work with us – is the person that has the best credentials for the job. It’s totally irrelevant what gender you are; the important thing is getting the job done, and well.

At Ferrari we are working hard to ensure that our hiring practices are fair and equal – and this doesn’t end with gender. We want to promote diversity and inclusion across the board. When it comes to our workforce, we already have a mix of people from different cultures and nationalities and that has been a crucial part of the conversation we’ve been having about how to diversify our team. It’s important that we think about all aspects of equality and representation [in the automotive industry], not just about how many women we hire. We can still do better.

As a company, and having seen many different ones during my career, I can definitely confirm that Ferrari really does put its people first – whether that’s providing exclusive medical benefits, including the recent introduction of ongoing serological tests for all employees and family members, or offering childcare and summer camps.

Receiving the Equal-Salary Certification has been a confirmation for our staff members that we have no discrimination of gender and that individual merit is the only metric that matters.

Of course, when Ferrari does anything we tend to get noticed. As the first Italian company to receive the Equal-Salary Certification from the Foundation we’re hoping that other organisations will follow suit and make equal pay a given, both in Italy and in the automotive world. It’s not going to happen overnight but I’m proud that Ferrari has given an example for others to move in the same direction. ferrari.com 14

COLUMN

Jane Reeve (left); F1 driver Charles LeClerc in Maranello ŠFerrari 15

To restore, or restomod: that is the question Lancia Aurelia B20GT 'Outlaw Number 4' ŠThornley Kelham 16

SPEED

When it comes to vintage vehicles, restoration has always meant getting your hands dirty – but what if there’s another way to make your classic cars go the distance? We explore the restomoding phenomenon with Thornley Kelham Words: Rory FH Smith

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lassic car ownership has always required patience, persistence and a penchant for getting your hands dirty, but it doesn’t always have to be that way. ‘Restomod’ classics are boldly challenging the age-old conventions of the vintage car world by straying from the manufacturer’s original blueprints to produce something unique and, often, more useable.

For better or worse, these restoration companies are grouped under the term ‘restomodders’ – so named for their approach to modifying throughout the restoration process.

With firms like Eagle producing highly-prized modified E-Types and Thornley Kelham with its ‘Outlaw’ Lancia Aurelia flying the flag for this new way of operating, such outfits have caused quite a stir in the world of classic car conservation. But why is this trend proving so popular among such renowned collectors as US TV host Jay Leno and millionaire investment entrepreneur David Lee? “The short answer to this would be this: an owner can do what on earth they like to their car,” says Thornley Kelham founder Simon Thornley (above). “However, it would be remiss of an owner to do certain things to certain cars… there are some cars you just don’t mess with.”

Thornley and his business partner, Wayne Kelham, set up shop 12 years ago, with a mission to make classics the best they can be. Launching their radical take on a Lancia Aurelia in 2019, known as the Outlaw, the firm didn’t shy away from the controversy it sparked among classic car traditionalists. Proudly declaring the project was “not one for the purists”, the heavily modified B20GT with its cropped roofline, widened wings and bonnet scoop caused a stir, splitting opinion in the vintage car world.

“There are many people in the classic car world who say, ‘If it’s a classic, you should keep it original’, and I find that really tiresome,” says Thornley. “If you’ve got a 1959 Ferrari 250 Testa Rossa, for example, then you’re not going to mess with that, particularly since Phil Hill sat in the seat. But that’s at the very top end… If you want to keep your car original, great, but don’t judge everyone else.”

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SPEED

Radical restomod: A 1951 Lancia Aurelia B20GT (top left) is transformed into Thornley Kelham's ‘Outlaw’ (© Thornley Kelham) MODERN MARVELS With some cars at the sharp end of the market fetching tens of millions on the auction block because of their provenance or originality, straying from anything but absolute authenticity would be catastrophic for the car’s historical and financial value. But, Thornley says, there is a vast range of opportunity just below that high level.

“Below the top end, you have cars that could be important but are being used a lot, and so you put hidden upgrades in the car,” he says. “It could be for drivability, safety or reliability but we’ve done a 1930s Rolls-Royce Phantom II, which has an enormous amount of upgrades on it, because it’s going to be used. It’s got hydraulic power steering, air conditioning, a modern alternator and much more but, when you look at the car, it looks like a beautifully original 1934 RollsRoyce. To me, that’s not restomodding.”

While appearing to adhere to the manufacturer’s formula, these subtle alterations to a thoroughbred classic can tactfully make a vintage car vastly more useable and suitable for the modern age.

“Many people don’t care about the finer details anymore; they just want a classic that looks cool but can be driven any time of year, without having to worry about it,” says Thornley.

“I think there’s a lot of scope for this area, especially with younger generations. If we want to keep a lot of mid-range classics on the road, we need to be prepared to let them be modified.”

Despite not liking the term, Thornley comes on to describe what he defines as a restomod car. “Things like our Outlaw, where you or the client has given you licence to go to town and create a car that’s based on a classic but, in fact, is pretty different.” With firms like Singer Vehicle Design working to hone and reimagine the Porsche 911 and Eagle carving out a name for itself by playing with the legendary Jaguar E-Type formula, these updated and refreshed classics are fetching significant sums, with some commanding prices north of £1.5m.

“The great thing is that more people are with us than against us. We weren’t sure how it would go down in the beginning – we thought we’d only make one but we’re now up to nine. But the point was to make a car that was still true to the spirit of Lancia.” With most of the donor cars for the

Outlaw projects barely above scrap condition, the chances of the owner carrying out an original nut-and-bolt restoration were virtually non-existent. “We were able to put technology into it, such as the dual-circuit braking system and fuel injection, and then we changed the body shape. That’s when it becomes radical.

That is what the purists hate, but we’ve created a cool thing.”

Beyond restomod cars lies another level – even more radical than cars like the Outlaw: highly bespoke classic cars. “If you look at our Outlaws or Eagle E-Types, they are primarily a highly engineered formula. You can have a different colour and you can maybe change the wheels but there’s another level where you create a very personal car for somebody.”

While a handful of modern marques will make completely custom one-off cars for clients, the same services are far less common when it comes to classics. “We live in a world where people want something unique to them, and I don’t see why we can’t do the same in the classic car world.”

Thornley is eager to explore this new territory and continue to push the envelope in the classic car market. With such high historical and financial values attached to these vintage machines, it’s impossible to overlook the impact such a personalised or radical project can do to the car’s value and desirability. “In terms of financial values, the classic car market has, over the past 20 years, become an asset class of its own and everybody has been expecting for them to keep rising in value. While a lot of people take that view, they’re going to have to get used to that not being the case,” explains Thornley. “You have cars that are always going to be incredibly valuable because of that rarity and authenticity, but you’ve also got middling cars that are struggling to sell. I’d like to think if an owner is going down the restomod route, they’re looking at it as a long-term prospect.”

SHIFTING GEARS Just a few years ago, deciding whether to invest your money into a thoroughbred classic or a bespoke restomod project would have been a simple decision, with the thoroughbred winning out every time. But with artful

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outfits like California-based Singer raising the reputation and perception of modified classics, the choice is not so clear-cut anymore. “If someone is new to the classic car world, they need to decide if they want something they can show off occasionally or something they want to be able to drive whenever they want. Once you’ve made that choice, then you can decide if you want to stick with authenticity or if you want to have a car that suits your tastes and needs exactly.”

Asking Thornley what he’d plump for in that situation, he simply responds: “both, because I’m spoilt”.

“If I was just starting [a car collection], I’d get a properly sorted-out classic but, as I get older and want to have more fun with fewer cars, I am more drawn to an upgraded, bespoke car – such as an Outlaw.”

Before heading back out to the busy workshop, Thornley reveals his two top tips for collectors considering a move into the restomod market for the first time. “Firstly, you’ve got to do your research – not all the work out there is all that good. Go meet the people and drive their work. Secondly, you have to know what you want and what your budget is.”

Thornley also sees a trend in modern supercar owners beginning to expand their horizons into restomods. “People get frustrated with the parameters of modern performance car ownership – such as depreciation or not being able to fully explore the performance of it. Those people are moving towards this middle ground or restomod territory where the ideal is a blend of modern reliability but also some kind of visceral experience. You want to feel connected with the car,” he says.

So, we return to the question at hand: does the future of classic cars lie in faithful restoration or modern restomodding? “It’s quite a complex equation. Above all, whatever you decide, think about what you want to do with your car. If you want an original classic car, good for you – but, if you decide you want something a little bit out there, that’s fine too,” Thornley says, before pointing to a model of his dream car with a chuckle. “Just don’t mess with a Ferrari 250 SWB.” thornleykelham.com

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Maddox Gallery founder Jay Rutland tells us how he turned his passion for contemporary art into a multinational empire designed to champion emerging contemporary artists

Words: Freddy Clode

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n Mayfair’s Maddox Street, behind the blooms of an eminently Instagrammable floral archway, is the flagship of Jay Rutland’s artistic empire. In just five years, the prestigious Maddox Gallery has grown from this single exhibition space to one of the UK’s leading champions of emerging contemporary art, with galleries in London – including Shepherd Market and Westbourne Grove – Los Angeles and Gstaad.

Rutland launched Maddox Gallery in December 2015, aiming to operate the business as a holistic luxury brand rather than a simple gallery space, creating not just a home for artists to showcase their works, but taking control of a more assertive representation process.

“I’m personally quite passionate about collecting art. Even very early on, I knew that I wanted to support emerging artists, and create a home for works but with a much more aggressive marketing strategy than most galleries,” Rutland says. “This approach has come to define us over the years, as we continually give a platform to artists who are evolving past the early genesis of their careers.”

This loyal and proactive approach has ensured that Maddox Gallery’s roster of artists includes

some of the most intriguing – and highly valued – emerging contemporary artists working today, including photographer David Yarrow, the Connor Brothers, Coco Dávez, RETNA, Joseph Klibansky and Mr Brainwash.

“It’s been a pleasure working with these artists.

What David Yarrow has achieved has been phenomenal – I don’t just mean international acclaim, but we’ve now seen six-figure results at auction. The Connor Brothers’ work has become synonymous with celebrity collectors and even gifted to Prince Harry; and we’ve hosted Coco Dávez’s first solo exhibition in the UK, which was an immediate sell-out and created phenomenal demand for commissioned work.”

One of the gallery’s next projects, not yet publicly announced, will specifically look to exhibit bodies of work by graduate artists – inspired by the success of Sebastian Chaumeton, whose first showcase was an in-studio event at Maddox Gallery Shepherd Market. “It’s our way of giving something back,” Rutland says.

“By nurturing and supporting talent, we hope to represent the artists who will define a generation in their category of art. There’s opportunity there to uncover future stars.”»

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ART IS SUBJECTIVE.

IF APPROACHED TOO CLINICALLY,

ART CAN BECOME SOULLESS

Clockwide from left: Maddox Gallery Westbourne Grove; Banksy's Girl With Balloon; Connor Brothers' ...Christ, Now What? ; Harlon Miller's High on Hope (© Maddox Gallery)

WE HOPE TO REPRESENT THE ARTISTS

WHO WILL DEFINE A GENERATION, AND UNCOVER FUTURE STARS

MAKING HISTORY In addition to supporting emerging artists, Maddox Gallery is known for its eye for blue chip contemporaries, and exhibitions – including seasonal contemporaries – that tap into the zeitgeist.

“Within the cultural context of the art world, some themes, like International Women’s Day, are always on our calendar,” he explains. “But Maddox is also here to make connections between the wider world and what we hang on the walls of the gallery, in order to keep our programme relevant. For examples, Black Lives Matter is something that’s reflected in some of the latest pieces we’ve seen from our artists.”

Equally, Maddox Gallery is an active fundraiser for various charity initiatives, including Art for HEROES – which has raised more than £1.8m for NHS staff – Caudwell’s Children, and the London Air Ambulance.

Rutland says: “Artists, like the arts in general, are extremely generous when it comes to charities”.

The gallerist is also skilled at showcasing the history of artistic genres through exhibiting artists such as Richard Hambleton, the godfather of street art.

“Hambleton deserves to establish his place in street art history. Banksy attributes his involvement in street art to Hambleton; that certainly strikes a chord for a lot of modern collectors, to say Hambleton was Banksy’s original inspiration.”

The Gstaad gallery’s latest exhibition – also available to global fans via virtual gallery until 29 August – is the world’s first retrospective of photographer Terry O’Neill, entitled Every Picture Tells a Story.

“Terry’s work is phenomenal. He’s probably my favourite photographer of all time and we’ve got a number of his works at home,” says Rutland, who lives between London and Gstaad with his wife Tamara, née Ecclestone, and their daughter. “My father-in-law [ former Formula 1 chief Bernie Ecclestone] knew him really well, and he photographed my wife and her sister [Petra] around 10 years ago.”

The move to virtual has been implemented by many galleries and museums around the world in 2020, a process accelerated by necessity due to the ongoing global health emergency caused by the Covid-19 pandemic. But, says

Rutland, it has also been a future-proof resource for collectors and artists alike.

“Everything about how art fairs, galleries and museums do business is changing now, to adapt to a post-coronavirus world,” he says.

Using advanced gaming technology, Maddox Gallery resolved to build hyper-realistic virtual gallery spaces in 4K resolution for its first two digital shows created for David Yarrow and, immediately after, the Connor Brothers.

“What’s great is that people think it’s the real gallery space, not something we’ve virtually created,” he says, adding each had more than 10,000 visitors. “We didn’t expect the exhibitions to be so successful; it took us by surprise. We very quickly realised that this new format, allowing people to experience art from the comfort of their home, will be an integral part of how we do business going forward. I don’t think it will ever replace a visit to Maddox Gallery, but will augment the customer experience.”

A PASSION ASSET A successful entrepreneur who began his career as a City stockbroker, Rutland is, perhaps somewhat surprisingly, led by his heart when it comes to working with artists.

“Art is subjective, to say the least. I believe that, if approached too clinically, it can become soulless,” he says. “Choosing artists looking to join the Maddox family is a collaborative process – we ask everybody from sales to logistics for feedback.”

Rutland is an avid collector himself, inspired as a teen by his brother-in-law’s collection of Banksy pieces – indeed, his first purchase was by the same artist – and says that his tastes run exactly parallel to Maddox Gallery’s expertise.

“I have at least one piece in my personal collection by each of the artists we exhibit, from Basquiat to Yarrow, Andy Warhol to Keith Haring,” he says. “My collection ranges in size and value – certainly the pieces we have aren’t worth millions – and are a mix of original works and prints. One of my favourite pieces is a flexible Basquiat print, for which I paid something like $50,000 a couple of years ago.

The original sold for $45m.”

