Tempus Magazine | Issue 74 | June-July 2021

TIMELESS INSPIRATION

EXCLUSIVE

MO FARAH Britain’s greatest athlete on preparing to defend his Olympic title in style

TOKYO OLYMPICS SPECIAL | CREATIVE COACHBUILDING | DARING NEW DESIGN ISSUE

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Keeping things simple

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hen it comes to leadership advice, you can’t any part of our lives, from getting that bit further on our really beat words of wisdom from a gold morning jog to reaching even our wildest aspirations. It will medal-winning athlete. An Olympian’s success certainly inspire the young British sporting stars hoping to is there for us all to see, though we mere mortals can only make their Olympic debut at this year’s rescheduled Tokyo guess at the level of planning, training and discipline that Games; we introduce you to some of the most exciting new faces in Team GB on page 42. goes on behind the scenes in the years between victories.

Elsewhere in the issue, we dive But the tried and true concept into the new world of virtual reality of ‘no pain, no gain’ is not always with the help of “phygital” art the mantra we want to hear when concept The ARX (28) and a look it comes to reaching our own A HUMBLE at how designer fashion is jumping goals. How refreshing it was, then, on the digital bandwagon (30) – to speak to the inimitable Sir TITAN OF for those not yet au fait with the Mo Farah for the opening of our exciting world of NFT investments Olympics special feature.

BRITISH SPORT, and blockchain “skins”, these A humble titan of British sport, fascinating features will likely leave Sir Mo’s level of success is almost SIR MO’S LEVEL us all feeling like we’re one step mindboggling, but his passion for his closer to living in The Matrix. craft – as well as the joy he finds in his OF SUCCESS Our artistic focus continues with new partnership with British-Swiss a celebration of the Sarabande watch brand Arnold & Son – shines IS ALMOST Foundation’s latest exciting through in our interview with the designers (64), an exclusive sporting star on page 34.

MINDBOGGLING interview with Michelin-star While he tells us about his hopes chef Andrew Wong (80), and our to defend his Olympic title in Tokyo, exploration into the fine art of it is his calm attitude and cool automotive coachbuilding (22). composure that I found most inspiring.

As we head into summer and celebrate this period of “My approach is to keep things simple,” he tells us. “Every race, I just go out there to do my best and renewal after a tumultuous 15 months, we look forward to setting new challenges and goals that will take us to the next nothing more than that.”

At last, a winning mindset that we can apply to almost level of our own successes – all just one race at a time.

Enjoy the issue Share your thoughts by contacting us via email at info@tempusmagazine.co.uk, or visit tempusmagazine.co.uk for your daily update from the world of luxury lifestyle

Tempus Magazine is published by Vantage Media Limited. www.vantagemediagroup.co.uk

© 2021 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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Michelle Johnson Editor

Contributors

Editorial team Editor Michelle Johnson michelle@tempusmagazine.co.uk Judy Cogan Judy heads online to investigate how the virtual fashion boom is levelling up our digital style (30) before introducing us to the Team GB’s Olympic hopefuls going for gold in Tokyo (42)

Creative Director Ross Forbes ross@tempusmagazine.co.uk Digital Editor Gabriel Power gabriel@tempusmagazine.co.uk Wealth Editor Lysanne Currie

Mitch Evans New Zealand-born Formula E driver Mitch takes us on a culinary tour of his favourite London dining spots ahead of this year’s of the London e-Prix (100)

Motoring Editor Rory FH Smith Chief Sub-Editor Dominique Dinse COMMERCIAL Sales & Content Executive Freddy Clode freddy@tempusmagazine.co.uk

Lauren Jade Hill Travel and culinary expert Lauren speaks to Michelinstar chef Andrew Wong about how his contemporary cuisine is uncovering the fascinating history of Chinese gastronomy (80)

Sales & Event Enquiries info@tempusmagazine.co.uk VANTAGE MEDIA Chairman Floyd Woodrow Managing Director Peter Malmstrom

Rory FH Smith Our motoring editor takes a look back at the thrilling origin of bespoke coachbuilding (22) before celebrating the 60th anniversary of the first manned space flight with a tribute to Yuri Gagarin (54)

Operations Director Colin Clark GET IN TOUCH Tempus Magazine Vantage Media Limited 22 South Audley St London W1K 2NY info@tempusmagazine.co.uk tempusmagazine.co.uk @tempusmagazine

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@tempusmagazine

Printed by Park Communications, UK on Edixion Offset (FSC® certified paper) using vegetable inks and sustainable printing methods.

COVER IMAGE Mo Farah wears Arnold & Son Double Tourbillon © Arnold & Son Article on page: 34

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CONTENTS

10 The luxe list Our pick of the must-have gifts of the season 14 A positive change Rebecca Prince-Ruiz writes about the power of Plastic Free July 16 Come sail away Ocean explorer and filmmaker James Aiken on his most daring solo sailing adventures 22 Driving vision Discover the fascinating history and exciting future of automotive coachbuilding 30 Second skin We investigate how the boom of virtual reality is changing the face of fashion 34 Personal best Sir Mo Farah shares his Olympic ambitions and love of watches in our exclusive interview 40 The road to Tokyo A look back on the hurdles faced by the rescheduled Olympics as they prepare for the starting line 42 Going for gold Meet the Team GB hopefuls ready to make their mark on the Olympic Games 48 Sporting greats The European destinations putting sport at the heart of their stays 54 Rocket man Celebrating the 60th anniversary of Yuri Gagarin’s historic space flight 58 The good apple Blue Apple Beach Club’s Portia Hart on the eco-mission fuelling her Colombian paradise 64 The art of living fearlessly The Sarabande Foundation introduces the hottest new artists and designers 72 Local heroes Private White VC founder James Eden on the family history and timeless style behind this great British brand 76 The spirit restored Celebrating the triumphant return of beloved Scottish whisky distillery, Brora 80 A culinary lens Michelin-star chef Andrew Wong reveals the secret history behind his culinary tribute to China 84 Breaking tradition Iconic brand Wedgwood shares its daring and contemporary new style 88 Lighting the way Interior artist Andreea Braescu on the illuminating power of statement lighting 91 RE:VIEW Celebrate the return of the West End in our new guide to the best shows, books and events 96 Save the date The finest events of the season 100 Tried & tasted Former E racing driver Mitch Evans takes us on a culinary tour of London

ISSUE 74

34 Personal best: Sir Mo Farah wears Arnold & Son 9

The LUXE LIST Our essential guide to the most exciting new launches and finest seasonal gifts

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Red Eight Gallery

For photographer William Fortescure, there are few places more exciting to visit than Amboseli, Africa, and perhaps nowhere in the world is a more exhilarating place to photograph elephants. The combination of some of the last remaining ‘super tuskers’, huge families migrating between the national park and adjoining conservancies and, most dramatically, it all unfolds underneath Mt Kilimanjaro. Fortescue’s stunning wildlife prints – such as African Icons (right) – are available through the London-based Red Eight Gallery, with prices starting at £7,000. 10% of the proceeds of each sale go to the David Shepherd Wildlife Foundation and Saving The Wild charities. Read more on page 62. redeightgallery.com

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Solas at The Savoy The Savoy Court has been transformed into a uniquely glamorous outdoor dining concept to mark the London hotel’s partnership with Bowmore Islay Single Malt Scotch Whisky. Solas – from the Gaelic for light and joy – is welcoming guests with an array of quaffable cocktails and a spectacular raw seafood bar. Don’t miss the Bowmore oyster luge (left), followed by stand out dishes such as lobster rolls and blue scallop ceviche.

Central to the restaurant is a showstopping 5m-wide chandelier of crystal decanters and stoppers. Open until 21 June, this first taste of summer is not be missed. thesavoylondon.com

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Carl F Bucherer Manero Minute Repeater Symphony This harmonious minute repeater by Carl F Bucherer is an opus of technical innovation and artistic excellence. The Manero Minute Repeater Symphony (left) combines a peripherally mounted rotor, regulator and suspended floating tourbillon, all developed in house.

The finely tuned mechanism produces two different tones, with the double gongs and striking hammers visible through openings in the dial. The regulator can also be viewed at 6 o’clock. To further celebrate the timepiece, a new composition by the Lucerne Festival Orchestra was debuted at this year’s Watches & Wonders. A timepiece that is music to our ears.