Rutland believes that one of the keys to growing a collection is to understand – and be excited by – the story behind a piece of art 22

or the artist themselves. It’s in this way that he inspires other collectors around the world.

“All three Maddox locations have got quite thriving art markets. Contemporary art has a fairly global appeal,” he says. “We were born in London, so that will always be our home, but then venturing to Gstaad in 2017 was an obvious choice, as it’s home to some of our most passionate collectors and art lovers in the world.” Among those is Rutland’s father-in-law (“he knows everybody,” he says).

“We opened Los Angeles in 2018, due to the overwhelming talent in the US – and LA’s own diverse artistic culture and fairs – and because a significant number of our clients are from North America.”

While Maddox Galleries are now balancing the “interesting period” of reopening postlockdown – and wondering when and in what form their famed events and opening parties can resume – Rutland is already turning his eye to the brand’s next move.

“I’ll be honest: in mid-March when we had to shut all the galleries, we were nervous. I wasn’t sure if we were going to see business fall off a cliff but, actually, it’s been a successful period,” he says. “We are now looking at opening another space in London, in collaboration with [bespoke kitchen and furniture brand] Smallbone, at Brompton Gate,” he says. “It’s 15,000sq ft of retail space over a couple of floors, and will be a really interesting lifestyle concept, with a Japanese restaurant, Samsung partnership, Smallbone and Maddox Gallery space. The whole idea is to redefine the way people consume luxury.

“The obvious attraction to us, aside from the collaboration, is that it’s a significantly larger space than anything we have at the moment, and will enable us to throw quite grand and lavish exhibitions and openings very safely,” he says. “We did have to pause and think, of course, whether this is the right time, but we’re going to brave and embrace it. After all, many of our artists have just spent a solid three months in the studio, so in many ways, lockdown has been a really productive period for them. How we support their talent is, ultimately, what defines us.” maddoxgallery.com

ART FOR ART’S SAKE Jay Rutland's top tips to starting your contemporary art collection 1.

Set a budget. Whether it’s £10,000 or £100,000, know your target price 2. Visit as many galleries, museums and art fairs as possible, and never be afraid to ask questions 3. Buy work that excites you. Ask: 'Can I see this piece hanging in my home?

Would I show it off at a party?'

4. Make sure you understand the story behind the artist and artwork.

When the story is special – as with Hambleton – it inspires truly passionate collecting

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CAPITAL CREATIVITY Designers and makers share the fascinating stories behind their work at London Craft Week 2020 Words: Lauren Jade Hill

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Tom Vaughan 25

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howcasing the best of British and international craftsmanship, London Craft Week provides a rare glimpse into the intricate processes behind some of the most covetable items we bring into our homes.

Scheduled to take place from 30 September to 10 October, the festival’s sixth edition promises a fascinating insight into the work of more than 350 designers and makers through an upclose-and-personal programme of exhibitions, demonstrations and workshops at galleries and design hubs across the capital. Tempus talks to some of the craftspeople involved about their role in this celebration of creativity.

Hands on: Laurent Peacock's Piper (top) and Aesculus (bottom) drawers. ©Laurent Peacock/London Craft Week LAURENT PEACOCK | CONTEMPORARY FURNITURE DESIGN A fascination with how objects are made led Laurent Peacock to follow his passion for handson furniture making. The designer has garnered several awards for his contemporary creations and his work has found its way into high-end residences and superyachts from London to Mustique. Designed to trigger associations, evoke emotions and elicit surprise, his distinctive creations fuse custom-made surfaces and unexpected material combinations with bespoke cabinetry.

“Much of what I do is driven by my experimentation with materials and techniques, often fusing the traditional with the more cutting-edge, and looking to combine them in unexpected ways,” he explains. “I love to design pieces around a guiding concept. My Aesculus cabinet, for example, is based on a conker. Both cabinets and seeds have dual roles – firstly to conceal and protect but ultimately to yield and offer up their contents. Abstracting the conker’s tactile layers and translating them into the form of a cabinet was a satisfying process.”

The designer has now joined the Future Icons stable of innovative craftspeople. His first exhibition with the group will be a part of London Craft Week. The selection of work on display here promises to demonstrate the maker’s fascination with material and the surprising way it’s deployed. “I like to think people come away from seeing my work with a smile. I invite people to explore my work closely, seek out details, which aren’t immediately obvious, and experience a brief moment of wonder about how a piece is made.”

“London Craft Week plays a massive role in the exposure of high-level craft in all its forms,” he concludes. “The term ‘craft’ is gradually being reclaimed from association with anything homemade to instead speak in a much more refined sense about genuine consideration of materials, provenance, honesty of approach and skill.”

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DESIGN

Sewn up: Aimee Betts (left; ©Alun Callender) works Loop Cushion and Barrel Table Lamp (above; ©Aimee Betts) AIMEE BETTS | TEXTILE DESIGN Textile designer Aimee Betts creates bespoke products for interiors by adapting traditional embroidery and braiding techniques to sit harmoniously with the forms and fabrics of contemporary furnishings. For this designer, each project begins with research in museums where artefacts become a catalyst for new ideas. The Ricasso Barrel Table Lamp – which is exclusive to purveyor of contemporary objects The New Craftsmen – is indicative of this approach as it reflects the inspiration Betts has taken from European sword handles of The Wallace Collection.

“My inspiration never sits still,” she says. “I can take inspiration from the smallest of details, such as the delicate joining of a French linen seam, to grand gestures of emotion and embellishment such as the silk embroidered cloaks worn on horseback during Spanish parades. I am drawn to ethnographic objects made using ancient technologies to create sophisticated technical outcomes. My work imagines a time when communities would gather together to make objects for survival, comfort and celebration.”

During London Craft Week, the designer will join The New Craftsmen showcase with the presentation of her new work entitled The Stitched Cabinet created in collaboration with furniture designer Gareth Neal.

“London Craft Week enables people to experience, learn and discover the meaning of craft today,” she says. “This could be learning about a new technique or material you’ve never seen or discovering the process behind the making of a familiar object such as a hat or a shoe. The week is an opportunity to showcase the skill of professionals who may otherwise be working behind the scenes.”»

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TOM VAUGHAN, OBJECT STUDIO | BESPOKE AND HANDMADE FURNITURE It was by combining his training in traditional cabinetry and modern product design that Tom Vaughan established his practice, Object Studio.

It’s now through this platform that this talented furniture designer endeavours to create ever more complex objects, manipulating timber into precise organic forms by using modern and traditional techniques.

“I enjoy pushing the capabilities of materials, machines and craft techniques in my work,” he explains. “My work has many influences, from artists such as Brancusi, Hepworth and Moore to designers including Ron Arad, Marc Newson and Konstantin Grcic. I find influence in the materials I use and in the processes I have developed to manipulate them. I am influenced by both tradition and modern digital craft – my work is based around the fusion of the two.”

At London Craft Week, Object Studio will present several of his handmade chairs at Mayfair Gallery. “I hope people enjoy looking at and sitting in the chairs,” he says. “I consider my work both furniture and sculpture. The advantage of furniture is that it is used and touched. This tactile quality is very important to me.”

For Vaughan, the platform this event gives designers and makers is invaluable. “London Craft Week provides craftspeople with the opportunity to give the public an insight into the development and evolution of crafts, both traditional and new.”

Structured seating: Sculptural Goldsmith Chairs (top) and the S-Chairs (middle and bottom) (©Tom Vaughan/London Craft Week)

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DESIGN

Sensational ceramics: Alice Walton (above; ©Asia Werbel for John Smedley) sculptures Clements Lane (top left; ©sylvain-Deleu) and Lin Strata (bottom left; ©Alice Walton) ALICE WALTON | CERAMIC SCULPTURE The V&A, Tate Modern and Hauser & Wirth are just some of the prestigious galleries where this innovative ceramist has exhibited her work.

Awarded the Wedgwood Prize at last year’s British Ceramics Biennial, Walton’s work cleverly explores complex surface textures on sculptural forms influenced by forms seen on the street.

“My making is greatly influenced by my drawing and my drawing is inspired by my repetitive journeys to and from the studio each day,” she explains. “Once I arrive in the studio I draw from memory, remembering certain aspects and forgetting others to bring the important factors of shape, form or colour to the page. I then begin making the object directly from my drawing. This takes my sculptures away from the literal point of inspiration and into a landscape of abstraction. My repetitive decorative techniques are very important to the work. This part of my process sometimes takes months to complete.”

London Craft Week will see the ceramicist join the showcase hosted by Mayfair Gallery and take part in the gallery’s ‘in conversation’ event with several other artists. “You’ll get to see my range of new porcelain sculptures,” she explains. “These will include a newly developed pattern, decorating technique and colour combinations inspired by 1820s maps. My hope is that people will see my art and want to investigate it. London Craft Week is a true celebration of humanity’s ability to create. The cultural importance is enormous.” londoncraftweek.com 29

CHANGING THE GAME The world’s most influential tennis coach, Patrick Mouratoglou has trained World No. 1 Serena Williams and phenomenal new talents, like Coco Gauff, to glory. Now, he is revolutionising tennis itself with the Ultimate Tennis Showdown

Words: Michelle Johnson

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he day after Serena Williams crashed out of the first round of Roland-Garros in 2012, she turned to French tennis coach Patrick Mouratoglou. At that time, Williams, now universally considered the greatest tennis player of all time, hadn’t won a major tournament in two years. Her goal was to win one last Grand Slam tournament before hanging up her racket.

Instead, under Mouratoglou’s coaching, Williams didn’t just return to triumphant form, she exceeded it, going on to win 10 more Grand Slams and two Olympic medals – so far. She still holds the Open Era record with 23 Grand Slam titles to her name and a 310-week reign as World No. 1.

If their partnership wasn’t enough to confirm Mouratoglou (right) as the most influential tennis coach of his generation, then one only needs to look to his eponymous training academy in Nice, which has nurtured the talents of rising stars such as Stefanos Tsitsipas and 16-year-old powerhouse Cori “Coco” Gauff. The Mouratoglou Academy, established in 1996, not only offers full-time programmes to future 30

tennis stars, but hosts training facilities for the likes of Novak Djokovic and Andy Murray.

“It’s such an honour for our campers to train next to the greats,” he says. “Watching them closely inspires, gives ideas, and brings motivation. This is one of the big assets that the Mouratoglou Academy provides and makes us unique.”

Not content merely to train tomorrow’s champions, this summer Mouratoglou launched the Ultimate Tennis Showdown – a fast-paced, virtually broadcast tennis tournament – that is revolutionising the sport by allowing shorter matches, more emotion, and new rules designed to shake up the game for a new generation of players and (virtual) spectators.

“Tennis is currently living off fans from the 1970s and 80s,” he says. “We hope that more entertainment and emotion in the UTS league will appeal to younger fans and give spectators a modern and digital experience. We can’t expect extremely long matches to bring young people on board – the idea with UTS is to propose a different concept.”

Here, Mouratoglou reflects on the progress of UTS and what it takes to make a champion. »

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REAL TALENT LIES IN THE

PERSONALITY, DETERMINATION, DRIVE AND WILL. REAL TALENT IS COMPETITIVENESS

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SPORT

Patrick, congratulations on the success of Ultimate Tennis Showdown. How does it differ from traditional tournaments?

Thank you. We were so excited to launch UTS and the initial response has been incredible. We had a fantastic line-up of players for UTS1, including Dominic Thiem, Stefanos Tsitsipas, David Goffin and Matteo Berrettini, who became the first ever UTS champion. The whole idea was to condense the tennis match into an hour, so it’s a very intense and immersive experience; the camera is close enough that you feel like you are next to the players and there’s interaction at every changeover. Fans experience a lot of entertainment, as players are able to express their emotions more freely thanks to our light code of conduct, and we created new rules – including four 10-minute quarters, two serve points and a sudden-death tie break – to shake up the traditional game and keep fans on their toes.

You founded the Mouratoglou Academy in 1996. When did your love of tennis begin, and what inspired you to coach?

I started playing tennis at the age of four and never wanted anything else but to be a professional tennis player. I was one of the best tennis players for my age in France but, sadly, it wasn’t a career my parents wanted me to pursue.

When tennis was taken away from me, I really lost my focus. I eventually decided to establish my tennis academy to help players become professionals. My coaching career began in 1996 when I was 26 and, by 2004, I was coaching Marcos Baghdatis. He became the Junior World No.1, and then a finalist of the 2006 Australian Open and member of the ATP Top 10. Now, the Mouratoglou Academy hosts 200 full-time students, 4,000 campers and is a training centre for pro-athletes including Serena Williams and the players we have nurtured, such as Stefanos Tsitsipas and Coco Gauff.

Since becoming Serena Williams’ coach in 2012, she has won 10 Grand Slam titles and two Olympic Gold medals. What does her success mean to you?

It means the world to me. Serena and I know how hard we have worked to achieve that. When I started coaching her, I was often asked how big an achievement it was to work with someone like

her. I answered that it was a blessing but not an achievement. If I took the job, it was to help her do better than she ever did – to make history and beat records – and that I would only be satisfied if I felt I had been able to make a difference.

How integral to Grand Slam success is that relationship between a player and their coach?

The quality of the relationship between coach and player is the first key to success. It requires complete trust and communication. My job is to help players find the strength within themselves to achieve their potential. These goals can be achieved only if player and coach believe in one another 100%. Too many coaches jump straight to proposing solutions before establishing that winning relationship, and this never triggers good results. It’s also important to understand that a player is a complex machine that starts with the mind. Understanding how the whole machine – the whole person – operates is the first step to making the necessary adjustments to reach their next level.

What stood out to you when you first met Coco Gauff ?

I met Coco when she was just 10 years old. I walked away thinking, ‘Wow, this girl is really special’. By 12, she was saying she wanted to be the greatest of all time. As a player she is remarkable, and she’ll go incredibly far in her career. She is very unique: her ambition is limitless, as is her belief in her abilities. She isn’t satisfied with her results – for her, it’s just a start and she is aiming much higher. She is also exceptional at dealing with pressure.

Her personality is just as impressive. She has such a quiet confidence and self-assuredness that translates in her game. Now she’s 16, she’s proving herself to be more mature than even 25-year-old players in both her tennis skills and courage to speak out about matters that are important to her.

What was going through your mind when you watched Coco defeat Venus Williams at Wimbledon in 2019?

I had a lot of mixed feelings. First of all, I love Venus and hate to see her lose. At the same time, I wanted Coco to win so much – I root for her in any

Smash hit: (clockwise from far left) Patrick Mouratoglou at his Nice Academy; Coaching Serena Williams; Coaching Coco Gauff; Preparing for the UTS

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situation. Then I was seeing my little Coco work wonders. To see her beat Venus at Wimbledon, at just 15 years of age, it was the realisation of all the potential I had seen in her when she was 10. It was so special to me. It will definitely stay in my top 10 best tennis moments of all time.