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Ovant Ovant is the latest premium alcohol-free aperitif taking our tastebuds by storm with its three elegant new distillations – Grace, Verve and Royal (right). Designed to be enjoyed over ice or mixed as a cocktail, each unique flavour profile is inspired by the rich flora of Western Australia’s Margaret River wine region. Grace is a precise mix of familiar gin botanicals; Royal combines the sweetness of rum and the smokiness of whisky; while flavourful Verve is a thoroughly modern aperitif with a lingering aftertaste. Time to raise our glasses… » ovant.com

carl-f-bucherer.com

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Flosé Newly launched jewellery brand Flosé was founded by mother-daughter gemmologist duo Susan and Florence, who wanted to bring their love of rare gemstones to the fore. Made in London using 18k Fair Trade fold and responsibly mined stones, each piece – such as the pink spinel ‘Zen’ Rota necklace (left) – is inspired by the founders’ childhoods in Africa. 10% of all profits from their Tafari Collection is donated to the Gem Legacy charity, which benefits mining communities in East Africa. A rare gem, indeed. flose.co.uk

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Bang & Olufsen Beolab 28 Bang & Olufsen’s latest release introduces world first audio technology perfect for music and film lovers. Featuring ‘active room compensation’, the Beolab 28 speakers can be positioned anywhere in the home and adapt seamlessly to the room’s acoustics to provide immersive studio-grade sound.

The adaptive wireless speakers incorporate the brand’s usual sleek, Scandinavian design, with ‘magic’ curtains that can focus the sound for precise listening or offer a broader soundstage – the ultimate in easy listening. bang-olufsen.com

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Midleton Very Rare Silent Distillery Chapter Two For those who like their whisky bold, complex and with a slice of history on the side, Midleton Very Rare Silent Distillery Chapter Two is the ideal dram, priced at a tasty €40,000 (£34,000) a bottle. This second expression in the brand’s ultra-rare collection is a stunning 46 Year Old single pot still Irish whiskey distilled in 1973, in the signature style of Old Midleton, and released under the guidance of master distiller Kevin O’Gorman. With spicy leather and wood on the nose; berries and spice on the tongue with a notable thread of ginger throughout – and a hefty mouthfeel besides – this gargantuan whiskey is finished with a fruity profile that gradually reveals the oak at its heart. Sláinte! midletonveryrare.com

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Fliteboard Founded by former kite-surfing world record holder David Trewern, the Fliteboard is the perfect gadget for ocean lovers and adrenaline seekers alike. The advanced hydrofoil allows you to hover approximately 70cm above the water and reach speeds of up to 55km/h – all powered by an emission-free electric motor that allows for riding times of up to two hours. The new and improved Fliteboard range includes a choice of eFoils to match different levels of expertise, environment and daring. Time to take flite. eu.fliteboard.com

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Sarabande Foundation Moth Pin This exquisite silver Moth Pin brooch is inspired by photographer Nick Knight’s iconic death head moth image first produced for the late Alexander McQueen – a symbol that has become synonymous with the designer's Sarabande Foundation. Designed and created by jeweller and Sarabande artist Benjamin Hawkins, the pin is available on the foundation’s House of Bandits online boutique. The entire moth is made in England using recycled sterling 925 silver, hallmarked in London’s Goldsmiths Hall and bearing Sarabande’s own unique hallmark. With proceeds supporting the Foundation, this is a true work of art. Read more on page 64. sarabandefoundation.org

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White Desert South Pole & Emperor Penguin Luxury Antarctic eco-travel company White Desert has partnered with PrivateFly to offer two new South Pole itineraries for the New Year 2021/2022.

Offering up to 12 guests the opportunity to reunite for the ultimate adventures over Christmas or New Year, guests will travel by private jet to Antarctica via Cape Town to spend eight days exploring the great white continent. Highlights include visiting the South Pole and seeing Emperor penguins, wellness and sports activities, and luxury ‘polar pod’ accommodation at White Desert’s Whichaway Oasis eco-camp. An adventure like no other. white-desert.com

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A P O SIT I VE CH A N G E In 2011, Rebecca Prince-Ruiz began the Plastic Free July campaign in Perth, Australia. 10 years on, and leading a global movement spanning 177 countries, she tells us how to stick to our plastic-cutting goals

their friends and families more and more each year – along with sharing ideas and tips on social media – and we went from 40 to 400 to 4,000 participants year-on-year.

Realistically, we can’t do or change everything in one go. I encourage people to start from where they are and build slowly.

You can do this by, first, taking note of the plastic in your life and how much you use in a set time period. Look at the plastic in your bin, in your kitchen and your fridge and choose one thing at a time to tackle. Starting too big and trying to change everything simultaneously is too difficult and will often lead to feelings of failure and giving up. For instance, you can start by just cutting out non-reusable coffee cups or plastic water bottles, or items with an excess of plastic packaging. Get those good habits in place and then take on the next challenge, be it searching for reusable medical masks or bags made from recycled materials.

At the Plastic Free Foundation, we believe in focusing on the solutions; not the problems.

We’ve never been about blaming or shaming people or businesses. I think because our campaign covers just one month out of the year and so there’s no pressure to tackle all your plastic usage in one go, we’ve managed to keep everything we do as a positive thing.

We have businesses, schools and people from all across the political spectrum trying Plastic Free July.

Our main message is that, as individuals, we can’t do everything – and certainly not all at once – but there is always something that we can do to get better. We just encourage people to do what they can, and I’m proud of everybody who takes part and helps to make a difference.

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WE BELIEVE IN FOCUSING ON THE SOLUTIONS; NOT THE PROBLEMS

IMAGES: TRES ARTES, SHUTTERSTOCK

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n 2011 I was working in local government in Perth, Western Australia when I visited a recycling facility. There, I could see where mine and my friends and family’s waste actually went, and witnessed myself the enormously complex, energy-intensive process that was required to sort it and send parts of it off for recycling.

I never set out to start a campaign or a formal challenge – and certainly not a global movement – it was really about changing my own behaviour and trying to make a difference, by attempting to cut out single-use plastic for an entire calendar month each July – and beyond.

It has since grown into a global movement; we had an estimated 326 million people from 177 countries taking part in Plastic Free July in 2020, with endorsements from public figures from Princess Eugenie to [musician] Cat Stevens.

Times have definitely changed. If I had started doing something like Plastic Free July last year, I would have been one of many, many people following similar paths and raising awareness about plastic waste. But even just 11 years ago, nobody was really talking about this issue. When I first asked for a drink without a straw the cashier looked at me like I was speaking another language; now I can go to my local supermarket and buy a toothbrush made out of bamboo.

The same goes for participation levels. In the first year there were just 40 of us in Perth – mainly friends and family – and the challenge was far harder than I anticipated. But by doing it together, sharing tips and stories about it and being encouraging toward those looking to start cutting down on plastic, word-of-mouth allowed it to spread. People started talking to

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OCEAN

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Come sail away Ocean explorer and filmmaker James Aiken shares his passion for solo adventure on the high seas Words: Michelle Johnson

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hen it comes to exploring the high seas, there are few people who can combine the wild romance and environmental urgency of our oceans quite like James Aiken. The single-handed sailor and filmmaker (left) has dedicated his life to impactful – and impact-free – exploration, drawing attention to issues such as the ocean pollution and rewilding needs during his solo expeditions and evocative films.

Aiken uses traditional sailing methods to traverse the ocean in his trusty boat, The Oaken Yarn, while producing films that serve to educate those of land of the true impact of plastic and other pollutants in the ocean.

It was this mission that called out to fine Scotch whisky brand Talisker, whose Wild Spirits campaign includes several conservation and rewilding projects near its home in the Isle of Skye and beyond.

Aiken’s most significant collaboration with the whisky brand saw him undergo the 24-day Atlantic Challenge in January 2020 – single-handedly traversing 3,264 miles

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from La Gomera, Canary Islands to Antigua – while carrying onboard the wooden staves that would become part of 10 special casks made to finish Talisker’s oldest expression to date – the 43-Year-Old Xpedition Oak: The Atlantic Challenge – launched in April this year.

Now, Aiken is preparing to host one “wild spirit” and their guest on Talisker’s Ultimate Rewilding Adventure competition, where he will sail the rugged coasts of the Isle of Skye and experience a taste of the Scottish island’s natural beauty in 2022.

“Talisker aims to inspire people to reconnect with the exhilaration of being in nature’s presence,” he says.

“I believe that venturing into the outdoor realm is healthy and expansive... There’s always something fresh to experience.”

Here, Aiken exclusively tells Tempus about his wildest adventures at sea and the importance of getting the message of ocean pollution into the hands of decision-makers. »

I SEE SAILING SOLO AS THE PUREST WAY OF EXPERIENCING THE SEA Spinning a yarn: James Aiken’s solo expeditions aboard his boat, the Oaken Yarn

James, how did you find your passion for traditional sailing?

I actually grew up by the sea and have always been around boats, so it was a natural progression to buy my own boat and commit to a life at sea. I see sailing solo as the purest way of experiencing the sea, where you are totally responsible for your safety and that of the vessel, it’s the height of self-sufficiency.

I like to whittle things back to their simplest form, and sail in a way that relies on knowledge and intuition [rather than high tech equipment].

So much of modern life relies on a safety net and a digital interface; in sailing, you have an opportunity to embrace the elemental forces on a personal level.

Could you describe a typical day at sea?

Every day can be totally different. Challenges are presented by the environmental conditions, equipment failure and sleep deprivation. When the going is good, I try to bank rest and eat well but, generally, a lot of my time is involved in the actual sailing of the boat.

What are some of your wildest experiences at sea?

My most memorable moment was sailing alone across the Bay of Biscay and being surrounded by fin whales. Their breaths explode in vertical plumes that shoot 20m into the air and I could see them all around me. Biscay is special in that the depth drops off from 150m to 5,000m in a short space, and this drop creates an upwelling of nutrients that wildlife congregates to. It’s a truly mesmerising place.

The wildest moment would be one of the nights alone in rough weather. I find the isolation and darkness inspiring, and have gratitude for the skills I’ve been able to develop in my life to be out there, comfortably, on my own.

You combine your expeditions with environmental filmmaking. What do you hope viewers will learn from your work?

I hope that I can inspire people to interact with the natural world around them, whether on sea or land. I believe that it is the affinity and passion that nature inspires in people that will allow us to make the necessary decisions that will ultimately save the planet. » 18

OCEAN

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How did your collaboration with Talisker begin?

I directed a film project with Talisker in 2019, so I got to know the brand very well. During this time, it was very clear that we share similar values, including our love of and affinity with the sea. I believe that venturing into the outdoor realm is healthy and expansive, both mentally and physically and, whether hiking mountains or exploring local woodlands, there is always something fresh to experience, and Talisker shares this ethos.

What inspired you to take part in The Atlantic Challenge?

In January 2020 I embarked on a solo expedition across the Atlantic Ocean, and traversed the same route taken by the rowers of the Talisker Whisky Challenge – where competitors race across more than 3,000 miles of untamed sea stretching from La Gomera, Canary Islands to Antigua. Heading out to the ocean on your own is a serious commitment, and this stretch across the Atlantic was the longest stretch I’d ever undertaken.

Onboard my boat, The Oaken Yarn, were wooden staves that were to become components of the final casks that the very special Whisky [Talisker 43-Year-Old Xpedition Oak: The Atlantic Challenge, below] would be finished in.

Throughout my 24-day journey, the staves were on board with me as part of the adventure.

What does your next dream adventure look like?

My next dream adventure would be a sailing trip through the Arctic, partnering with scientists and storytellers to depict the way in which the ecological issues of our age are affecting the most remote and beautiful parts of the planet.

Enter Talisker’s Ultimate Rewilding Adventure by 21 August 2021 at taliskerultimateadventure.com

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DRIVING VISION

As we demand more personalisation from our transport than ever before, Tempus explores the fascinating history of coachbuilding – and why brands are revving up for the return of total bespoke

Words: Rory FH Smith

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espoke is an overused term in the automotive world. Sift through the sales literature of any high-end carmaker and you’ll find the word peppered about like it’s going out of fashion.

In reality, truly bespoke vehicles prevailed in the 1920s and ’30s, a high time of style and substance and a golden age of automotive design, creativity and flair. Fuelling this was a small but specialist group known as coachbuilders – or carrozzieri in Italian – that designed and developed bespoke coachwork for cars of wealthy and well-heeled clients looking for something unique.

While the practice of coachbuilding predates the invention of the automobile, it wasn’t until the high times of the 1930s that coachbuilders started to experiment with new shapes and

radical designs. Working on a chassis supplied by carmakers (which included the mechanicals, such as an engine, gearbox, brakes, wheels and controls), their craftwork was commissioned by wealthy owners looking for a unique exterior body style.

Often inspired by art deco style and streamlined movements, what resulted were some of the most beautiful, expensive and sought-after cars ever seen. While this exuberant golden age of style had all but tailed off by the 1970s, a recent but seismic change in direction for the motoring industry could be the key to kickstarting a new dawn for coachbuilding.

As for the art’s origins in the UK, its roots can be traced all the way back to the establishment of The Worshipful Company of Coachmakers and Coach Harness Makers in 1630. Back then, the craft was

focused on building horse-drawn carriages rather than combustion-engine cars, which wouldn’t be invented for another 250 years. While the method of transportation was different, the practice of designing and sculpting a body on wheels was the same, and the art form would eventually transition to motorcars in the early 1900s, spawning wellknown names Thrupp & Maberly, Radford and Mulliner by the mid-century.

In Italy, it was a similar story – although some carrozzieri, such as Ugo Zagato, cut their teeth in a very different industry. Starting as an aircraft designer during the First World War, Zagato translated his understanding of aluminium to cars, creating designs that referenced his aeronautical training – something that still shines through his company’s unique body styles to this day. »

1937 Talbot Lago T150-C SS ‘Goutte d’Eau’ Coupé Figoni & Falaschi 23

INGENUITY AND INFLUENCE While the most prominent names in the business tended to be based in the UK and Italy, the coachbuilding movement spread far and wide, with North America, France, Germany, Switzerland, Belgium, Austria, Sweden, Spain and The Netherlands all producing notable craftsmen. As most had established their origins well before cars were even invented, it didn’t take long for the most prestigious coachbuilders to make their mark on the global styling scene.

By the early 1930s, it was the Italian coachbuilders such as Touring, Pininfarina and Zagato that dominated the industry, with the world’s wealthiest knocking at the doors of the small family outfits to have their tastes and wishes brought to life in four-wheeled form.

“The founder of Pininfarina is my grandfather, who established the company in 1930 – his story is one of a company and one of a family,” says current Pininfarina chairman Paolo Pininfarina, surrounded by decades of his family-designed cars at the company headquarters outside Turin, 90 years after its foundation. “He started to work in 1906 and was 37 by the time he established the company – it was the first great achievement of his life.”

Paolo’s grandfather was best known as Battista “Pinin” Farina and was born in northwest Italy in 1893. Starting work in his early teens in his brother Giovanni’s body shop, it was there that his interest in cars and penchant for styling started. By 1930, he’d set up Carrozzeria Pinin Farina to design and construct new car bodies and, after making a name for himself, he started working on designs for none other than Enzo Ferrari in 1952. Pininfarina went on to design nearly every Ferrari up to the F12 Berlinetta in 2012.

Bending to the whims and wishes of their clients, coachbuilders dreamt up some of the most radical and stylistically advanced cars imaginable. From nickel-, gold- and silver-

plated metalwork to illuminated mascots, intricate glasswork, reptile skin interiors and rare woods - the specification and style of the car was only limited by the owner’s imagination and their means to pay for it. It wasn’t uncommon for a build to cost significantly more than the average family house in the 1920s and ’30s.

Details aside, the most striking feature of coachbuilt cars is their exterior shape and form.

With no need to cater to mass-market tastes or engineering constraints, the cars became a canvas for the true creative power and perception of the coachbuilder and their demanding clients.

Swooping lines and streamlined shapes formed fenders, bonnets and wheel arches.

Cars inspired by everything from fighter jets to flying saucers – and even sharks – took shape with fins, louvres and curves coming together to form unique works of automotive art.

Cars created by the now-long-gone Figoni et Falaschi coachbuilding concern, such as the 1939 Delahaye 165 or the Talbot Lago T150C SS ‘Teardrop’, are widely regarded as the most extravagant and beautiful coachbuilt cars in existence, with the latter now attracting values of over £3m at auction.

Later in the period, cars such as the Pininfarina-designed 1954 Ferrari 375 MM Coupe Speciale, created for actress Ingrid Bergman; the 1952 Alfa Romeo Disco Volante

by Touring; and the series of Berton-designed Alfa Romeo B.A.T cars between 1953 and 1957 saw coachbuilding reach its peak in terms of eccentricity, craftsmanship and character towards the 1960s.

“In 1959, my grandfather went to the White House with the Italian ambassador and met President Eisenhower,” says Pininfarina.

“They had a short discussion and President Eisenhower said that he thought Italian design was the very best. He went on to explain how he thought Italian cars were fantastic because they are elegant, light, simple, sensual, durable and classic.” »

From top: 1938 Alfa Romeo 8C 2900B Le Mans; Battista Farina and his son Sergio,1950; 1962 Ferrari 400 Superamerica SWB Cabriolet by Pininfarina; Right: 1937 Talbot Lago (as previous)

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A NEW DAWN But the golden age of coachbuilding didn’t last long. In the 1960s and ’70s, car companies embraced new production methods, making cars more affordable and accessible.