How would you describe your professional coaching style?

I hope my players would describe me as a dedicated, resilient coach with an eye for innovation. I think it’s really important to have a great fit with a player; you give everything for him or her, you have to be their greatest supporter, and think day and night about winning. That’s your job when you’re a tennis coach –to make them win more than ever before. It takes devotion.

How does the Academy tie in with your Champ’seed Foundation?

The Champ’seed Foundation was established to help young tennis talent without the financial means to reach the highest levels of international tennis. Sadly, money is so often a roadblock to people fulfilling their potential and, seeing this first hand as a coach, I felt compelled to do something to give promising players a real chance to have a career. Coco Gauff has been supported by the Champ’seed Foundation and is the perfect example of an incredible player being given the financial support to live out the career she was born for.

What qualities do you look for in a champion player?

Champions think differently. They have an allconsuming hunger to succeed, are determined and hold themselves to the highest standards at all times. For me, the greatest talent is hard work. I look for players who have this commitment and ambition, players who are considering their next opponent as soon as they’ve won a match because they’re never satisfied. In young students, I look for character rather than technique. Real talent is the ability to work to reach one’s goals. It lies in the personality, determination, drive and will. Real talent is competitiveness. watch.utslive.tv

A MODERN CLASSIC The all new Morgan Plus Four combines seven decades of style underpinned with thoroughly modern technology – but does it retain its timeless touch?

Words: Peter Malmstrom

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Modern machine: The Morgan Plus Four combines classic design with contemporary touches (All ©Morgan Motor Company)

THE MID-RANGE ACCELERATION IS BREATH-TAKING, AND YOU SOON ARE INTO 120MPH WITHOUT EVEN REALISING IT

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hen I was asked to test drive the latest Morgan Plus Four, released earlier this year, I was delighted. The thought of a leisurely drive in the country with one of Britain’s most enduring (and unchanged) sports cars was right up my street. The Plus Four was first launched in 1950 and, even then, stood out for its vintage 1930s looks – a staple of the automotive company, which was founded in Malvern in 1909 as an antidote to what Morgan Motor Company could foresee, even then, would become a mass-produced market.

I broke out the tweed jacket – with elbow patches, of course – and dug out my pipe, ready for the experience. Then it arrived: a bright teal monster, with its roof down and an attractive blonde at the wheel looking totally at home in this newest offering from the Malvern factory. Clearly, this car was a contemporary hit – pipe and tweed were immediately ditched, and sleeves rolled up for what would be a re-education in just how far Morgan has come in its 111 years of manufacture.

Starting with the colour.

Apparently, teal was voted the most-liked colour of 2018 by millennials, and has become popular with challenger banks for just that reason. On the Morgan, this is a striking colour, and makes a statement that Morgan is looking for a younger market while still delivering all the classic thrills to its more traditional audience.

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The weather gear on the car is straight from the 1940s – it almost exactly mirrors the weather gear on my 1947 MG TC – as are the triple windscreen wipers and small chrome rear view mirror – but there the similarities end.

The interior is beautifully crafted in black pebble-grain leather, with seats that both hug you and comfort you from the necessarily stiff suspension (optional heated seats take this one step further). From the design of the cockpit alone, you know this car means business. The lack of the familiar airbag symbols on the steering wheel beg for caution, as do the lack of roll bars and other safety features. With a top end of 150mph and blistering performance to match, this is a car that needs to be treated with respect by an experienced pilot.

The modern Morgan is noticeably wider than its predecessors, at 1,650 mm, with all new suspension and running gear that flings this car into the 21st century. On pulling away, I was amazed how well the car picked up and how easy it was to drive. Those clever chaps at Morgan have managed to squeeze a BMW 2.0ltr inline-four cylinder turbo power unit under the slender bonnet; delivering 253 horsepower in a car weighing just over 1,000kg, it is a veritable work of art.

On acceleration (particularly in sport mode), the exhaust note opens to a pleasing roar »

through the neat twin exhaust pipes beneath a handy, old-school boot rack.

While my car had a six-speed manual gearbox, there is also the option of an eight speed automatic with sport and manual modes, which is a lot of gears for a little car. The manual gear box needs a ratio change between first and second, as its too long and, coupled with the fact the engine revs don’t slow quickly enough as you come off the gas (a typical BMW trait), makes fast, smooth gear changes difficult. But the mid-range acceleration is breath-taking, and you soon are into 120mph without even realising it – safe to say I kept one eye on the electronic speedo added to the large, traditional dashboard dials.

On hard acceleration, the turbo heat wash billows into the cockpit. It all feels like seat-of-thepants stuff but, in reality, the car is stable at speed despite the noise. Changing into fifth at close on 140mph, it makes sixth gear a bit of a nonsense, but would drop the engine revs to tick over on long journeys even at relatively high speeds – ideal for that trans-continental bucket list journey.

What was billed as a leisurely drive in the country turned out to be a thrilling exploration of this unique sports car. In short, the 2020 Morgan Plus Four is a wonderful fusion of modern technology meeting old-school styling, which delivers a unique driving experience – as well as turning heads and teasing the senses – that will definitely get your heart rate up. Thundering through the countryside in this modern classic, you certainly know you are alive. morgan-motor.com 38

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A PLACE TO CALL

your own Tempus visits Casterton Grange Estate in Cumbria to discover how this quintessentially English country pile has achieved a perfect mix of absolute privacy, country activities and contemporary charm for the ultimate holiday retreat Words: Freddy Clode

I DO NOT KNOW, IN

ALL MY COUNTRY, A PLACE MORE NATURALLY DIVINE - John Ruskin

W

hen we hear about the latest travel trends, all too often we’re inundated with contradictions.

Holidaymakers should be looking for sustainable options but in untouched locales; search for authentic experiences but within well-trodden tourist hotspots; aim for personal wellness retreats but with the whole family in tow. These expectations can often leave us wondering if it’s possible to have it all at even the most well-equipped of resorts. But, perhaps, it’s simply time to look closer to home?

Nestled between the Lake District and the Yorkshire Dales National Park, neighbouring the picturesque village of Kirkby Lonsdale, is the charming Casterton Grange Estate.

This quintessentially English country home is a stunning, château-like holiday escape, originally built by celebrated Victorian architect Ewan Christian – who was best known as an ecclesiastical architect, restoring Glyndebourne and designing the National Portrait Gallery.

When Tamaris Kenyon bought the property in 2003 it was already beautiful “but admittedly

in need of some TLC”, says her daughter Anneka Sellers. But, with a passion for interior design, Kenyon set about restoring the ninebedroom property back to its original glory – including rebuilding the regal gothic tower that dominates the main house’s north wing and provides a 360˚ view of the verdant countryside.

Inside the building, Kenyon’s sympathetic restoration emphasises the Victorian structure, which is now complemented with bold, warm colours and decorated with sumptuous fabrics, vintage furniture and a range of artworks. But Kenyon, who originally envisioned Casterton Grange as her family home, also added subtle modern touches to the property, building en suites for each room (adding Travertine tiling and Lefroy Brooks rainfall showers) and extending the chef-quality kitchen, complete with a four-oven electric Aga. Now, Sellers and her brother Patrick run the business, renting out the stately home to guests seeking anything from luxury family holidays, corporate getaways to get the team back together, pictureperfect wedding ceremonies, and other events in need of palace-level security. » 40

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WHERE THE HEART IS Casterton is very much a family business and Sellers welcomes us in with a tour of the grounds.

Set in a 60-acre estate, the house can host up to 18 in the main building and attached West Wing, while the stables cottage, lodge house, and barn conversion were all recently reincorporated into the estate to offer even more luxurious accommodation for parties of up to 34 guests.

These free-standing accommodations all enjoy private access, making them ideal escapes for smaller groups of guests who, perhaps, do not require the space of the full estate.

Newly renovated with the same attention to detail, Sellers’ team has ensured that they, too, capture the grandeur of Christian’s architecture with the warmth and modernity of the Estate’s boutique approach. Each property enjoys the same mod-cons and luxuries as the main house, while benefiting from views of the countryside and the house itself – not to mention private wood-fired hot tubs. The barn has the added bonus of being situated by the picturesque lake that sits on the grounds.

Guests can relax by the lake or explore the walled garden, with its spectacular cherry blossom and monkey puzzle trees, or head inside to relax in the billiards room, which is completed with an elegant cocktail bar and wine cooler that makes it like stepping back in time.

“This is a very special place for us,” Sellers says. “When our mum first bought the estate, it was in need of some TLC, and so to see it come back to life, and then to be able to share it with others who are looking for a home away from home, is wonderful.”

While Casterton Grange is more home-rental than five-star hotel, Sellers is determined to raise the bar for guest experience. Rooms feature the fluffiest of bath towels, dressing gowns, luxury toiletries and espresso coffee machines for the small touches, while guests can also avail themselves of an on-site Michelin-star chef, personal chauffeurs, housekeeping, or even butler service if requested. Activities, such as shooting events, are extremely popular at the venue, and tennis lessons, horse stabling and spa facilities can also be incorporated into a stay. It is also – thanks to the plethora of outdoor space, large interconnecting reception rooms, Sonos sound system and a second kitchen for catering – the ultimate party venue.

“It’s important to understand that when a guest comes to Casterton Grange this becomes their own private estate but, of course, with all the little luxuries of a penthouse suite and unobtrusive catering options,” she says.

“Therefore, it’s very flexible. We have guests who prefer to come and do their own thing in total privacy, and then other groups who want us to arrange activities, parties or larger events for them.

“There’s nothing we can’t do for our guests, particularly when it comes to special events, like weddings or birthdays. I would love to plan a New Year’s party for our guests.

Casterton Grange is a very special location for something like that, and the house is stunning at Christmas-time.”

Home from home: View of the estate grounds (right); inside Casterton Grange ( far right)

PRIVACY AND COMMUNITY Casterton Grange is easily accessible by car, train from London Euston – or, for some of Sellers’ more discreet guests, via helicopter, which can touch down safely within the ample grounds.

For those looking to take in more of the estate’s scenic surrounds, there is also a host of activities available for any time of year or party size. Casterton’s all-weather tennis courts are particularly popular with sporting guests. The team can also arrange a range of clay or game shoots – partridge or pheasant – and provide access to two nearby golf courses.

Casterton Golf Course boasts a relaxing ninehole course as well as a dedicated ‘rugbygolf ’ course; while Kirkby Lonsdale Golf Club, in the picturesque Lune Valley within the Yorkshire Dales National Park, is an 18-hole layout that makes full use of the natural terrain (the back nine takes you to incredible views of the Hogwill Fells). This refined club is particularly welcoming to guests – enjoy a customary bacon bap in the clubhouse for the full experience.

Good country walks are available in all directions, dotted with local pubs – many of which, like Casterton Grange itself, welcome dogs – while Kirkby Lonsdale is a pleasant 45-minute walk from the location. One of Sellers’ top recommendations, the historic market town is an area of unspoilt beauty, with independent shops and high-end restaurant for guests to enjoy. The town’s beauty was famously captured

by JMW Turner in his 1822 watercolour painting of the Cumbrian landscape viewed from the churchyard of St Mary’s Church. The view became known as Ruskin’s View after poet John Ruskin wrote in 1875 of the scene: “I do not know in all my country, still less in France or Italy, a place more naturally divine.”

The River Lune is also just 15 minutes from the estate, while nature-lovers can reach the famous caves of Ingleton Waterfalls by car in just a 10-minute and, perhaps the most popular place of natural beauty in the area, Lake Windermere is just 25 minutes away by car. Whatever your choice of adventure, after a long day of fresh country air, ease your muscles with a dip in the estate’s relaxing hot tubs.

“Casterton Grange is surrounded by countryside and feels shut off from all the stresses of the outside world,” says Sellers.

“Which means guests can really unplug from the city and explore as much or as little as they like, sure in the knowledge that this secluded and exclusive spot is truly their home for the duration of their stay.”

Book now at castertongrange.com 42

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GOLDEN FORCE Actor, producer and action star, Gal Gadot opens up about life on set as she reprises her role as Wonder Woman

Words: Lucy Allen

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al Gadot is a bona fide action star. Since early roles providing a female force in the Fast & Furious franchise to taking the lead as Wonder Woman in the DC universe and, now, as she is expected to become one of Netflix’s highest paid actresses for her upcoming role in Red Notice – the streaming company’s most expensive film to date – there’s no doubt that this Israeli beauty is a force to be reckoned with on screen as well as off.

First taking on the mantle of superhero Diana Prince in 2016’s Batman v Superman: Dawn of Justice, it was Gadot's solo outing in Wonder Woman the following year that set the actress and producer at the heart of DC Comic’s big screen franchise. Now, she’s set to reprise the role for the fourth time in Wonder Woman 1984 – expected to be released on 2 October, after multiple delays to its cinematic release during the global Covid-19 shutdown.

With returning talent including director Patty Jenkins and actor Chris Pine, Wonder Woman 1984 also welcomes Kristin Wiig and Pedro Pascal to the cast. But, it’s the high-octane battle sequences that really steal the show, thanks to Gadot’s fearless approach to action.

Gadot, who completed military service as a combat trainer in the Israel Defense Force before turning to the silver screen, received training in swordsmanship, kung fu, kickboxing, capoeira and Brazilian jiu-jitsu to play the role of the Amazonian demigod, taking on as many of her own stunts as possible (with a short break while pregnant with her second child with real estate and hotel magnate, Yaron Versano).

Here, Gadot shares her experiences on set, why she loves the 1980s and how Wonder Woman has become a source of power in her personal life. »

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INTERVIEW

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Gal, what is it like to reprise the role of Wonder Woman?

She is part of who I am now. I can’t imagine my life without Wonder Woman. It’s been so intense and powerful, and had such an impact on my personal life. I feel super grateful that we got the opportunity again to have this incredible platform that the fans care about, to tell a story with a character that we love so much – and to make this movie meaningful and hopefully impactful. I try to keep focused on my character’s journey: obviously the Wonder Woman movies are all about her, whereas with the ensemble movies it’s a bit different; it’s about the team.

What can we expect from Wonder Woman 1984?

In the first movie, we got to establish the story of Diana Prince becoming Wonder Woman.

It’s been some time since we last saw her; she’s been around, doing what she needed to do to help mankind. But she’s also been very lonely as she’s lost all of her friends over the years – and now something crazy is about to happen to her.

The film really captures the spirit of the 1980s. What did you like most about replicating that time?