Coupled with more companies choosing to bring the design process in-house, and fewer opportunities for big spenders to sink a small fortune into a bespoke motor, meant the demand for coachbuilding dwindled. While Pininfarina and Zagato stayed buoyant, largely due to their longstanding relationships with Ferrari and Aston Martin respectively, others fell by the wayside.

From then onwards, coachbuilding was largely confined to occasional concept cars and one-off special edition supercars for wealthy owners.

Once the pinnacle of automotive progress, many companies within the beleaguered coachbuilding industry turned their hand to design, offering their specialist services to automotive companies and beyond. Few retained their workshops; others, like Bertone, disappeared entirely.

But, after a challenging past 50 years, there is light for this almost lost craft. New coachbuilding companies like ARES Design (by former Lotus Boss Dany Bahar), Niels Van Roij Design and now UK coachbuilder Radford – which is being brought back to life by none other than Formula 1 world champion Jenson Button – have sprung up to revive the coachbuilding community. Even luxury car giant Rolls-Royce has relaunched its coachbuilding division with the £20m Boat Tail commission, rumoured to have been made for music magnates Jay Z and Beyoncé.

While those companies largely specialise in creating bespoke combustion-engine cars, the growth in electric vehicles – which feature fewer mechanical parts to get in the way of the bodywork – could give coachbuilding a muchneeded boost. With many EVs destined to share the same automotive underpinnings in the future, coachbuilding could return as a way for car companies and clients alike to set themselves apart from the masses.

“My grandfather always said that, as long as the internal combustion engine is there, there will only be a gradual evolution in the architecture of the car,” says Pininfarina. “But when the powertrain will change, then it will be a great challenge for innovation.”

While a century has passed since the golden age of coachbuilt creations, the future looks bright for the industry, as automotive art proves to be an increasingly popular solution for those seeking exclusivity.

“If you ask me what the best project for Pininfarina is, I would say it’s the next project,” says the car design maven. “The past is important but now we are focused on the future.”

With many wealthy car collectors searching for the most unique four-wheeled creations and an industry speeding towards mass electrification, it seems coachbuilding’s long-overdue new dawn could be just around the corner.

Bespoke classics: 1965 Aston Martin DB5 Shooting Brake by Radford (RM Sothebys, left); Bertone AUTP 31 RK0085 01 (top); Aston Martin DB4 GT Zagato Continuation (above) 27

LET’S GET PHYGITAL London’s most exciting concept art space, The ARX, explains how the boom in crypto-art and Non-Fungible Tokens is evolving the world of luxury – and reality – for ever Words: Freddy Clode

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he art world has changed for ever. While the increased digitisation of art has seen non-fungible tokens (NFTs) become the latest crypto-asset to excite the world’s ‘technorati’, it wasn’t until the gavel dropped on digital artist Beeple’s work The First 5,000 Days at a Christie’s auction in February that the world really sat up and took notice.

The work by Beeple (real name Mike Winkelmann), which depicts a new work of digital art made every day since 2007, sold for a record-breaking $69.3m (£48.9m) – making it the most expensive NFT ever sold and among the most expensive works ever sold by a living artist. The winning bid was, naturally, paid for in the cryptocurrency Ethereum.

For The ARX, a 'phygital' concept space that embodies where the future of art and luxury meet, it is no surprise that virtual worlds are proving just as important as physical spaces. Its goal, in fact, is to bridge the gap between the physical and virtual, bringing together elements of art, design, technology and architecture to curate the future of luxury living. All this while also championing the digital artists of the future.

Their current presentation, MINTED, comprises a series of unique digital artworks and rare

collectibles by leading creators and digital artists such as MRE, Gala Mirissa and Nadiia Forkosh.

Not only are their works available as NFTs, but collectors also have the opportunity to take home material works linked to the artworks, from Rolex timepieces to an iconic Overfinch Defender.

Two world firsts from The ARX, and their partner auction platform MakersPlace, include the sale of Forkosh's digital work alongside her original oil on canvas, and the auction of Mirissa's Audrey's Eyes alongside a signed print on 2 June, which sold at a record price for the artist.

The advancement of the blockchain technology behind the digital artistic revolution ensures NFTs can be marked with the artist’s digital proof of authenticity, as well as the same security that serves as the digital vault for global cryptocurrency reserves, meaning it is impossible to hack or cheat the system.

With this security established, artists are able to focus on creating in their virtual realms with the same confidence as they would have with their physical artworks. Equally, VR-minded HNWs are able to purchase plots of land in a digital world in the same way one would buy real estate, perfect for creating their virtual spaces and galleries, as well as outfitting virtual avatars

Clockwise top left: The Arx Defender, The Sunday Rich List Cover, both by MRE; Audrey's Eyes by Gala Mirissa; The Wall at The ARX; Race Against Time, Dancing Jack, both by MRE; Portrait of Hesitation, by Nadiia Forkosh

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and 'skins' employed in games and more.

The ARX’s founders say this rapid virtualisation will prove to be as significant of the Industrial Revolution, and have identified an opportunity to get ahead of the pack and futureproof their luxury concept by creating space for art enthusiasts and artist to interact and collaborate.

As well as its virtual gallery space, The ARX boasts a phenomenal phygital gallery at the Lux Group Holding’s 15,500sq ft Knightsbridge showroom. There, the Group’s brands – including bespoke kitchen and furniture designers Smallbones of Devizes and The ARX – provide clients with a truly bespoke shopping experience that epitomises their multi-reality approach.

For example, collectors can immerse themselves in a studio tour anywhere in the world, right from the comfort of Knightsbridge, via The Wall – the world’s largest 8K screen, by Samsung – which stands at 7.4m wide.

As technology adapts at an ever-increasing pace, The ARX is already embracing – and leading – a cultural shift between the worlds of luxury, art and reality itself.

To find out more, buy NFT artworks or book a gallery appointment, visit: thearx.com

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SECOND SKIN How far would you go to bring your online avatar to life?

From digital shopping to virtual games, Tempus examines how designer fashion is levelling up Words: Judy Cogan

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and League of Legends); the “burgeoning ‘metaverse’ — SimCity-style shared virtual landscapes where people can interact with each other and brands — such as Nintendo’s wildly popular Animal Crossing”; or purposebuilt fashion-meets-gaming platforms.

If recent moves are anything to go by, it’s time to embrace the shift from being consumers to ‘players’ – or risk being left behind in the fashion game at level one.

In January, for example, mobile game Pokémon GO launched items from the Gucci and The North Face collaboration as limitededition digital designs for players’ avatars.

Digital frontrunner Burberry launched its first ‘social retail’ store in Shengzen, China, in August 2020, combining the holy grail of social media, bricks and mortar shopping and e-commerce, as well as gamification.

While Balenciaga staged its dystopian A/W 2021 collection as a virtual reality runway show and released the video game, Afterworld: The Age of Tomorrow.

Going even further back, The Sims video game collaboration with Moschino in 2019 saw creative director Jeremy Scott styling avatars for a game that sold more than 200 million copies worldwide. And, in 2012, DKNY launched a Facebook competition to win digital DKNY dresses. »

he act of shopping in a luxury store is a unique and visceral experience.

Browsing rails of precisely-spaced, perfectly curated garments; the subtle scent of a butter soft leather bag; the light touch of a cashmere sleeve and the bounce of high pile carpet underfoot.

What if, however, this experience moved to an entirely virtual world? Imagine selecting and buying digital designer outfits, know as ‘skins’, to dress an avatar of yourself in a digital space and trade virtual items in an online community, and receive ‘rewards’ for doing so.

Why would anyone spend money on an outfit you can only touch on screen? Perhaps ask the blockchain security expert who, in spring 2019, bought his wife a $9,500 virtual dress – because the world of virtual commerce is real, even if the products you buy are not.

In a post-pandemic era the demand for avatars, skins and collectible content is only set to grow. The video game industry alone is expected to exceed £144bn by 2023 and canny luxury fashion brands are catching on to what they see as a triple threat of product discovery, fan engagement and spending.

The ways you can get involved are simple.

According to Forbes writer Katie Baron there are three routes in: either via outfits/skins in existing games (such as Louis Vuitton

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STYLE

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STYLE A VIRTUAL WORLD In May 2020, Baron wrote how brands can see the monetary potential in these fashionmeets-gaming platforms, but are wary for “risk (of) savaging the halo of rarity inherent to the luxury glow.”