Wow, what’s not to like? I feel like this is a decade where music was amazing, art, all the pop culture, the colours, the vibe: like humankind celebrated itself in that decade. I was also born in that decade, so I have a special place in my heart for it.

The costuming is phenomenally detailed, such as the famous golden armour. What was it like to wear?

Amazing, amazing, amazing! There’s something about the golden armour that immediately puts you in character. It looks good, and I feel sexy wearing it, but it’s actually really uncomfortable to wear so I had to struggle with that.

What was the toughest challenge shooting this film?

The toughest challenge is just balancing between work and personal life. This movie is so demanding and ambitious and we were shooting for eight months. Both [director] Patty Jenkins and I are mothers and have a family, so I guess that that was probably my biggest personal challenge.

How much of the fight sequences did you perform yourself ?

I do a lot. I do have two stunt girls working with me – because it is very extensive work and extremely physical. I get injured. We had wires and rigs for miles, so that I could run at the same speed as Usain Bolt. If we have to choose between really doing a stunt and CGI, we’ll go for the real version of it. But it is a lot of work, because we’ve tried to make it our own, with fresh new things that have never been done before. That was really challenging for us. It’s been a long, incredible journey, and now finally we feel that it’s getting closer and we can start to share the movie with the world. »

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Clockwise from top left: Wonder Woman dons her golden armour; Gal Gadot as Diana Prince; With co-star Chris Pine (Photos: Clay Enos/©DC Comic/© 2019 Warner Bros.

Entertainment); Wielding the Lasso of Truth (courtesy of Warner Bros.

Pictures/© DC Comics) 47

Were you shocked at any of the stunts you had to perform?

The ‘Oh my God, I can’t believe I have to do that’ moments were all physical things. Patty is one of my closest friends and so it’s hard for me to say no to her. She has a great will, so I’ll find myself trying to negotiate my stance and she’ll be like, “I see what you’re saying, but don’t you think it’s going to be it’s so much better if…”. Those were the moments where I found myself with many different injuries shooting this movie… but it’s worth it. Having watched the movie now, I’m so happy with the way we did it.

Tell us about working with Kristen Wiig, who plays your on-screen rival, Cheetah?

We wanted to cast Kristen from the get-go. We are huge fans of hers, she’s just super-talented and a great person. Kristen and I ended up being incredible friends. Between takes, we would go to the side and shoot something goofy. We have a band now, we have music videos that we’ve edited – like this is real, we’re going to release it when the movie comes out. As hard as it was to shoot the movie, it was a lot of fun, too.

What was your reaction to seeing an early cut of the film?

I had such a strong reaction to this movie, and although I’m not an easy crier, it caught me off guard. I can’t tell you what happened in the movie that made me cry, I can just say it was the very beginning. All of a sudden I wasn’t Gal – the actress and producer who was on set – I was that little girl from Israel at the cinema.

It’s a surreal experience, watching this film and seeing this amazing woman doing these amazing things. I did not expect that. On the set, I didn’t even notice. That was the moment where I thought, “This is why [Wonder Woman is] so frickin’ important. This is why it’s not like any other movie.” I hope the audience will have a similar reaction.

What are you most excited for fans to see?

I feel like in this movie we finally get to explore who Diana is, what she struggles with, and take it to the next level. I’m just so happy and so grateful that it was all worth it – that we’ve told the Wonder Woman story once again, and done it in a whole new way. It’s a different chapter.

Interview: Lucy Allen/Hotfeatures

I CAN’T IMAGINE MY LIFE WITHOUT WONDER WOMAN

Golden gals: Gadot with director Patty Jenkins (left, © Marcos Tarini/Courtesy of Warner Bros. Pictures) and in Wonder Woman 1984 (Clay Enos/©DC Comic/© 2019 Warner Bros. Entertainment) 48

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CULTURE

THE SHOW MUST GO ON British theatre is the envy of the world, but now the arts are under threat like never before. We examine the vital efforts being staged to save the UK's most iconic cultural venues Words: Polly Jean Harrison

Amadeus at the National Theatre (© Marc Brenner)

S

ince the Theatre Royal Drury Lane was founded in 1663, London’s West End has been the centre of the UK’s powerful commercial theatre scene. From a few “legitimate” theatres – attended by King Charles II and diarist Samuel Pepys – to today’s Theatreland of 39 venues plus more across the city, London’s thriving theatre scene is known for producing some of the most extraordinary shows – and beloved talent – ever seen on stage.

Of course, things aren’t plain sailing in this usually robust industry. The Covid-19 pandemic saw theatres across the country close their doors as the UK went into lockdown in March. Even now, many in the arts world fear that some venues, particularly regional theatres, may remain permanently closed – despite further easing of lockdown expected from mid-August, which will allow some indoor gatherings to renew.

While the return to form will not be quick, there is hope that the show will go on. Plans to get audiences back in theatres have already seen the first pilot performance take place at the London Palladium, as singer Beverley Knight performed to a reduced audience of 640 people on 23 July. The theatre, owned by Andrew Lloyd Webber’s LW Group – which owns the Adelphi Theatre, Cambridge Theatre and Theatre Royal Drury Lane – introduced 51

measures including temperature checks and one-way systems for guests, hand sanitiser stations, face coverings and contactless payments, as well as regular chemical fogging of the theatre itself and silver ion door handle covers. Inspired by successful reopenings in South Korea, Lord Lloyd-Webber hopes to roll out these measures across his theatres and provide an adaptable template for venues across the country. But, to many, these measures are seen as merely a stopgap, and production companies have yet to account for the financial impact of a diminished audience capacity.

“The Palladium is meant to be full. It’s a theatre that wants to love you,” Lloyd Webber said at the event, just days before he announced his show, The Phantom of the Opera, would end its 34-year London run. “I think this [event] will amply prove why social distancing in theatre doesn’t work.

“The measures we are taking [here] are not about getting the London Palladium open…

It’s about my passion for theatre and for live entertainment all over the country, all over the world,” he says. “What we badly need is a date when we [theatres] can reopen without social distancing. A musical needs to take 70% capacity just to break even, let alone repay all its investment, and a play a little less. But we have to have our theatres able to be full again.” »

Curtain call: Royal Festival Hall and Queen Elizabeth Hall, Southbank Centre (© Morley Von Sternberg, top l-r); A Midsummer Night's Dream starring Gwendoline Christie, National Theatre (© Perou); Director Sam Mendes (below right) TREADING THE BOARDS There is a large financial incentive to get back on track; the arts sector contributes £10.8bn a year to the UK economy, according to Arts Council England. Theatres provide nearly 200,000 jobs and play a crucial role in UK tourism – more than 15million people attended a London performance in 2018, and 34million across the UK as a whole – with 24% of those visiting the capital set to take in a show.

Little wonder, then, that Prime Minister Boris Johnson described the sector as “the beating heart of this country” when he introduced his government’s £1.57bn rescue package for the arts in July. This came as a much-needed boost to those in the industry after weeks of public pressure and warnings from leading players in the business – including playwright James Graham, Royal Albert Hall chief Craig Hassall and producer Sonia Friedman. The money will be the biggest ever one-off investment into UK Culture, reflecting the importance of theatre to the UK. “I’m deeply relieved and immensely grateful that the government has heard the urgent warnings from across the cultural sector, and responded with this significant rescue package that is so desperately needed,” says Friedman.

“This historic fiscal support recognises that the arts are not an added extra, but a national necessity that enrich all our lives in countless ways. We take them for granted at our peril.”

Many theatres, including the Barbican Centre and the National Theatre, had already taken the cue from museums and galleries to produce programmes of digital offerings and live streaming concerts. Productions of Sally Cookson’s adaptation of Jane Eyre, and Danny Boyle’s Frankenstein, starring Benedict Cumberbatch and Jonny Lee Miller were among performances that have been viewed by audiences across the globe more than 14million times in 16 weeks. These numbers just go to show the true appetite society has for theatre, says a National Theatre spokesperson: “The arts have a power to unite us as a community and provide hope in difficult and challenging times.”

STANDING OVATION However, concerns that the investment announcement may be too little too late have prompted some in the sector to highlight to the vulnerable venues in dire need of support. “Our venue’s success is dependent on the health of the arts in the UK as a whole, so it is important that this funding goes far and wide to support the organisations and artists that make our sector what it is,” says The Barbican.

Oscar-winning 1917 director Sam Mendes – who credits live theatre with his cinematic

success – launched his Theatre Artists Fund to provide emergency funding for individuals who have found themselves at “breaking point”, after he called upon streaming services like Netflix to use their “lockdown millions” to support performing arts.

“This fund has enabled us to move fast in response to the urgent need that is out there,” says Mendes. “However, I urge other studios, streaming platforms, business owners, philanthropists and theatre lovers to come forward and show their support in order to help more of those in need.”

Mendes’ efforts to protect those employed by the industry are based not just on profitability alone, but on the wealth of worldclass talent within British theatre. Theatre is at the vanguard of Britain’s cultural heritage, from daring fringe shows to modern box-office hits.

Shows such as Six, a comedy-musical about Henry VIII’s wives; Everybody’s Talking About Jamie, based on the true story of a 16-yearold drag artist; and, of course, Lin-Manuel Miranda’s Broadway hip-hop phenomenon Hamilton, are among musicals and plays that reflect a wider conversation about diversity and history in modern times – which, some suggest, indicate our appetite for “braver” work .

“Theatre isn’t just the West End. Smaller companies have been hit hard, but scrappy theatres can use this moment to create new work,” suggests theatre costume designer Ciéranne Kennedy-Bell. “The closure of goliath shows like The Phantom of the Opera might present opportunities for artists and producers to be braver with our choice of programming, to invite new writing and new talent, and to take risks while audiences are crying out for entertainment.”

“One of the great contributions that our country has made to the world is through theatre, through writing and performing,” Dame Helen Mirren told BBC Radio 4. “When Venice becomes flooded, Italy really pulls together to save Venice because they understand the importance of Venice culturally to Italy. And I feel the same about the theatre in Britain.”

While many organisations have had to close their doors, the collective effort of individuals, impresarios and the government to protect the arts – and forge new schemes by which a lasting recovery might work – may, in fact, see the industry come out of the pandemic stronger than before.

As Mendes wrote in the Financial Times in June: “This is not a request for a handout, or for long-term life support. It is an offer for the government to become partners in a successful business.”

An offer that, if successful, will certainly be cause for a standing ovation.

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CULTURE

ALL THE WORLD’S A STAGE From modern architecture to spooky superstitions, we raise the curtain on some of our favourite theatrical facts…

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The Mousetrap has been playing in London since 1952, and is the longestrunning play in the world.

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The shortest run belongs to The Intimate Revue, which closed before the curtain had fallen on its first performance in 1930.

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There is clause in every member of cast stating they a real horse in

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William Shakespeare is credited with inventing more than 1,700 words that we use today – including hobnob, advertising, exposure, coldblooded, gossip and amazement.

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Bram Stoker wrote his novel Dracula while working as acting manager at The Lyceum Theatre in the late 1800s.

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In 1881 The Savoy Theatre became the first public building in world to be lit throughout with electricity.

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The longest theatre London belongs to Park Open Air

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A 'Ghost Light' is permanently lit on stages to prevent spirits from cursing a play. In fact, this superstition comes from the 19th century, when leaving a flame burning overnight prevented dangerous pressure building up in the gas lines.

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It’s considered extremely bad luck to whistle on stage. This originates from a time when sailors were hired as riggers and stagehands, and whistling commands acted as cues – the wrong note backstage could cause an accident or force a curtain call.

the contract of the War Horse must not ride case of injury.

bar in Regents Theatre.

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Why London’s most luxe property developers are transforming tired streets into fashionable enclaves Words: Cheryl Markosky 55

PEOPLE DON'T WANT TO LIVE BESIDE

GENERIC CHAINS.

THEY WANT GOOD COFFEE, WINE AND LOCAL THEATRE

J

ust as an art curator coordinates a range of works for an exhibition, the capital’s elite private estates are selecting an impeccable mix of shops, restaurants and art venues to create “neighbourhood villages” attracting affluent homeowners.

Caspar Harvard-Walls of home-search firm Black Brick says landed estates are focusing on “local artisan shops and services, giving residents a sense of ownership in their community.

“As a result, the value of residential property rises,” he says. “It’s a win-win situation.”

This charming trend all kicked off with Howard de Walden’s trailblazing reinterpretation of Marylebone High Street, which introduced a successful mix of independents, such as La Fromagerie, Orrery restaurant, Daunt Books and the Ginger Pig butcher, on its canvas.

“People don’t want to live beside generic chains.

They want to know where to go for good coffee, wine and local theatre,” de Walden says.

Compared to individual landlords, these great estates have a great deal of control. They can take risks and install what residents really want – and even entice new residents.

“A strong eye on pop-up and boutique shops, for instance, has brought younger buyers with eclectic tastes to the Marylebone market,” says Alex Bourne of Beauchamp Estates.

Prime examples of city villages are the Portman Estate’s Chiltern and New Quebec Streets; Mount, North Audley and Albemarle Streets on the Grosvenor Estate; and Cadogan Estate’s Pavilion Road. Here, Tempus finds out the secret behind their success.

– HOWARD DE WALDEN

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PROPERTY

PORTMAN ESTATE Buying head leases back has enabled Portman’s close management of shops, restaurants and hotels – think boutiques such as Casely-Hayford, Thompson’s Gallery, The Grazing Goat gastro pub, The Monocle Café, Chiltern Firehouse and The Zetter Townhouse. New openings include Mexican restaurant KOL and Nobu Hotel Portman Square.

Lurot Brand’s Marlon Lloyd Malcolm explains that once somewhere becomes an appealing spot to eat, shop and drink, it becomes a desirable place to live.

A good example is The Bryanston by Almacantar (left), in partnership with the Portman Estate. Architect Rafael Viñoly is creating 54 apartments, from £2.6m, in an 18-storey block, with a new public realm linking it to a commercial building with an Odeon cinema.

Sales manager Lottie Greaves says there’s huge emphasis on wellbeing at The Bryanston, with an AirRated indoor filtration system plus private wellness facility incorporating a 25-metre pool and gym. “It’s the perfect mix for residents who can walk in Hyde Park and be near Mayfair.”

Another notable venture straddling the Portman and Howard de Walden Estates is Concord London’s Marylebone Square, consisting of 52 apartments plus boutique restaurants and a community hall.

Streetscaping – widening pavements, limiting traffic and planting trees – is creating a pedestrian vibe and village atmosphere on this city block, says Christopher Murray, managing director of Concord London. »

Village vibes: The Bryanston by by Almacantar (left); Portman Estate's Moxon Apartments (top left and above)

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MAYFAIR REVIVAL Grosvenor’s reinvention of Mount Street has made living above a shop sexy, with the arrival of luxe brands such as Marc Jacobs, Balenciaga and Solange Azagury-Partridge. In addition, iconic seafood restaurant Scott’s has been relaunched and the Connaught Hotel revamped.