So, are most brands nervous about translating their heritage into this digital space? Andrew Ku (right), CEO and founder of Singapore-based studio Unmatereality, who help luxury brands digitise and gamify their fashion, seems to think so.

“Luxury brands do worry about how they are represented in the virtual world and they want to preserve their brand value,” says Ku. “But with our superior 3D technology and know-how we are making sure that all brands are represented in the right way and seamlessly transition into this virtual space without much risk.”

The studio uses ADA, a 3D interactive gamified fashion and social media platform that provides participating brands with marketing opportunities, user data and e-commerce intelligence. Ku explains brands who don’t want to go fully virtual use this 3D tech to revamp their e-commerce by offering new viewing options — rotate, zoom in and out, 360˚ videos and even the option for people to try clothes on their own avatar before buying the physical item.

“We’re moving into this whole new concept of virtual commerce,” he says. “Today’s luxury consumers are getting younger and luxury brands see the potential of v-commerce as a new way to engage with the Gen Z consumers. We help brands get this virtual world ready. Once they’ve got a grasp on it, the options are limitless.”

IT’S TIME TO EMBRACE THE SHIFT FROM BEING CONSUMERS TO ‘PLAYERS’ – OR RISK BEING LEFT BEHIND IN THE FASHION GAME AT LEVEL ONE

Material world?: Thom Brown (left and previous), Moncler (top) and Fendi (above) are among high fashion designers creating digital collections 33

THE FASHION GAME Unmatereality already work with Fendi, Dior, Prada and Richemont, and a recent project was an interactive virtual showroom for Balmain.

“We’ll be doing a lot with these virtual showrooms and virtual runways for luxury brands,” Ku says. “Luxury fashion brands are finally catching up to what is happening in the world and can now recognise the potential of the virtual world. All I do is digitise their latest collections and sell them as a game.”

This development has been a long time coming for Ku, who in 2007, launched MStar, a 3D-avatar based fashion game, generating a then-unprecedented average of $83 (£58) per month per user selling virtual fashion.

Ku predicts that, within this decade, all physical luxury goods will have a digital twin, and those digital twins are going to be the next biggest new asset in fashion.

“I’m calling it now; this will be the next biggest marketplace for luxury brands going forward,” he says. “We want to make sure Unmateriality has the biggest library of digital twins based on real life goods in the luxury sector.”

He says virtual pricing reflects the value and rarity of the real-life garments. “If there are only 10 virtual items available that particular pricing will be higher than a design that has 1,000 items on sale,” Ku says. “Virtual prices are more accessible, but at a certain point an item will sell out, just the same as they do in real-life stores.”

Meanwhile sustainability is an incentive for luxury brands to launch collections digitalfirst. “Fashion can produce so much waste. If brands test goods virtually first, it will have a tremendous impact,” says Ku. “We encourage brands to create virtual samples for example.

Each season brands will usually create up to 1,000 samples. By inserting the digital process, they can reduce physical samples that end up as waste. With the right digital technology, they can help make their industry more sustainable, more eco-friendly and more efficient.”

And we, the consumers, may never have to face a fitting room again. unmatereality.com

Personal best As he hopes to return to the Olympic running track, the UK’s greatest ever athlete Sir Mo Farah tells us about his perfectly timed collaboration with Arnold & Son – and shares his definition of success

Interview: Michelle Johnson

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f asked to name the world’s greatest athletes, it would be fair to say that the name Sir Mo Farah would feature on many peoples list.

During his illustrious career the long-distance runner, 38, has accumulated 10 global titles – including four Olympic Gold medals.

Now, he has his sights set firmly on competing in the Tokyo Games, where success could see him become the first athlete ever to win a distance event in three consecutive Olympics.

It is this remarkable athleticism and drive combined with Farah’s humble nature and warm sense of humour that has seen him become one of the UK’s best known and beloved sports stars. That warmth shines through even when speaking of his record-breaking success.

“People may laugh, but my approach is to keep it simple,” he says, when we ask about how he develops mental resilience when competing at such an unfathomably high level.

“Every race, I just go out there to do my best and nothing more than that.

“If you think too much about everything going on around you, it becomes stressful and actually makes performing harder.”

Outside the world of sports, Farah’s work includes an ambassadorial role with Save the Children as well as a fashionable partnership with British-Swiss watch brand Arnold & Son. »

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OLYMPICS

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OLYMPICS TIMELESS STYLE Known for its stylish aesthetic and unique dials, Arnold & Son describes itself as a Swiss watchmaker with English roots, and Farah first approached the brand in 2020.

The watch brand’s president Bertrand Savary explains that the collaboration, first launched later that year, was a no-brainer “after discussing [Farah’s] passion for watches and the importance of time in his life”.

“Sir Mo has a very tight connection with time,” he says. “Like with one of our timepieces, consistency, regularity and application are essential for him to succeed. Sir Mo is also British with another origin, and that, too, connects to Arnold & Son today.”

While Arnold & Son describes the collaboration with Farah as a tribute to their shared “British values of exception, endurance and elegance”, Farah, too, felt a pull to the watchmaker’s call to design-led innovation.

“I think the connection between an athlete and watchmaker is a very natural one,” Farah says. “We are both focused on time and both constantly seeking ways to be better.

“To have the opportunity to form a relationship with a watch brand that is steeped in British values and is now constantly pushing the boundaries with innovation and quality… it was not a difficult decision for me.”

But it’s not just the mechanical innovation that calls to Farah’s off-track sense of style – rarely seen by his legions of sporting fans.

“I like things that are different, and so I guess my watch style would be unique. I spend so much time dressed in sportwear and so when I do get the opportunity to ‘dress up’ I like a watch to really set off what I am wearing,” he says. “My favourite at the moment is the Arnold & Son Double Tourbillon with its double time zone.” »

MY APPROACH IS TO KEEP THINGS SIMPLE. EVERY RACE, I JUST GO OUT THERE TO DO MY BEST AND NOTHING MORE THAN THAT

Winning style: Sir Mo wears Arnold & Son Double Tourbillon Escapement (left) and the Constant Force Tourbillon (right and featured) 37

FORWARD MOMENTUM Born in Somalia, Farah arrived in London from Mogadishu when he was just eight years old.

He credits his school PE teacher for spotting his potential and encouraging him to train in track and field. His teacher’s faith was soon proven correct: Farah won his first European Junior 5,000m title in 2001.

2010 was a breakthrough year for Farah as he won double gold titles at the 2010 European T&F Championships in Barcelona (5,000m and 10,000m) and followed this with his first global gold winning the 5000m at the World T&F Championships in Osaka in 2011.

Then came the London 2012 Olympic Games.

Farah’s first race fell on the evening of 4 August – otherwise known as Super Saturday – capping off an extraordinary day for British sport, when Team GB won six Olympic gold medals. Farah’s victory marked Britain’s first ever gold medal for the 10,000m. One week later, Farah doubled his victory with a 5,000m gold.

From that moment, Farah’s tongue-in-cheek ‘Mobot’ victory pose – created by commentator Claire Balding on James Corden’s panel show A League of Their Own – was a worldwide sensation. But it was only the beginning.

After repeating his long-distance double gold success at the 2013 European World T&F Championships, 2014 European T&F Championships, 2015 World T&F Championships and 2016 Rio Olympic Games, Farah was honoured with a knighthood for services to Athletics In the 2017 New Year Honours.

“Success for me, is achieving your goals,” he says simply. “In Track and Field, goals are quite easy to set because very often they will be to win a certain medal or run a specific time.

“The results will clearly show whether you did or didn’t hit your goal and so you have to work hard day in day out to get there. There is no hiding place.”

At the end of 2017, Farah announced his decision to quit the track and focus his efforts on the marathon. This resulted in victory at the 2018 Chicago Marathon and (at the time) a new European Record of 2:05:11. However, the lure of the Tokyo Olympics and the opportunity to make history with a third consecutive gold saw Farah return to the track in 2020.

“Training has been going well,” says Farah, who hopes to qualify for his Olympic place in June. “The postponement of the Tokyo 2020 Games from last year allowed me to take a step back, and use the extra time that I had to build a better foundation.”

Farah has been training under the guidance of coach Gary Lough, both at home in southwest London (where he lives with his wife Tania and their four children) and at training camps in Ethiopia and the US. As for whether Farah is confident of becoming Britain’s first triple-double gold winner, he is characteristically humble: “I’m really happy with where I am at the moment and am looking forward to getting back racing on the track.”

Timing is everything: Sir Mo takes to the track, wearing Arnold & Son Constant Force Tourbillon (all images: Arnold & Son) 38

Timing is everything Arnold & Son president Bertrand Savary shares the quintessentially British design ethos driving the brand’s collectible novelties

Bertrand, how do you describe Arnold & Son’s ethos?