The 7th Duke of Westminster and his family, the richest of central London’s landowners, have also dusted off North Audley Street. A highlight is Grosvenor’s £5m restoration of former St Mark’s Church into retail space and Mercato Mayfair – a sustainable community market for food lovers.

Nearby, Trophaeum Asset Management is behind a transformation of Albemarle Street after slowly purchasing more than 70% of its property. “We’re the cool younger brother of the big estates. They inherited their buildings, but we had to buy ours,” says Matt Farrell.

Farrell uses the three pillars of fashion, art and food to appeal to sophisticated, younger consumers that want to shop, have lunch and go to a gallery. He lured in the likes of Robin Birley’s Oswald’s Club, Italian shoe emporium Aquazzura, US fashion designer Thom Browne and South American-meets-Mediterranean restaurant, Isabel.

“To stop the street turning into a Disneyland, we’re very focused on retaining old architecture, externally and internally, wherever possible,” he adds.

Albemarle Street: Trophaeum's rennovation focused on preserving architecture (©JSP)

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PROPERTY

CADOGAN ESTATE Over the past two years, the Cadogan Estate has totally transformed Pavilion Road in Chelsea (this page), turning former Victorian stable blocks into spaces for independent artisans.

Carefully chosen vendors include The Sea, The Sea – a modern fishmonger and deli by day, and seafood and champagne bar by night.

Hugh Seaborn, CEO of Cadogan Estate, is encouraging merchants to complement one another. “You can buy a bottle of wine from Pavilion Wine and cheese from London Cheesemongers to take home for supper,” he says. “Low-cost transactions entice people more frequently to the area, creating a buzz in this bustling quarter.”

Seaborn’s ‘no chains, no handbag shops, no supermarkets’ policy is paying off. People are proud of their proximity to Pavilion Road. “If you can create a place, you can create an emotional connection, something that’s becoming increasingly important to visitors and residents alike,” he says.

Other projects currently underway are a £40million public realm investment in Sloane Street and a makeover for the King’s Road “to enrich the area’s character while safeguarding its future vitality”.

CADOGAN ESTATE'S ‘NO

CHAINS, NO HANDBAG SHOPS, NO SUPERMARKETS’ POLICY IS PAYING OFF

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LIFE SOLE AND

With structural flair and a style all his own, designer Alan Buanne is reimagining gentlemen’s footwear with passion, sustainability, and comfort in mind Words: Polly Jean Harrison

A

lan Buanne is unique in the world of men’s footwear. As his new eponymous brand, Buanne, launches its UK online store in August, the designer is determined to bring something men rarely see in fine Italian-crafted footwear: timeless style, creative flair – and not a sneaker in sight.

“Men’s footwear has been over-saturated by sneakers, and the men I speak to increasingly tell me they’re looking for alternative options,” he tells Tempus. “I started Buanne with a clear purpose: to grow steadily. For me, this means not looking for repeat customers but loyal customers. We are not trend driven, so we have more time to consider and test every detail before we present something.”

The Italian-Australian shoe designer is by no means a new player in the industry. He enjoyed great success with his women’s footwear brand, Neous – co-founded in 2016 with fashion editor Vanissa Antonius – known for its adventurous, Bauhaus-inspired shoes and which quickly became a favourite of international fashion titles including Harper’s Bazaar, Grazia and Vogue. It was in creating these stylishly structural pieces for Neous that Buanne realised there was a gap in the market for a more creative style of men’s footwear.

“I will always love designing for women, but I wanted to create a brand that is equally desirable for men,” he says. “Buanne has a timeless style, with contemporary details formed by innovation

at a technical level. My aim with the brand is to offer something that men haven’t seen before.”

While traditionally, Buanne says, men’s shoe design is less exciting than women’s footwear, the brand’s focus on non-conforming elements – such as geometric and architectural shapes – allows for a creative challenge that is redefining what can be achieved for masculine footwear.

“My design approach, for any gender, is that the toe shape creates the personality and the heel height dictates the mood,” he says. “I will always have a passion for hand-craftsmanship and architectural silhouettes, but my focus was reimagining men’s footwear by discovering new techniques.

“The Buanne range fuses non-traditional heel heights, fabric choices and hardware that, until now, have only ever been seen in women’s shoes,” he says.

“Toe shapes also have a harder edge to them, but we have counter-balanced this by delivering them in soft suedes and hand-woven leathers. There are so many possibilities in men’s shoes because so much has just not yet been explored.”

One refreshing element of designing this new collection was being able to, quite literally, step into the wearer’s shoes. “I have always appreciated the confidence that wearing a leather-sole shoe provides me,” he says. “My mission with Buanne was to offer the same comfort that men have come to expect from sneakers, while staying true to my own style.”

A third-generation Italian shoe designer, Buanne is a champion of Italian craftsmanship. He

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trained in Florence with master artisan Roberto Ugolini, and utilises those traditional techniques in the design and manufacture of his collections, including drawing inspiration from Italian postwar architecture.

However, there were challenges in creating his brand “from the last up”. The most pressing, he says, was how to balance his desire for innovation while still ensuring the manufacturing process was as sustainable as possible. The launch of Buanne’s UK online store, inspired by fans of the brand on Instagram, has become a key part of this strategy. “We're passionate about sustainability,” he says. “Being online allows us to create a section that is made-to-order, reducing both the amount of stock at the end of the season and the meaningless waste produced.”

The online store will offer exclusive and made-toorder products in order to “really establish a world for the brand”. Buanne shoes are also available through retail partners in the UAE – and his sights are set on an exciting London partnership to be announced in the coming months. His ultimate goal, however, is to grow organically, with a clear purpose to cater to his loyal customers.

“I’m very proud to have launched this collection and to offer a leather collection in a market where sneakers have previously dominated,” he says.

“The challenge to myself is, always, to create something unique.” buanne.com

STYLE

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TIME to fly

Flying the flag for British watchmaking, Bremont co-founder Giles English shares how the brand’s new Henley-on-Thames facility is bringing horology back home Words: Michelle Johnson

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WATCHES

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he new home of haute horology is Henley-on-Thames. It’s here, far from the rolling valleys of Le Brassus, Switzerland, that prestige watchmaking brand Bremont is scheduled to open its new stateof-the-art facility by early 2021, making good on its promise to revitalise the tradition of British watchmaking.

Inspired by their late father’s passions for mechanical engineering, aviation and watches, Giles and Nick English (below) founded Bremont in 2002 with the goal of manufacturing fine pilot watches right here in the UK. The Cambridgeborn brothers, both pilots and engineers

themselves, studied Swiss watchmaking while setting up Bremont, and have seen the company grow from a modest chronometer maker to a globally renowned brand, with flagship boutiques now in London, New York, Melbourne and Hong Kong. It also attracts big-name partnerships such as Jaguar and Martin-Baker.

“When we were kids, Nick and I restored an old Jaguar with our father,” Giles English says. “So when Jaguar’s then-design director approached us in 2010 to design a mechanical clock for their concept car, the Jaguar C-X75, it was a very cool project.”

Jaguar Land Rover would later commission

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Bremont to create a bespoke pocket watch for the Duke of Edinburgh, presented to him at Windsor Castle, as well as collaborate on the Jaguar XJ75 and release a range of watches inspired by the marque’s E-Type. Another point of pride for Bremont is its popularity with the armed forces. An incredible 25% of the brand’s business comes from the military, particularly pilots; clear testament to the accuracy, precision and durability of each stylish chronometer.

Here, Giles English looks back on Bremont’s family heritage, shares his passion for aviation and reveals his vision for British watchmaking in the years to come. »

Giles, how did your father, Euan English, inspire you and Nick to create Bremont?

My father was an amazing guy. He had a PhD in aeronautical engineering from Cambridge, he was ex-RAF, and he had this incredible talent for building things. Growing up, my brother Nick and I used to spend our time in the workshop with him – we restored old cars, built a plane that we still fly, and a sailboat we went and lived on for six months – but he also had this real passion for clocks and watches, which we inherited.

Our lives changed massively in 1995, when he and Nick were in a plane crash. Nick survived, but Dad sadly didn’t make it through. We hit a tipping point in our lives where we thought: “Everything could change tomorrow: let’s do something we love”. We were young and optimistic, maybe naïve, and really felt there was a gap in the market for a contemporary British watch brand. That’s where this mad journey began.

The story behind the brand’s name is truly fascinating…

Yes, Nick and I met a farmer called Antoine Bremont when we were flying over France in the late 1990s, and had to make an emergency landing on his field in terrible weather. We were lucky the plane didn’t tip over. It was an odd one because, in England or America, if that happens you just give the farmer a bottle of whiskey in thanks and take off once the weather clears, but in France they impound your aircraft, which becomes an expensive logistical nightmare.

Antoine was a lovely old boy in his late 70s, fixing tractors and having fun in his workshop, and it really struck a chord with us because our father would have been just the same if he had reached that age. Once we got home, we called and asked if we could use Antoine’s name [ for the brand], because we liked the sound of it and could get a trademark. He said we were crazy Englishmen, but he agreed. [laughs] Bremont is very much a family business.

What are the advantages of working with your brother?

For me, one of the most important aspects of any watch brand is the design and ethos. Nick and I were best mates growing up – we share the same loves and passions, the same preferences

in planes and cars – and that comes through in our design references. If we had a whole team of designers going off in wildly different directions, it would be a bloody nightmare. I see that with some brands; you can tell when a new designer or team has come on board, and suddenly the aesthetic has changed or there’s a collection that’s completely different. Nick and I design all our watches and there’s a story behind each one. If we’re inspired by the F35 fighter jet we get really geeky about that plane. I can work on a 1930s style watch, because I can reference the de Havilland DH88 Comet or the style of a 1910 pocket watch.

Bremont has such strong aviation and military links. Why did you choose to focus on pilot watches?

We really grew up around aviation – I learnt to fly aged 17 and Nick and I were both sponsored through university by the RAF. So, as a family of watch collectors, we all loved aviation watches.

They aren’t a sports diving watch or a dress watch, just a middle ground of classic, goodlooking watches that you can wear with your suit or up Mount Everest or in your plane. When we started Bremont, we felt that a lot of the aviation watch brands had gone very ‘blingy’ and lost the core of what they should be. We knew aviation; we knew what pilots want to wear. Then we started working with companies like Martin-Baker on our MB series and began to get increasing requests from the military. It was a perfect fit because, for military squadrons, timing is everything – and if you’ve flown in an F18 for seven years of your life, you’ll be talking about that plane for the rest of your life. It’s very special to have a watch that was custom-built for you during that time. It becomes a true family heirloom, and that’s what we’re trying to achieve.

What inspired your mission to manufacture in the UK? We were really inspired by the British watchmaking heritage that we’d grown up with. People around the world love and trust British brands but, as a watch company, we’re always competing against the tradition of Swiss watches and trying to change the mindset of people who don’t know that, just 100 years ago, the UK was making half the world’s watches and was at the forefront of modern mechanical 64

watch inventions. However, being British has helped us differentiate ourselves from the majority of mechanical watch brands.

How did you go about setting this up in the UK? We went to Switzerland for about five years before we started making our watches, and then it was a further three years before we managed to bring the manufacturing over to the UK. Watchmaking is quite a challenging business on every level, but we wanted to build a brand that would have longevity. A big part of that challenge was to properly invest in the UK and bring manufacturing home. We’re now set to open our big new facility in Henley-on-Thames, where our customers will be able to see the components being machined and put together.

I think when you see what goes into building a watch, you suddenly get the magic of it. We’re excited for people to experience that.

How much of your collection is now made at Henley-on-Thames?

There are a lot of components that require a specialist machine or artisan, so we can’t make everything in the UK yet, but every year we look to make more components of our own. A big move for us has been to create our bespoke movements, a project we started about four years ago working with local universities. That new movement should come out in the next 12 months and will be a huge step forward for us.

What we lack in the UK, compared to Switzerland, is the infrastructure of expertise.

Say I want a dial enamelled or plated along with the hands, in Switzerland there’s a workshop over the road that specialises in these processes.

We’d love to have that infrastructure in the UK, but it doesn’t happen overnight.

What’s next for Bremont?

We are really ambitious. The UK and America are our core markets, and we’ve got a store in Hong Kong but we’re not in China yet. China accounts for 40% of the global watch market, and so that will be a natural growth area for us as a brand. We also feel that there’s a long way to go in the UK to grow our market share, and we want to keep on investing in British watchmaking. bremont.com

Clockwise, top left: Supermarine 300 Collection; the Armed Forces Broadsword; Bremont's new Henley-onThames facility; watchmakers at work

WATCHES

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A certain VINTAGE We travel to South Africa’s Brookdale Estate to discover one of the most exclusive and abundant wine estates in the world Words: Juliet Herd

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he harvest is in full swing at Brookdale Estate private vineyard at the foothills of the Klein Drakenstein Mountains in South Africa’s lush Paarl Valley. There’s a sense of urgency and excitement as owner Tim Rudd and his team race against time to pick their quota of ripe Syrah grapes before the fierce midday sun threatens to send the sugar levels rising. Crates of the perfect jewel-like black berries sit between neat rows of organic vines, waiting to be collected for processing.

By the end of the day, Rudd and his team have de-stalked, stemmed and prepared for fermentation more than 20 tonnes of grapes. Resident winemaker Kiara Scott even has the purple feet to show for it after gently treading the precious cargo herself. “It was quite a day,” she says, still smiling along with Rudd after their 14-hour stint.

The thing about this idyllic 80-hectare estate is that it is first and foremost a working farm – and, as a guest, you are encouraged to take part in the various activities, whether joining in the dawn harvest, stomping the grapes or simply enjoying a wine tasting hosted by 27-year-old Scott, a graduate of the Cape Winemakers Guild Protégé programme and one of South Africa’s most exciting young winemakers. What sets Brookdale apart from other vineyards in the Cape Winelands is that it is entirely private, so that when you stay at the manor house, you have the place to yourself. There are no public wine tastings or tours.

Nor is it a hotel (you can’t help thinking it would make the perfect bolthole for privacy-seeking travellers like the Duke and Duchess of Sussex, known fans of the Western Cape area), though guests can rent the property, which sleeps up to 10 and includes accommodation, meals and activities.

Permanent staff include a butler, housekeeper and private chef, with menus devised around seasonal produce from the kitchen gardens.

“We wanted to do something different,” explains the genial and gracious Rudd, 48, who named the estate – about an hour’s drive from Cape Town – after the hamlet in Derbyshire, England, where he lived for many years. “The whole concept is that you make yourself at home and treat the farm as if it’s yours. We want it to be an authentic experience.” » 66

INDULGE

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In vino veritas: Brookdale Estate aims to produce unique wines in the ‘New Wave’ South African style

SOUTH AFRICAN STYLE Since buying the neglected, rather run-down property four years ago, Rudd has transformed it into a thriving enterprise and mini paradise, surpassing even his expectations. Part of the New Wave South Africa wine movement, the estate has already produced its first 2017 chenin blanc vintage and there are high hopes for its unique blends, including a 16-varietal white field blend, and a sweep of reds, notably syrah, mourvèdre and grenache. The solar-powered winery is due for completion in 2021.

Following a massive replanting programme, which involved uprooting most of the original vineyards – rejuvenating only the oldest chenin blanc blocks – and planting a further 27 hectares, Rudd turned his attention to the homestead. Based on historic drawings of the original 18th-century farmhouse, the magnificent five-bedroom manor house has been built in the traditional Cape Dutch style and literally takes your breath away – from the moment you first catch sight of the distinctive rounded gables, whitewashed walls and thatched roofing along the winding 2km driveway. “Wine is all about its terroir, its sense of space, so we decided if we were going to build, it would have to be something you would only find here,” explains former property developer Rudd. “Each house [of the period] had its own signature gables, the earliest ones being a very simple, lovely rounded shape.”

The house forms a traditional H-shape, which lends itself remarkably well to modern living with the front section flanked by two generous wings running perpendicular to it, allowing the breeze to circulate freely. The imposing central staircase, all the more dramatic for the striking portrait of a young woman by local artist David Thorpe hung at the top, leads to a mezzanine floor housing four of the spacious bedrooms (the fifth is on the ground floor), complete with luxury en suite bathrooms and spectacular views. There is no such thing here as second best. “It just depends on which view you prefer,” grins Rudd. The vineyards run as seamlessly as possible up to and around the house, so that when you look outside, you see a “garden of rooms” – which is the brief he gave Cape Townbased landscape designer Franchesca Watson, who created the manor’s more formal gardens, complete with helicopter pad.

As you move between rooms – a tranquil library/study, formal dining room, two stylish sitting rooms in cool colour palettes and a vibrant breakfast room leading to the borewater swimming pool – it’s impossible not to feel at home or to appreciate Rudd’s concept of “modern living within a traditional shell”.

It’s clear no expense has been spared, from the polished oak flooring to bespoke cornicing, with the harmonious interior design testimony to Rudd’s talents as a “frustrated creative” – with

a little help from his artistic mother Lesley. “If you do something like this, you’ve got to do it properly,” he reasons, bouncing on the floating oak floor to demonstrate how expertly it’s been laid over the existing struts. The furniture is a clever mix of antique, reproduction and contemporary versions of traditional Cape pieces, such as the Pierre Cronje-designed oak dining table and yellowwood breakfast table with raspberry-coloured seats in the style of original Cape Dutch stinkwood side chairs.

Vibrant modern artwork by Katie Miszewski, Junior Fungai and Dominique Salm add colour and drama while oversized sofas and deep armchairs in beautiful Mavromac & Gatehouse fabrics simply beg you to sink into them after a day hiking in the hills, shopping in historic Franschhoek or visiting the nearby Ashia cheetah sanctuary.

HOLISTIC HABITAT Since taking ownership, keen conservationist and gardener Rudd has overseen the clearing of all alien vegetation, replanting the valleys with 3,600 indigenous trees and re-seeding the mountain slopes with wild Cape fynbos and flowers. On a guided stroll around the property, estate manager Schalk Pienaar points out new plantings of stinkwood, yellowwood, waterberry and milkwood trees as well as bird life including peacocks, guinea fowl and the raucous hadeda ibis. There are also fish eagles, bat-eared foxes, lynxes, leopards and porcupines, all drawn by the fertile habitat. “We’re very fortunate to have a natural source of water from the mountains,” explains Pienaar, who leads us to a stretch of green lawn with a table set for a surprise breakfast feast reminiscent of a scene from Out of Africa, prepared by chef Sue-Ann Allen, a former MasterChef South Africa runner-up.

Ah, the food. Allen, 38, describes her style of cooking as “refined home-cooking” and it’s exactly that – delicious, unpretentious and a perfect complement to wine from the estate and other local vineyards, including the nearby bio-dynamic Avondale. During our stay, we tuck into a typical South African braai, featuring wagyu beef marinated in rosemary and thyme, so tender you could cut it with a spoon, and what must rate as one of the finest carrot cakes; a “simple” lunch consisting of deboned roast chicken and nectarine and pecan salad, and a five-course formal dinner, which includes a granita made with chenin blanc juice pressed

by Rudd himself. “I want to see how we can incorporate the grapes into the cooking more,” says the ebullient Allen, who has cooked for the likes of Gerard Butler and Nicole Scherzinger.

“We’re also growing peach, nectarine, mango, orange, plum and pomegranate trees and will start doing homemade jams.”

The goal is for the estate to be fully selfsustainable in everything except meat and 68

fish, which is all ethically sourced, with most of the garden set aside for growing vegetables, herbs, salads and fruit. “We’ll make our own soap from the herbs and oil from a small olive grove and we’re also producing our own honey,” enthuses Allen.

Integral to Rudd’s 10-year vision of Brookdale as a world-class fine wine producer is its workers. For him, employing local labour is vital. “There is a huge well of experience here which most people have ignored over the years,” he says. “Our vineyard manager Ampie Dirkse is extraordinary and we’re developing this lovely team now.”

The 30-odd permanent workers are given ongoing training in everything from driving lessons to sustainable viticulture and wine tasting, so they feel invested in the success of the farm. “Traditionally, they were hired to pick grapes and then laid off,” says Rudd, whose lifelong passion for wine and farming led him to buy Brookdale with his industrialist father Sir Nigel Rudd. “We’re trying to immerse them into the culture in the same way as the French, so they understand what it is that makes wine special.”

One of just a handful of female winemakers in South Africa, Kiara Scott shares Rudd’s ambition to make “some of the best wines here ever” – and, for more personal reasons, to give back to the community. “It’s a part of me; I might as well have roots and grow here,” she says while treating us to a lively wine-tasting at the end of her long day in the field. Although she plays it down, her journey is quite extraordinary: having grown up in the apartheid suburb – or “ghetto” as she calls it – of Mitchells Plain, outside Cape Town, where gangs and addiction are rife, she managed to win a place at Elsenburg Agricultural Training Institute in Stellenbosch to study winemaking before being accepted on the trailblazing protégé programme. “I grew up in a rough community where people abused alcohol, including [some members of] my family,” reveals Scott, who plans to start her own non-profit organisation to help disadvantaged young women. “I wanted to learn about this [alcohol] because knowledge is power.” She had to overcome resistance from her conservative mother and grandmother, who raised her and her younger sister, but is pleased to report she is slowly changing their perception of wine – “because it is not a bad thing; it is something to be enjoyed and which brings people together.”

As a woman, she admits, “you need to be smarter and work a little bit harder because the wine industry is male dominated. It can be challenging but it’s made me resilient and I feel so blessed. I wake up and say, ‘Yay, I get to make wine today!’”

And for that, we are all truly grateful. brookdale-estate.com

TRAVEL

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THE WORLD ON A PLATE With a tradition of fine dining and love of world cuisine, the adage that one can travel the world without ever leaving London has never been truer.

As restaurants reopen their doors to diners, we celebrate some of the most spectacular establishments the capital has to offer. Have you made your reservation?

Amazรณnico 70

INDULGE HIDE Ollie Dabbous’ acclaimed collaboration with Hedonism Wines is notable for more than just the chef-restaurateur’s Michelin-starred menu. HIDE is a sophisticated venue that caters for every mood, with the relaxed but elegant Above serving light and indulgent à la carte or tasting menu with matching wine flights (from Hedonism’s enviable wine lists), all with tranquil views over Green Park. At the heart of the venue, Ground’s refined menu features hyper-local produce plus breads, jams, juices and charcuterie all made on-site.

Beneath the restaurant, Oskar Kinberg’s HIDE Below serves up exceptional cocktails in an intimate, effortlessly suave atmosphere. hide.co.uk

SUMOSAN TWIGA This glamorous Knightsbridge restaurant launched in 2016 as an expansion of beloved contemporary Japanese restaurant Sumosan, which already boasted locations in London, Moscow, Monaco, Dubai and Courchevel. In collaboration with Italian businessman Flavio Briatore, Sumosan Twiga is known for its restaurant combining Asian and Italian food, and its vibrant lounge bar and nightclub. Try the home-made strozzapreti with lamb ragù from the Venetian kitchen, or classic black miso cod and sushi from the Japanese menu, washed down with cocktails guaranteed to get you in the party mood. » sumosantwigalondon.com

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DALLOWAY TERRACE One of London’s most photogenic restaurants, named after one-time resident of this literary enclave Virginia Woolf ’s most famed character, Bloomsbury’s Dalloway Terrace is a flowercovered haven serving up indulgent afternoon teas to modern British à la carte. Its fragrant cocktails and indulgent desserts are especially lovely in the summer, when the seasonal blooms create a stunning al fresco space, while in autumn and winter the terrace becomes a Narnia-like secret garden. dallowayterrace.com

KERRIDGE’S BAR & GRILL Chef Tom Kerridge’s ‘best of British’ grill is a uniquely unstuffy gourmet restaurant housed in the luxurious Corinthia London hotel.

Kerridge brought his team – and produce – from his renowned restaurants in Marlow to offer Londoners the finest British dishes and reborn classics. A huge bespoke rotisserie is the centrepiece of the dining room, supplying perfectly grilled meats, fish and vegetables straight to the table. Timeless and delicious. kerridgesbarandgrill.co.uk

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INDULGE CORE BY CLARE SMYTH Clare Smyth is the only female chef in the UK to earn three Michelin stars (during her time heading up Restaurant Gordon Ramsay) and so it’s little wonder the Northern Irish restaurateur’s solo debut has been such a huge success. Now with two stars of its own, Core, in Notting Hill, serves up technically brilliant and playful dishes, all with seasonal produce, in an elegant and informal atmosphere. Don’t miss Smyth’s Potato and Roe – a masterpiece. corebyclaresmyth.com

LE GAVROCHE Michel Roux Jr’s two Michelin-starred restaurant is the last word in classic French cuisine. Renowned for its out-of-this-world fine dining and impeccable service, Le Gavroche was established in 1967 by Michel and Albert Roux (Michel Jr’s father) and was the first UK restaurant to earn its Michelin star, and then the first to be awarded two and three thereafter.

Standout dishes include the restaurant’s classic soufflé suissesse; le caneton Gavroche or omelette Rothschild, as well as the restaurant’s nine-course tasting Menu Exceptionnel – and we can confirm the dessert courses are not to be missed. » Le-gavroche.com

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IKOYI Using seasonal produce and unique house blends of spices, Ikoyi presents a moreish-butminimalist menu of West African-inspired cuisine. With a host of jaw-droppingly beautiful sharing plates and big flavours, nourishment of body and soul is the order of the day here.

Stand out dishes include plantain caramelised in ginger and kombu; fried half chicken and hot sauce; and the delicious crab and daikon roll.

Ikoyilondon.com

AQUAVIT This Michelin-starred Nordic restaurant is, as the name suggests, a balm to the senses.

Perfectly situated in St James’s Market, this younger sister to the New York restaurant has a down-to-earth brasserie-style charm that well suits its relaxed and cool interior. Reopening to diners on 24 August, Aquavit serves up classic Nordic dishes such as beef Rydberg; or meatballs and lingonberries with a modern twist. Don’t miss the restaurant’s signature smorgasbord sharing plates with their sublime Vendace roe “Kalix Löjrom” or shrimp skagen. aquavitrestaurants.com

XIER | XR This unique dual-concept restaurant in fashionable Marylebone offers modern European cuisine, principally inspired by a surprisingly seamless fusion of Scandinavian and Japanese cooking, headed up by Italian chef Carlo Scotto. Upstairs, Xier offers a specially curated 10-course exploratory tasting menu – including dishes such as rose-cured salmon, British organic beef with muscat grapes and onion hash – that promises gourmets a fine dining tour of the chef ’s impressive influences.

On the main floor, XR serves up a prestige, but less formal, à la carte menu designed to showcase fresh, seasonal produce from organic farms in the UK. xierlondon.com

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INDULGE BENARES This fine dining Indian restaurant is fighting hard to regain the Michelin star it lost last year, with an acclaimed à la carte menu of innovative signature dishes and delicious new takes on Indian classics. From stunningly presented street food (the unique five-course sharing menu pays homage to various regions of India) to British ingredients such as Scottish salmon and New Forest venison, each perfectly-spiced morsel served in the Berkeley Square restaurant is a feast for all the senses. benaresrestaurant.com

AMAZÓNICO Launching in Berkeley Square just last year, Amazónico has fast become one of the most popular restaurants in Mayfair thanks to its unique mix of mouth-watering tropical and Latin-American cuisine and rainforest-inspired décor. Take a tasting tour of the Amazon with a selection of Peruvian sushi, fresh raw seafood, or carefully sourced grilled meats and fish. With nightly jazz and DJ, and an ultra-luxe speakeasy bar now open beneath the restaurant, this exotic spot must be on every foodie’s menu. amazonicorestaurant.com 75

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BUSINESS

MODEL OF A MIND Entertainment Mindframe founder and CEO Adaire Byerly reveals what understanding the creative mind could tell us about business leadership Words: Michelle Johnson

I

t was during her decade-long modelling career that Texas-born Adaire Byerly first realised there was a problem in the fashion and entertainment industries. Experiencing a culture of “ruthlessness” during her work had caused Byerly (left) to take numerous hiatuses and worry about how she was perceived until, in 2015, she realised that the negative business practices that she had observed had, in fact, become the norm – and, in her view, were putting a billion-dollar industry at risk.

Byerly’s response was to throw herself into the study of human behaviour. She took courses in analytical psychology, philosophy and neuroscience, became certified in cognitive studies and built a team of PhD neuroscientists and psychologists to establish her business. Entertainment Mindframe was born to bridge the gap between creative communication, and producing an effective, growth-based business strategy.

“Anyone in the modelling business will tell you that it’s is not only tough, it can be messed up and ruthless. I found that was mainly because of the people, and the way those people do business,” Byerly tells Tempus. “It would drive me away from the industry for months at a time because I did not have the capacity nor patience to deal with the emotional dynamics. But I was always intrigued by human behaviour, so eventually I challenged myself to do something about it.”