Today, Arnold & Son’s identity is tied to its ability to produce fine watchmaking complications that are linked to the heritage of [British watchmaker] John Arnold – such as chronometry, astronomy and world time.

What inspired your 2021 novelties?

We try to represent the time, or interpret a complication, in different ways. For example, the Globetrotter features the world’s largest rotating World Time Display on a wristwatch; the Perpetual Moon features the largest two-dimensional perpetual moon phase in the industry and, this year, we presented an obsidian dial for the first time. The Luna Magna is our first three-dimensional moon made of marble and aventurine glass; it is the largest rotating moon ever built into a wristwatch.

How do you plan to evolve your collections in the future?

Being a niche brand, it’s very important for us to stand out from the crowd, working with different materials while having original

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design. We push the limit of metiers d’art and creation of unique dials. Nevertheless, the design is not all: our watches are equipped with 100% in-house manufactured movements. We have created 13 calibres and plan to add a new calibre every two years.

What makes fine watches such collectible pieces?

Watchmaking is an art; it is emotional.

Watches are often given as gifts, which makes them a special object from the start.

Then, there are so many different categories to suit a collector’s interest, whether they are hobbyists, or passionate about a specific elements such as the mechanics or design.

What is the key to driving success?

A long-term vision is key. It takes time to build a brand and to earn clients’ respect and trust.

Today, the successful maisons are mostly independent, or have owners focused on long term objectives rather than looking for immediate return on investment. arnoldandson.com

THE ROAD TO TOKYO As the countdown to the delayed Tokyo 2020 Olympic Games begins again, we take a look at the many hurdles faced in the race to the starting line

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s the most highly anticipated sporting event in the calendar, the Olympic and Paralympic Games are without peer, even through difficult times. Indeed, when one looks at range of disciplines and the line-up of athletes preparing to defend their records (or set new ones) at the Tokyo 2021 Summer Olympic Games – from Sir Mo Farah and Dina Asher-Smith to Simone Biles and Novak Djokovic – as well as the young stars ready to make their names on the tracks and in the stadiums, the level of competition creates an instant swell of excitement like no other.

Tokyo was originally selected as the host city of 2020’s 32nd Olympiad in 2013 – marking the Japanese city’s second time hosting the games – and expectation was high from the start. Five new Olympic sports were to be introduced – surfing, skateboarding, sport climbing, karate, baseball and softball – as well as new competitions including 3x3 basketball, freestyle BMX, and madison cycling.

But the path to Tokyo has by no means been smooth. The country’s Olympics organising committee was initially headed up by former Japanese prime minister Yoshirō Mori, who was succeeded by politician and former Olympic athlete Seiko Hashimoto in February 2021. In preparation for the games, Tokyo’s National Stadium – which was also the central venue for the 1964 Olympics – began a ¥252bn (£1.64bn) renovation led by Zaha Hadid Architects, which, due to rising costs, was later scrapped in favour of a ¥157bn

(£1bn) design by Kengo Kuma.

And then came Covid-19. Concerns about whether the Olympics would be able to go ahead against the backdrop of what would, within weeks, prove to be a truly humbling pandemic were raised as early as January 2020, yet the International Olympic Committee (IOC) and Tokyo organisers refused to publicly consider the postponement of the games until March of that year.

RACE TO THE FINISH Finally, on 24 March, Japanese prime minister Shinzo Abe announced that the Olympic organising bodies had agreed that the games would be delayed for the first time in its history.

“We agreed to hold the Tokyo Olympics and Paralympics in the summer of 2021 at the latest,” said Abe. “In order to hold the Tokyo Olympics and Paralympics in a complete form as a proof of a victory by human beings against the coronavirus infections.”

The postponement of the Olympic Games was met with varied reactions from athletes, many of whom made drastic changes to their training regimes to adapt to global lockdowns and isolation. They will no doubt be relishing the opportunity to get into the stadium for the opening ceremony – which takes place on 23 July at 8pm local time (noon GMT) – and end the long wait to compete.

But it may be a different atmosphere at the starting line for athletes this year, as there will be no home-crowd support from overseas fans

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in the usually crowded stadiums – particularly as many locals object to holding the Games during its current spike in Covid-19 cases. The decision on whether to allow Japanese fans to attend in person will be made on 23 July – the day before the first events – and therefore it seems likely that sports stars will perform to empty venues.

This, of course, is expected to create an additional £500m loss in revenues from spectator spending, to add to the financial considerations of a delayed Olympics.

Originally expected to cost $7.3bn USD, current expert estimates put the costs of the Olympics at a possible $26bn, with costs rising further due to adding Covid-secure measures within the stadiums and Olympic Village alike.

But, despite the difficulties and doubts from Tokyo locals, there is no denying the buzz that surrounds competitors and fans alike as the Olympic torch makes its way across Japan’s 47 prefectures. With 339 events in 33 sports taking place, the IOC is “moving full ahead”, promising that our summer of sport will – hopefully, finally – return in record-breaking style.

Spokesperson Mark Adams said in May: “I think that you will see, when [the Olympics] do go ahead and when there is an amazing moment, that will also be reflected in public opinion.”

The Tokyo Olympic Games is expected to run 24 July to 8 August, followed by the Paralympic Games from 24 August to 5 September. olympics.com

The Tokyo National Stadium was renovated by Kengo Kuma

OLYMPICS

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Going for

GOLD As we prepare for the launch of the Olympic Games, Tempus meets the new generation of young British hopefuls ready to take Tokyo by storm Words: Judy Cogan

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hen the Tokyo Olympic Games were postponed by a year by the Covid-19 pandemic, the news came as a hammer blow to all the athletes training hard for the event.

Now, as I write this, we are just month away from the opening ceremony the torch relay has begun and the athletes are limbering up to compete. With heptathlete Katarina JohnsonThompson, sprinter Dina Asher-Smith, and runners Laura Muir and Sir Mo Farah, Britain has plenty of gold medal contenders. But the extra time has given some young hopefuls a new opportunity to join Team GB and set the podium in their sights.

Allow us to introduce you to the next gen Olympic stars poised to make an impact... » 43

NAOMI OGBETA | TRIPLE JUMP She may only be 22 years old but Naomi Ogbeta has already won seven national titles as a triple jumper and her star is certainly on the rise. When the first lockdown last year wreaked havoc on her tightly tuned training regime of four to six sessions a week Ogbeta (above) adapted quickly working out in an empty gym and at home to keep up her fitness levels. She also started seeing a sports psychologist to help hone her biggest Olympic goal: to break a world record. To do this in Tokyo she’ll have to take on world’s No.1 triple jumper Yulimar Rojas of Venezuela.

AMY HUNT | SPRINTER Not long after her 17th birthday, British sprinter Amy Hunt (above) smashed the world under18s record for the 200m and broke Dina AsherSmith’s UK under-20s record for the same distance. She ran so fast that her spikes were smouldering as she crossed the finish line. Hunt is also reigning European junior champion and, in 2020, won the British senior 60m crown. Still only 18, she is juggling sprint training with an English degree at Cambridge University.

JAKE WIGHTMAN | 1,500m RUN In 2018 Wightman (left) became the first Briton to run below 1:45 for 800m and in the 2020 Diamond League in Monaco he broke the Scottish record for the 1,500m. His achievements come down largely to hard-work, but also his genes. Wightman’s mother Susan (née Tooby) was a marathon runner as was his father, Geoff who is now his coach. As the “Tooby twins”, Wightman’s mother and her sister, Angela, were two of the best British runners of the 1980s. Coincidentally, Wightman also has a twin brother, called Sam.

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OLYMPICS JAZMIN SAWYERS | LONG JUMP Did you know the long jump event was actually Sawyer’s plan B? As an athlete ranked seventh in the world for the sport in 2020 it’s hard to believe, but she has also competed as a bobsledder and a heptathlete. Further to that in 2017 the Stokeborn athlete (right) was a contestant on The Voice and coached by Will.i.am before losing a sing-off to a rival contestant. At least she will be well placed to sing the national anthem if she unleashes a winning jump in Tokyo.