Entertainment Mindframe now works with businesses across the US – particularly in the entertainment hubs of Los Angeles, Las Vegas and Dallas – to implement scientifically based intellectual and developmental training for creative professionals, understand the creative mind, and perform scientific research into neuroplasticity. This, Byerly hopes, will “create

a precise solution for workplace efficiency through rewiring our brains”.

“Neuroscience, cognitive behavioural therapy and neuro-linguistic programming all fall under the umbrella of cognitive sciences,” she explains.

“It’s a holistic field: it involves philosophy, psychology, anthropology, linguistics and even artificial intelligence. These studies help us understand how the nervous system processes information and influences behaviour – allowing me to identify behaviours and find solutions for my clients.”

HUMAN BEHAVIOUR Byerly’s research suggests that what she terms ‘creative minds’ have fundamental difference to those who excel in other fields. Creatives are also surprisingly opposed to what we might consider typical executive behaviour due to the way they perceive success and boundaries – particularly when it comes to the structure of creative industries both here and in her native US. Understanding the motivations of creative leaders, she says, could reveal many ways to improve the day-to-day business function, growth and culture of these companies.

“Creative industries, such as the fashion and entertainment sectors, have two components that make them distinct. First, they have a wide range of eclectic and creative brains that require a high skill level of artistic production and, secondly, these industries are perceived as ‘glamorous’ and can influence the way the rest of the world measures success,” she says.

“These industries can be seen as a platform to showcase your own talent or become famous, rather than as the billion-dollar businesses they are – you’ll often find people namedropping to enhance public perception of their 77

own success. That type of mental dynamic isn’t common in other industries.”

Byerly, whose clients include production companies providing content for major media networks such as Netflix, Imagine Entertainment by Ron Howard, HBO and CNN, says that to combat these toxic cultures, Entertainment Mindframe works on finding or creating process that protect and enhance productivity for the company, but also does not seem to place limit on creatives.

“It’s almost impossible to conduct business when that dynamic becomes the norm,” she explains, noting that changing culture can be an intricate process. “You have to actively address the behaviours and business practises that negatively affect productivity – things like ego, rebellious or dissociative behaviours, passive aggression, push-back, gossip and power dynamics – not to mention mental challenges, such as anxiety or depression, that may be fuelled by the environment.”

An enormous part of Byerly’s work is addressing corporate communication – not just in terms of how to more effectively interact with employees, but to understand the power that positive communication has to transform real world productivity.

“Lack of communication is the number one issue I am seeing in the environment,” says Byerly.

“I often tell my clients that communication is a science as much as it is an art. In any company, if the environment we work in is full of miscommunication and distrust, we will respond negatively as this triggers our survivalmode. It’s crucial to understand the levels and influence of all forms of communication to produce the highest level of efficiency possible for your team and company. »

“The science of communication is both psychological and physiological – it's not just about expressing how you feel, but becoming fluent with another person by speaking at their comprehension level, rather than forcing your own. This begins with body language before we begin to verbalise.”

CHAIN REACTION Even in companies with an established, positive culture, world events can cause significant impact on a business – both in financial terms to questions of employee wellbeing – as we have seen so vividly in 2020, with the impact of events such as the Covid-19 pandemic and worldwide Black Lives Matter protests inspiring conversations about mental health and diversity in the workplace.

These events can cause a “visceral reaction”, Byerly says, which in turn causes people to make decision based on a “fight, flight or freeze response that takes over rational thinking.”

Clearly it’s in this realm where Byerly’s research bears particular interest.

“The job of our brain is to keep us alive and safe, and therefore it’s natural for us to take the path of least resistance,” she says. “That means we may naturally turn away from things that are new or inspire fear. However, the reason creatives are different is because they have a strange ability to bypass this natural pathway. It’s amazing, because they are subconsciously fighting a chemical response on a neurological level.”

This could pave the way for other industries to adapt more quickly and efficiently to drastic

changes, too – all through ‘emotional restructure’.

“There was a longstanding belief that our brains were hard-wired by a certain age, but modern discoveries show that we have the power to change the structure of our brains (neuroplasticity) throughout our lives.

Emotional restructure is like rearranging a room to make the space more efficient,” she says. “I often hear people say ‘emotions don’t belong in business’, but that’s not how the brain works. Our emotions start in our limbic system, which is subconscious; our hormones alter our neurons, and our neurons change our behaviour.

Meaning every decision starts from a cell that travels through your neurological wiring.”

Byerly says this emotional response has been clear in how so many companies around the world have responded to social issues, which in the past may have been considered strictly in the realm of personal matters.

“Many companies and corporations have been responding to the rise of social issues, particularly regarding discrimination and racial biases. Many are releasing statements of support and some are taking it a step further to provide solutions or education within their company, or even to the wider public, to help address concerns,” she says. “With regards to the Covid-19 pandemic and resulting financial crisis, I have noticed many companies are providing webinars and resources for their employees that address mental health during this time, which is a wonderful way to build their ability to withstand these difficult moments.”

As we come into our ‘new normal’ post78

lockdown, and build cultures that support much-needed innovation at all levels, how do we avoid hitting ‘survival-mode’ when confronted with social worries – such as mental health and diversity education?

“The best advice I can give is to remember that this time is a moment,” Byerly says. “It may come across as cold, but I aim to think logically and be an anchor to ground people when we are dealing with emotional responses. We are witnessing human nature, whether that is good or bad, and it is up to each individual to understand the impact of their daily decisions.

“You may think your life does not affect the next person, but it does. Let’s say you do one thing in your day that is morally sound towards 10 people; each of those people knows 10 more.

In just one day, you are able to touch 100 people from one act, look or word.”

By beginning with this personalised approach to action, and ensuring one is purposeful across various platforms, Byerly says it’s possible to make positive steps forward without becoming overwhelmed.

“The impact is a ripple effect,” she says. “And we must be cognizant of that in our homes, on social media, in our workplace and in public.” entertainmentmindframe.com Credits: Photographers: Rebekah Baker Photography, Varoujan Daniel Messier, Kauwuane Burton Make Up Artist: Bridgett LaDawn Stylist: Kristin McIntyre

BUSINESS

PEOPLE SAY

‘EMOTIONS DON’T BELONG IN BUSINESS’, BUT

THAT’S NOT HOW THE BRAIN WORKS

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AND NOW

WE RISE

Covid-19 has been something of a litmus test; a temperature gauge of where we stand as a society. But, as a growing number of organisations and business leaders look to examine their impact, is may also be an opportunity to #BuildBackBetter

Words: Lysanne Currie 80

WEALTH

W

e find ourselves at a crossroads.

If the Covid-19 pandemic has exposed gaping fault lines in our economy, and highlighted deep-seated inequalities along socio-economic lines such as class and race, it has also demonstrated with startling clarity the need for a better kind of capitalism; one that works for society, stakeholder, shareholder and planet equally.

Meanwhile, the voices crying out for everything from zero-carbon futures to greater inclusivity for the BAME community range from big businesses to lobby groups to government Lords and Ministers. Several have even provided roadmaps to better business.

This July, James Bruce, the director of Danone, argued in Retail Week that “although the emergency response to the crisis might be over, now is not the time to stop”. Danone itself has been playing its own part to bring aid to those who need it most during the pandemic,

including doubling its supply of medical food to the NHS, and distributing produce to food banks. But Bruce says it’s not enough: “Businesses must continue to step up and play an integral part in building a more equitable and sustainable future. To build back better, leaders should consider becoming a B Corp.”

He’s referring to Certified B Corporations: businesses, according to certifiers B Lab, “that meet the highest standards of verified social and environmental performance, public transparency, and legal accountability to balance profit and purpose”. B Corps aim to accelerate global culture shifts to redefine success in business, building a more sustainable and inclusive economy. “The B Corp community works toward reduced inequality, lower levels of poverty, a healthier environment, stronger communities, and the creation of high quality jobs with dignity and purpose,” it states. Its leaders are those who use business as a force for good. » 81

OUR RECOVERY

SHOULD LEAVE NO-ONE BEHIND.

WE MUST SHARE SOLUTIONS, TECHNOLOGY AND FINANCE WHERE NEEDED – BUILD BACK BETTER

MAKE A PLAN Mike Barry is one of the world’s leading experts on sustainability in business. Former director of sustainable business at M&S, he naturally has some strong opinions about what business should be doing to #BuildBackBetter.

“You will have to be ‘better’ in all that you do, all of the time – not just for the narrow benefit of those who participate in your self-defined value chain but, also, much more broadly for society and the environment in general,” he says.

For Barry, social and environmental factors aren’t just sideshows or boxes to be ticked as we emerge from the crisis. They must lie “at the beating heart of your purpose, mission, strategy and customer proposition”.

In a recent nine-point outline he recommends “Listening deeply to your customers and employees” and upholds entrepreneur and author Julian Richer’s Good Business Charter as an example of how to make purpose real. “Be a consistently bold and brave leader,” he says.

He suggests setting clear targets, not just for sustainability measures but things including tax, lobbying, privacy, zero-hour contracts, mental health. Meanwhile, teamwork is dreamwork: “Be active participants in partnerships for change…

You have to get off your own stoop and go and find platforms to drive change together whether on a local or national scale.”

Finally, business has to totally engage its customers. “They have to know you care,” he says.

“That you are committed to them, their family, their community, their society and their planet through all you do.”

The campaign group Build Back Better sets out a more modest five guidelines to recovery: 1) Secure the health and needs of everyone in the UK now and into the future; 2) Protect and invest in our public services; 3) Rebuild society with a transformative Green New Deal (“It should create thousands of new, well-paid, secure, unionised jobs across the country”); 4) Invest in people (“We need to restructure public and private finance so that it redistributes power into the hands of people, workers and communities”) and; 5) Build solidarity and community across borders. “Our recovery should leave no-one behind,” says the organisation. “We must share solutions, technology and transfer finance where it’s needed.”

Strong and sustainable: Businesses cite the need for socially- conscious growth post-lockdown (right); The world’s greenest city, Copenhagen (above), may be a model for an eco-friendly future

GREEN SHOOTS A report for the London School of Economics titled Strategy, Investment and Policy for a Strong and Sustainable Recovery: An Action Plan similarly lays out five key areas in which investment is crucial to ensure a post-pandemic recovery that meets this criteria. It includes taking action on infrastructure, education, local governance – and, especially, the environment.

The report’s co-author, Professor Lord Nicholas Stern of Brentford, says: “The continued commitment to a net-zero emissions trajectory will be critical to the UK’s economic and environmental wellbeing in the coming years, including not only sustainable growth but also cities where we can move and breathe and ecosystems which are robust and fruitful.”

It echoes a July statement from Environmental Minister Zac Goldsmith on the question of building back a green and resilient recovery. The Covid-19 crisis, he says, is “a wake-up call”, and a likely consequence of our abusive relationship with the natural world. If trends continue, the effects of climate change and the industrialscale environmental degradation will be “many times more dramatic… we are undermining our very foundations and it makes as little sense economically as it does ecologically. We need to massively ramp up our efforts to protect and restore the natural ecosystems.”

Elsewhere, the We Mean Business coalition comprises a growing number of European businesses, including retailers H&M and the IKEA Group, urging governments to build back better. In April, 37 CEOs of Europe’s largest global companies joined ministers from 11 countries – as well as MEPs, business associations and trade unions – to call for a green recovery in Europe under the European Alliance for Green Recovery.

“One thing that will not change is our commitment to sustainability,” comments IKEA CEO Jesper Brodin. “As the European Union seeks to recover from this crisis, we support building a vibrant, resilient and green economy that is climate neutral.”

As campaign group Build Back Better puts it, “Let’s not go back to normal”. A statement we can all get behind. bcorporation.uk; buildbackbetteruk.org; wemeanbusinesscoalition.org 82

WEALTH

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Princess Yachts CEO Antony Sheriff tells Tempus why he is determined to drive innovation throughout the yachting industry Words: Harry Malmstrom

Princess Yachts X95 84

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What was your approach when designing the new X95 ‘Superfly’?

We’re trying to keep the ethos of Princess but also push forward in technology and design at a rapid rate. When you look at a generational change, it’s pretty astonishing. For instance, the X95 is the sister of the X80: you can see we kept an ethos of proportion in comparison, but in terms of the design evolution, it looks maybe two or three generations further forward in just six years. But we also wanted to put something of substance into this evolution, so when we were designing the X95, we focused on architectural differences.

W

ith decades of experience in the automotive industry – most notably serving as MD for McLaren – it is little wonder that Princess Yachts CEO Antony Sheriff (above) is considered a driving force in the world of superyachts.

Based in Plymouth, Princess Yachts boasts a unique approach to hand-building ships for a new, greener generation of enthusiasts.

Cutting edge architectural design meets ageold craftsmanship passed down through generations, and technological mod-cons meet eco-friendly material for a guilt-free luxury.

Currently undergoing sea trials is the brand’s newest flybridge, the 29.1m X95 ‘Superfly’.

Dubbed the “luxury SUV of the seas”, the X95 was designed and created in collaboration with Italian designers Pininfarina SpA and British naval architect Olesinski.

The launch is a continuation of the company’s five-year £100m investment programme, which is designed to support innovation in design, production and quality – as well as expert recruitment and training – and has seen eight new yachts launched in 2018, and six more in 2019. The first model from Princess’ new X-class has rewritten the rules of yacht design, maximising indoor and outdoor space and introducing a new extended hull that creates between 10-12% more fuel efficiency, depending on speed.

Here, Sheriff talks cutting-edge technology, keeping traditional craftmanship alive, and why the superyacht world must get on board when it comes to protecting the oceans.

All at sea: The X95 was designed in collaboration with Pininfarina SpA and Olesinski

Tell us about some of the new features?

We’ve extended the length of the bulbous hull to be very long for the size of the boat, which makes it much more efficient. It’s actually about 15% more efficient through the water than the 35M, which is a huge step forward. The architectural changes allow us to make the accommodation very spacious – the main deck area is twice the length of a typical flybridge, while there’s the same area below deck, more lounge space and more flybridge space. It’s really a 35m boat hiding in the footprint of a 30m.

How does Princess Yachts compare to others in the industry?

We like to think we make very intelligent boats but with an element of grace, elegance and class. We emphasise classic proportions and forms, but a bit more modern.

You emphasise the efficiency of the hull.

Why is this so important?

The yachting industry has completely ignored the importance of fuel efficiency. To be fair, it’s not often on the top of a customer’s list when buying a yacht, but we’re determined to make our hull forms more efficient. This means that, as well as customers seeing lower fuel bills and longer range, we’ll be doing our part for the environment as well.

Is hull efficiency linked to more sustainable engine technology?