FREYA ANDERSON | SWIMMING Team GB’s most promising swimming star is allergic to chlorine and scared of the sea. “Certain chlorines agitate my skin,” Anderson recently told Sportsmail. “In certain pools it flares up and is really painful, not ideal for a swimmer.” Not ideal, but it hasn’t stopped the freestyler (left) from finishing fourth in her senior European debut in Glasgow in 2018. She followed that up last year with a World Championship relay bronze. Now she is ready to represent Britain at the Tokyo Olympics and the 20-year-old hopes to emulate the success of her idol Rebecca Adlington, who, aged 19, won 400m and 800m freestyle gold medals at Beijing 2008. » 45

ANDREW POZZI | HURDLES This 110m hurdles hopeful was unbeaten during the indoor season before COVID-19 played havoc with summer events last year. But he still enjoyed a superb 2020. The 28-year-old (right), who lives in Italy, finished last year with the ranking of second in the world. He is a solid candidate for an Olympic podium place and is set to compete on the same days in Tokyo as his girlfriend heptathlon star Katarina Johnson-Thompson.

ALEX YEE | TRIATHLON The Brownlee brothers Alastair and Jonny, Britain’s reigning triathlon champions, are likely to have their 23-year-old triathlon team-mate Alex Yee (left) breathing heavily down their necks in Tokyo. Yee took home gold at the 2019 Accenture World Triathlon Mixed Relay Series in Nottingham. But it was his silver medal in the World Triathlon Series race in Abu Dhabi the same year that announced his arrival from the junior ranks. The Londoner is being tipped as a worthy successor to his decorated team-mates.

JACK CARLIN | CYCLING It took a serious football injury, fracturing both his ankles, for Carlin (right) to take up cycling as part of his recovery. He signed up to The Glasgow Riders and now it’s turned into a passion that’s taking him to the Olympic Games. The 22-yearold has been sitting on the shoulder of Jason Kenny for some time, and the extra months he’s gained could prove crucial in Carlin’s quest to usurp his illustrious 32-year-old rival in Tokyo.

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OLYMPICS CAROLINE DUBOIS | BOXING Caroline DuBois (right) is a junior world and Olympic boxing champion who squeezed into the senior GB Boxing squad just in time to make the Tokyo 2020 qualifiers. The unbeaten 20-year-old has benefited from an extra year of development and is going to Tokyo as the lightweight favourite.

Dubois credits her progress to her father, Dave, who told his daughter to pretend to be a boy called Colin when she attended her first session at Repton Boxing Club in London’s Bethnal Green. Her inspirations include Irish boxing pro Katie Taylor.

JEMMA REEKIE | 800m RUN With the games in sight, Jemma Reekie (left) shaved a remarkable four seconds off her personal best when she won an 800m race in Glasgow in February this year, beating Laura Muir in the process. The 22-year-old Scot has had impressive early success, but has proved it wasn’t beginners luck by becoming ranked No2 in the world over 800m, behind Olympic 1,500m champion Faith Kipyegon of Kenya. It’s all there for the taking in Tokyo.

PHOTO CREDITS British Athletics Collection/Getty Images; SLT; SWPix; First Access Sports 47

SPORTING GREATS Words: Polly Jean Harrison

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ith the world cautiously emerging from various lockdowns just in time for the summer, travellers are desperate to explore places old and new, soaking up the sunshine and atmosphere that a luxury resort can offer.

However, many globetrotters want to combine their vacation plans with a chance to get out into nature after months cooped up indoors, taking part in activities and sports in the most glamorous and refreshing of destinations.

Whether it’s teeing up on the greenest green or hitting glistening slopes on snow-capped mountains, these resorts are putting this spirit of adventure at the heart of their activities. »

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The European destinations are putting activities at the centre of our stay

TRAVEL

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Grand Hotel Tremezzo, Lake Como

HÔTEL METROPOLE, MONACO | MOTORSPORT The Hotel Metropole is set in the heart of MonteCarlo, offering a vacation you will never forget.

With gorgeous interiors, renowned for its unique decoration and style, the glamorous hotel offers all the luxury amenities you would expect – as well as being an ideal location for a Formula One Monaco Grand Prix experience.

In fact, the hotels’ two-Michelin star restaurant is located trackside, offering the perfect vantage point to view the race and soak up the buzzing Monaco atmosphere from the heart of the action each May. What’s more, the hotel’s new Get Dizzy With Speed package offers guests the opportunity to test drive F1 and F3 cars (below) – giving you the Grand Prix experience all year round. metropole.com

GRAND HOTEL TREMEZZO, ITALY | WATERSPORTS The crystalline waters of Lake Como are all the temptation you need to dive in headfirst to this most iconic of luxury destinations, and where better to stay than the Grand Hotel Tremezzo, situated right on the waters’ edge? Live life on the water and experience an exquisite adrenaline rush as you sail, windsurf and waterski, surrounded by gorgeous Italian landscapes.

For fainter hearts, opt for a meditative canoe experience or be ferried in style on traditional water taxis, as well as a whole host of boating options available for you to enjoy the water at your own pace. Grand Hotel Tremezzo also has a “water-on-the-water” floating pool, allowing guests to wave to passing boats as they take a more curated dip surrounded by the lake. grandhoteltremezzo.com

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TRAVEL

COSTA NAVARINO, GREECE | TENNIS Not only is Costa Navarino a beautiful holiday destination in the Mediterranean, home to two five-star hotels and one of the finest luxury resorts in Greece, but it is also the location of the new Mouratoglou Tennis Center. Offering visitors a unique tennis experience surrounded by a gorgeous Messinian landscape, the centre was founded by Patrick Mouratoglou, one of the most influential coaches in tennis whose champion players include Serena Williams and Coco Gauff.

The Costa Navarino centre offers players the opportunity to serve on 16 state-of-the-art courts and receive some of the best coaching in the world – all with incredible views of the Ionian Sea. Whether you’re ready for Wimbledon or you’re holding a racket for the first time, the centres choice of courts offers different challenges suitable for all, taking your game to the next level. » costanavarino.com

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TERRE BLANCHE, FRANCE | GOLF Ranked the best golf resort in continental Europe in October 2020, Terre Blanche is one of the world’s most prestigious destinations for golf lovers. Offering two 18-hole championship courses providing an exciting challenge for ambitious golfers, the courses are inspired by the beautiful, rolling hillsides of Provence.

Whether you’re a seasoned pro looking to perfect your swing or a beginner picking up a club for the first time, head to Terre Blanche’s The Albatros Golf Performance Center – the only one of its kind throughout Europe. Comprising a two-storey driving range, golf academy and the Biomecaswing golf biomechanics centre – JeanJacques Rivet’s groundbreaking technological training concept – this is the perfect place to optimise your game. » terre-blanche.com

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TRAVEL

COWORTH PARK, UK | POLO The only hotel in the UK to have its own dedicated polo fields, nestled in its 240-acre grounds, Coworth Park is synonymous with horseplay.

With polo lessons and experiences run by the experts of Guards Polo Academy, guests can experience the thrills and challenges of the sport of kings at any skill level, from horse riding lessons to matches played alongside Guards Club members.

If competing on the field isn’t for you, guests can always enjoy the game from the sidelines, sipping elegant cocktails from the spectator’s ring, or enjoy a picnic in the hotel’s picturesque grounds and gardens. dorchestercollection.com W HOTEL VERBIER, SWITZERLAND | SKIING An intimate escape located at 1,531m, W Hotel Verbier provides guests with an exhilarating 400km of skiing and hiking terrain in the Swiss Alps. Open all year round, the Verbier ski resort offers guests action-packed days on the largest ski domain on Swiss soil, coupled with glorious sunshine and stunning mountain views.

The perfectly glittering and groomed slopes offer ski and snowboarding itineraries for all levels, as well as infinite freeriding trails and some of the best off-piste terrain in the world.

With ski-in/ski-out access, mountain concierge, and a contemporary design philosophy guaranteed to stand out from the usual ski lodges, W Hotel Verbier is the perfect location to hit the slopes before warming up in front of your private fireplace. marriott.co.uk

SIX SENSES DOURO VALLEY, PORTUGAL | WELLNESS Set in the heart of the Douro Valley, this spa resort offers visitors the opportunity to sample the finest wares from local vineyards, but also indulge in the sumptuous relaxation of their wellness and spa programmes.

Portuguese tradition meets Six Senses’ design ethos of combining the natural elements of water, stone and wood, provided a tactile backdrop for the venue’s smart technology, which measure guests’ inner health, movement and sleep patterns for wellness experts to create personalised treatments, activities and nutritional advice. Whether you’re looking to be fully rejuvenated or simply relax in the indoor pool, Six Senses’ wellness programmes will help you achieve a healthy balanced body and mind, nestled among the grapevines. sixsenses.com 53

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Rocket man Celebrating 60 years since the first manned space flight – and the remarkable life of the man who won the Space Race – Tempus discovers the zeroto-hero story of Russian cosmonaut Yuri Gagarin

Words: Rory FH Smith

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hen Yuri Alekseyevich Gagarin was born on 9 March 1934, in the Russian village of Klushino, 160km west of Moscow, it’s unlikely any of his family would have predicted his meteoric rise to stardom years later.