It is. I’m a very big believer in electrification – I sit on the board of three electric car companies – and we’re working with our engine partners but, when it comes to boats, we shouldn’t be focusing on the technology alone. The industry needs to be more holistic. We can talk about alternative fuels and electrification but, in the meantime, we can immediately make more of the opportunities to push the boat through water using less fuel. And you do that by working on the hull form. If you were to tell a car company that they could change the shape by a tiny fraction and get between 1012% fuel savings – with considerably more at slower speeds – that would mean they were saving literally hundreds of millions. It’s a very innovative approach, and we’ll be putting that into all of our fleet, like the X95.

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Could you tell us about your partnership with the Marine Conservation Society?

We support them in a number of initiatives, including the conservation of the Eddystone Reef off the coast of Plymouth and putting together local eco berths, which is being expanded through the UK. We’re quite outspoken about the work we do with the Society; it’s important to raise the flag for our customers. After all, they want to be on the water because it’s beautiful, so it’s in our interest to keep the water beautiful. It might sound a little bit self-serving, but it’s in a very constructive way.

There’s plenty more we’d love to be doing on this front, and so are always looking for new initiatives.

Is the yachting industry as a whole doing enough for ocean conservation?

I do think that it would be beneficial for the industry to get together as a group and say, how can we do more? How can we supercharge this cause? We don’t have a coordinated approach right now. I won’t name any names, but we approached one organisation with an idea and the response came back that they couldn’t – because one of our competitors didn’t want us to be involved with that organisation. I thought that was extraordinarily small minded. We don’t view conservation as being a competitive issue; it’s about our foundation. We’d be delighted if our competitors wanted to join us in supporting the Marine Conservation Society.

You have also committed to using more sustainable or ecological materials.

We have. One material I’ve come across recently has a particular resonance – it’s a company that makes carpeting using reclaimed plastic from the ocean. That’s perfect. To be able to use a material in our yachts that is made by repurposing plastic from the ocean is beautifully circular. We should be supporting these initiatives – and if it costs a bit more, that doesn’t matter. It’s the right thing to be doing. Part of our business is selling dreams: we’re selling a story. If we can do something worthwhile while we do that, it’s a perfect solution.

Why is traditional craftsmanship so important to Princess?

Our products are truly handmade. When you open a brochure for Ferrari or Bentley you often see pictures of old people chipping wood and sewing leather. Most of that’s for show now, because the production is very industrial. But everything we do at Princess is based on craftsmanship; we make everything by hand. It’s key for us to retain those skills. We have a very active apprenticeship programme so our employees can pass on their skills to the next generation. I’m proud to say that we kept the learning programmes going even during lockdown, and conducted Zoom interviews for new apprentices. That’s very much part and parcel of what we do, and that’s not going to change. princessyachts.com

SPEED

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By royal appointment From interior design fit for a prince to the Queen’s perfect cup of tea, we explore some of the UK’s most luxurious Royal Warrant holders

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Sandringham House

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f you’ve ever wondered what the Queen feeds her corgis, then look no further than the Royal Warrant Holders Association.

The Royal Warrant – which can be appointed

by Queen Elizabeth II, the Duke of Edinburgh or the Prince of Wales – is a mark of recognition and pride for more than 800 companies and individuals representing a vast cross-section of trade and industry.

Founded in 1840, the Royal Warrant Holders Association was formed to support members of this prestigious and diverse club, though the tradition of royal appointment dates back to medieval times. Now, businesses must have supplied the royal household for at least five years. The association’s charitable arm, the Queen Elizabeth Scholarship Trust (QEST) was formed in 1990, on the 90th birthday of the late Queen Elizabeth, the Queen Mother, to fund the education of talented craftspeople through traditional college courses, apprenticeships and one-on-one training with master artisans.

Here, we round up some of the most surprising and skilled warrant holders serving the royal family today.

CROWNING GLORY Milliner Rachel Trevor Morgan is renowned for her glamorous handcrafted hats (below), and the St James’s-based milliner’s commissions achieve the perfect balance to flatter and finish an outfit – little wonder, then, that this designer’s work is a favourite of the Queen. The monarch has worn Trevor-Morgan’s hats to high-profile events since 2006 – including Royal Ascot, her 80th birthday celebration at St Paul’s, her Diamond Wedding celebration at Westminster Abbey and meeting US President George W Bush in Washington – and in 2014 granted the designer a Royal Warrant.

The Duke of Edinburgh and Prince of Wales, meanwhile, share similar taste when it comes to black-tie headwear. Father and son have both appointed the world’s oldest hat shop, Lock & Co Hatters (above). Founded in 1676 by Robert Davis, the St James’s Street shop is renowned for its impeccable style – famous patrons included Admiral Lord Nelson (whose cocked hat came complete with eyepatch), Oscar Wilde, Charlie Chaplin and Sir Winston Churchill.

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LIFESTYLE ROYAL PEDIGREE Perhaps the world’s most famous and well-loved pets, the royal corgis are at the very heart of the Queen’s family. This lovable breed (left) has been immortalised in art – including a bronze statue of the Queen Mother – and has also graced the cover of Vanity Fair and appeared on film, starring alongside Daniel Craig’s James Bond in the London 2012 Olympic Opening Ceremony as well as animated film The Queen’s Corgi. Since 1944 Her Majesty has owned more than 30 members of this characterful breed.

To keep her pets well fed, the Queen turns to two Royal Warrant holders. Gilbertson & Page, established in 1873, provides expert nutrition advice as well as a range of pet foods, and has held a Royal Warrant of Appointment to the monarch since 1884. Nearer to her Sandringham Estate, the Queen also relies on an additional pet-food supplier, Norfolk-based Judge’s Choice, which has enjoyed a Royal Warrant since 1996 and specialises in the nutrition of working dogs belonging to gamekeepers and landowners.

HIGH TEA Is there anything better than a perfectly brewed cup of tea? For a treat worthy of the palace, turn to Twinings. The 300-year-old company provides British tea and herbal infusions that are ethical sourced from around the world.

For a sweet accompaniment, the monarch is a patron of several chocolate makers, including Prestat, Charbonnel et Walker, Cadbury’s chocolate – which provides the palace with both cocoa and chocolate bars – and Bendick’s famous after-dinner mints. United Biscuits is the Queen’s biscuit provider of choice. »

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THE PALACE WALLS With 19 royal residences in the UK – including Buckingham Palace, Windsor Castle and Sandringham House – it takes an army of trade and craftspeople to balance conservation of historic homes with all the mod-cons and safety requirements of modern living. These companies include Hare & Humphreys, specialising in the conservation and restoration of historic buildings, and Silkwood, an eco-friendly painting and decorating firm for heritage and listed buildings. For luxurious wallpapers and prints, the royals turn to Sanderson (this page), founded in 1860 and known for its timeless English heritage designs. Painters and decorators on the royal rota range from Crown Paints, one of the country’s largest paint manufacturers, to Norfolk local Neale Davies Painter and Decorator.

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LIFESTYLE

TOWN AND COUNTRY The Queen is well-known for her passion for horseracing, and her love of all things equestrian has even produced Olympic eventers in the family. The Princess Royal, now president of the British Olympic Association, competed at the Montreal games in 1976, while her daughter Zara Tindall took home a silver medal for team eventing at London 2012. Royal Warrant Holders Abbey England and Buttons Saddlery are the monarch’s suppliers of horse-riding apparel, while her helmets are made by Charles Owen.

The Duke of Edinburgh and Prince of Wales share a love of shooting, with rifles supplied by premium gunmakers Holland & Holland. The Queen and Duke of Edinburgh also use guns by London makers Purdeys.

POMP AND CIRCUMSTANCE Nowhere does pageantry quite like the UK, and ensuring the royal family is fitted out with the necessary regalia takes a village of companies.

Flying Colours has been the Queen’s flag manufacturer for more than 15 years. For medals and insignia, the Queen and Prince of Wales both employ court jewellers Cleave & Company, while Firmin & Sons provides Her Majesty with accessories such as buttons and ribbons.

Her uniforms and military accoutrements are embroidered by Hand & Lock and, of course, The Poppy Factory of the Royal British Legion makes the family’s bespoke poppies and wreaths each year. royalwarrant.org 93

The hidden art Founder of Paper Nations and the world’s first Professor of Story, Bambo Soyinka sheds light on the importance of recording our stories and experiences through changing times

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tories are part of who we are. Religions, sciences, politics, philosophies and learning are all based on collective stories and observations about the past, present and future. The ability to tell our own story influences our confidence and our sense of connection to the world.

I have worked with storytellers of all kinds – from novelists and poets, filmmakers and even AI storytellers – and am interested in stories authored by individuals as well as wider cultural narratives. Myths and archetypes allow us to return to common human truths; they help us to ‘look again’, to imagine and initiate transformations of our current reality.

This holds special importance during times of crisis – such as the ongoing Covid-19 pandemic – as imagination gives us the ability to take a sideways look at troubling themes. We can safely explore, as individuals and communities, issues that might otherwise be difficult to address.Writing has both cultural, widespread benefits, and practical benefits for the writer.

When it comes to activities like sport and fitness, we recognise the inherent value

of regular participation, and understand why someone would want to play tennis even if they are not able to do so to professional standards.

Writing should be considered similarly.

Writing benefits our wellbeing, improves our communication and enhances our ability to learn – yet, writers don’t have the same infrastructure of clubs and classes in our communities. This is something Paper Nations is working to address through our three-year ‘Writing for All’ programme.

We’re working with writers, enterprises and organisations to contribute to a thriving, resilient writing ecology.

‘Writing for All’ is about ensuring that everyone has access to the tools, benefits and pleasures of creative writing and storytelling, regardless of ability or background, from schoolchildren to adults experiencing sudden life changes. By taking the time to create a carefully crafted narrative, we enter into a process of reflection and conscious authorship: we take control of language and choose how to present ourselves and our ideas. Paper Nations hopes to inspire more people to activate their innate capacity to tell stories, and through doing so to facilitate the creation of more resilient and diverse economies.

As within nature, diversity is essential for any community that needs to rapidly adapt and innovate. I believe promoting diversity is not only beneficial to individuals but also to wider society. Creativity, innovation and cultural transformations are brought about more easily when a variety of voices can be heard. At Paper Nations, we saw this during lockdown when

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we facilitated The Great Margin, a project that gathers and showcases diverse writings created from a place of isolation.

The value of writing is not just felt on a personal level. Fiscally, the arts sector contributes £10.8bn a year to the UK economy, and writing and storytelling is one of several important art forms that deserves support and investment. Yet, the benefits and value of writing – and the needs of writers – tend to go unnoticed, ironically because they are actually so central to everything we do as individuals and as a society. Storytelling is something of a hidden art – a reflex of human society and interaction. We all tell stories – we just might not realise it.

Writing is a tool we can use on many levels to bring about positive change, and individuals who are confident in their storytelling are better equipped to respond to life changes – from reflecting on their career journeys to crafting compelling arguments on which path to take next. This is equally true when it comes to imagining wider systemic changes, such as envisaging a new green economy.

Now, we must look beyond Covid-19 to how we can rebuild communities. Writing and storytelling have a key role to play in helping us to design a better world, since they are fundamental to national conversations about health, resilience and creativity. Having a diverse and robust writing ecology opens the door to greater innovation and new approaches as we rebuild our society. papernations.org

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SAVE the DATE Your luxury events calendar for August and September 2020

CULTURE Get ready to call “Action” on a month of all things film, as some of the world’s biggest film festivals respond to the pandemic with a collaborative effort that is truly cinematic in scale.Venice Biennale Cinema – where Lady Gaga rocked the red carpet in 2018 (right; this year’s from 2-12 Sept) – Toronto International Film Festival (10-19 Sept) and New York Film Festival (25 Sept-11 Oct) are putting aside their customary competition to celebrate the artistry, entertainment and industry of the big screen.

In London, the BBC Proms (17 July-12 Sept) continues with a colourful digital programme of new performances and past highlights – plus a limited series of live shows commencing at the Royal Albert Hall from 28 August.

DESIGN This year the capital will play host to a London Design Festival (12-20 Sept) like no other. With international travel limited by the lingering impact of Covid-19, LDF 2020 will instead showcase the capital’s premier reputation for design and hail local heroes.

Fashionistas will rejoice as the big four Fashion Weeks pledge to return for A/W21 showcases in September – kicking off in New York (14-16 Sept), then on to London (17-22 Sept), Milan (22-28 Sept) and Paris (28 Sept-6 Oct). The season ends with London Craft Week’s (30 Sept-10 Oct) celebration of fine world craftsmanship – including showcases from Theo Fennell, Flow Gallery,and Jack Barclay Bentley (left; ©London Craft Week).

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ANTHONY

SINCLAIR BESPOKE

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MOTORING Lewis Hamilton (left) looks to continue his domination of both track and transformation of Formula 1, as the champion British driver heads to Silverstone. The Emirates Formula 1 70th Anniversary Grand Prix (7-9 Aug) is followed by the Spanish Grand Prix (14-16 Aug), the Belgian Grand Prix (2830 Aug) and, finally, the Italian Grand Prix (4-6 Sept) at the infamous Monza circuit. Elsewhere, preparations for classic car season are revving up for the annual late summer meets.

Concours d’Elegance (4-6 Sept) will return to Hampton Court Palace, while Salon Privé (23-26 Sept) comes to Oxfordshire’s Blenheim Palace – all government restrictions permitting.

SAILING Sailing enthusiasts will be preparing to flock to the 43rd Cannes Yachting Festival (8-13 Sept), which returns to the city’s twin ports – motorboats will be awaiting you in the Vieux Port and the sailing boats in the Sailing Area in Port Canto (left). If you can’t wait until then, Australia’s tropical paradise Queensland welcomes its favourite yachting event, Hamilton Island Race Week (15-22 Aug), where competitors, family and friends come together to enjoy the convivial atmosphere and unique camaraderie of the event’s on-water and off-water carnival.

SPORT As more sporting fixtures open up, cricket fans are preparing for the conclusion of the spectator-free England v Ireland fixture (30 July-4 Aug) before England v Pakistan (5, 13 and 21 Aug). Equestrian fans can look forward to the annual Goodwood August Bank Holiday Fixture (28-30 Aug), which this year is expected to add one of the missed Three Friday Nights events to the line-up. Across the pond, hardcourt tennis returns with the US Open (31 Aug-13 Sept), although some big names – including Novak Djokovic and Serena Williams – may not attend. The 120th US Open Championship golf tournament (left; 14-20 Sept) will also go ahead, hosted without on-site spectators, at New York State’s Winged Foot Golf Club.

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.

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TIMING IS EVERYTHING

Heesen’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

LONG CITY NAME

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