Born and raised on a poor and rural communal farm far from the capital, Gagarin would become the smiling – albeit unlikely – frontman of the Russian space programme of the early 1960s.

Despite his humble beginnings, he was catapulted to fame aged just 27 when he became the first human to make it into space and return to earth in 1961. For most people, the story of Gagarin ends happily with his successful space mission the celebrations that followed, but the reality is quite different. Few know the true and full story of the farm boy turned universal explorer – a story of unimaginable hardship, bravery, success and tragedy.

Officially classed as ‘peasants’ by the Soviet regime, the Gagarin family worked on the local collective farm and, although hard up, lived a contented life. The second of three sons, Yuri spent his early years by the side of his father, a skilled carpenter, until the outbreak of the

Second World War changed their lives forever.

With their village firmly in firing line of the German advance and retreat from Russia, Gagarin and his family faced constant shelling and Nazi occupation between 1941 and 1944.

They spent 21 months living in a hut built on the land behind the family home, while a German officer occupied the house itself. It was during this period that Gagarin, just nine-years-old, became a saboteur in retaliation to an attack on his younger brother Boris; he poured soil into tank batteries and mixed different chemical supplies to ensure they would not recharge.

“Many of the traits of character that suited him in the later years as a pilot and cosmonaut all developed around that time, during the war,” said his brother Valentin, in an interview in the late 1990s.

The Gagarin family moved to the nearby town of Gzhatsk after the war – the town would be renamed ‘Gagarin’ after the cosmonaut’s death in 1968 – and young Yuri continued his education. Developing a keen interest in science and mathematics at school, Gagarin also had a fascination with aircraft, which was sparked when a fighter plane crash-landed in Klushino during the war. »

Global star: Yuri Gagarin's achievements were commemorated in 1980 with a 40ft tall titanium statue in Moscow.

A FLYING START At 16, Gagarin began an apprenticeship at a steel plant in Lyubertsy, near Moscow, while finishing his education. He was selected to further his training at the Industrial Technical School in Saratov, where he volunteered locally for weekend training as a Soviet air cadet, joining Air Force Pilots school in 1955.

In 1957, he became a lieutenant in the Soviet Air Forces, working his way through the ranks before expressing an interest in the radical new space programme that was rapidly taking shape. His training, as one of Russia’s ‘Vanguard Six’ cosmonauts, included physical and psychological preparation from oxygen deprivation to long periods of isolation.

The programme’s Air Force doctor evaluated Gagarin in August 1960, writing the pilot was modest and intelligent, with a “fantastic memory; [he] distinguishes himself from his colleagues by his sharp and far-ranging sense of attention to his surroundings; a well-developed imagination; quick reactions; persevering, prepares himself painstakingly for his activities and training exercises, handles celestial mechanics and mathematical formulae with ease…”

Going head-to-head with the USA, the Russian Vostok 1 Programme would eventually win the hotly contested Space Race, which would see Gagarin make history in 1961 as the first human to orbit the Earth. Launched into space aboard a converted nuclear missile, his orbit only lasted 108 minutes before he returned to earth with a crash – famously landing in a potato field.

HISTORY IN THE MAKING Despite the unglamorous re-entry, this was enough for Gagarin to make history, ensuring he would be remembered for eternity as the first man to make it into space. His success was followed by world tours as the former farm worker rose to global hero status, meeting everyone from world leaders – including the Queen – to movie stars.

“To be a hero at all under communism was an anomaly, for no individual could be greater than the collective whole,” says Gagarin’s biographer, Jamie Doran, in his 1998 book Starman.

After his historic spaceflight, Gagarin became deputy director of the Cosmonaut Training Centre and was elected as a deputy of the Soviet of the Union in 1962. He also served as backup crew to the tragic Soyuz 1 mission, which ended in a fatal crash in which Gagarin’s friend, cosmonaut Vladmir Komarov, was killed.

In the following years, Gagarin returned to flying regular aircraft, graduating from the Zhukovsky Air Force Engineering Academy in 1968. But, tragically, his time back in the cockpit was to be short-lived. Five weeks after his graduation, and just a few days after his 34th birthday, the trailblazing pilot was killed when the MiG-15UTI jet he was piloting mysteriously crashed during a routine training flight.

The cause of the crash has become the subject of multiple conspiracies due to the initial secrecy of three separate investigations – including those conducted by the Air Force and the KGB. With theories ranging from poor weather and ground crew error to a Kremlin-ordered accident, the cause of death of the space-age hero remains something of a mystery to this day.

Despite the circumstances surrounding his death, Gagarin’s achievement 60 years ago remains unblemished and still inspires the next generation of scientists and space explorers – the date of his space flight, 12 April, continues to be marked as a national celebration day in Russia. His zero-to-hero tale of triumph in the face of much adversity is all the more remarkable considering it took place against the curious and complex backdrop of the Cold War Space Race.

“Yuri Gagarin was no superman; he was mortal and flawed, just like the rest of us,” writes Doran in his biography. “Yet he deserves his status in history: not just for the mere fact of being first into space, but also because he lived his life with decency, bravery and honour.”

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The Green Apple Foundation’s Portia Hart shares the inspiring story that saw her leave London for Colombia to embrace beach living with a major difference

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ack in the noughties, Portia Hart was selling yachts in sunny Monaco, living a glamorous life with the international jet set. Fast forward a decade, and she was elbowdeep in waste disposal and broken glass in one of the poorest parts of Colombia. Yet, she couldn’t feel more fulfilled. “The biggest luxury in my life is to go to bed at night knowing I’ve had a positive impact – not just on the environment, but on people too.”

Yes, it’s been quite a journey for the BritishTrinidadian entrepreneur. Few could have blamed her for staying in Monaco, yet Hart “wanted to see something of the real world. And I just thought, ‘If I don’t leave now, I’ll play it safe until the end of time’.”

When a friend invited Hart to spend some time in the South American republic of Colombia, it was the excuse she needed to take a beach-side sabbatical. Little did she know that what started out as a restful break would result in a sustainability drive to put even the most hardened eco-warriors to shame.

On first arrival, Hart loved the energy and vibe of Cartagena. Beach-wise, however, she saw that there was definitely room for improvement.

“It was just a really terrible experience every time,” she says. “You had to go really early in the morning because the nicest beaches were about an hour’s boat ride away. Virtually nowhere had

a menu with more than two dishes on it. No one served wine. The service was really bad and very few places had chairs, tables and cutlery. You’d be eating a freshly caught fish with your hands.”

And after the fifth or sixth time of saying, “that was a disaster”, she thought, “Maybe I should just start a beach club? A place where you can drink a decent bottle of rosé, listen to good music, have wifi and eat with a knife and fork.”

Shrugging off suggestions that this approach wouldn’t work in Colombia, Hart pointed to the success of upmarket beach clubs everywhere from Mexico to Miami and Greece. Within six months, her Blue Apple Beach Club was a hit with the locals. “That was the funny thing,” she says. “It wasn’t even full of tourists.”

Her business plan, she says, was “very humble.

We didn’t have investors and kind of made it up as we went along. I got my hands really dirty, did a little bit of everything. And I’m still here every day and really involved.”

The Blue Apple Beach Club, on the Isla Tierra Bomba off the coast of Cartegena, has a restaurant and 10 rooms, though she’s looking to build more bedroom villas over the next couple of years. It’s all made more impressive by the fact that the island is without running water, paved roads or electricity some of the time. “It’s quite a big operation when everything has to come in on a boat.” » 58

IMAGES: FABIAN ALVAREZ, BLUE APPLE BEACH CLUB

Words: Lysanne Currie

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Sustainable luxury: The Blue Apple Beach Club offers upscale private dining and luxurious villas for perfect island vibes

A FORCE FOR CHANGE Hart’s next project was a real force for change.

The Green Apple Foundation, launched in 2017, is a not-for-profit social enterprise that uses trash to create job opportunities for locals. Initially she was worried. Her previous experience in yachting had no eco-credentials, and she wondered if committing to such a concept was impossible for a small business such as hers. But Hart was committed. “Doing things the right way is very often better for business,” she says.

This valuable lesson came in various forms.

By recycling water, the land has become more fertile, enabling Hart to employ two local gardeners. “We’ve actually been able to create jobs that pay for themselves because we’re recycling,” she says. “You suddenly go, ‘Wow, this creates jobs and prevents waste limits and environmental damage – why aren’t we all doing this?’”

Not everything has been smooth running.

There was, for instance, no proper municipal waste collection service on the island. The Green Apple Foundation duly organised a waste reduction and recycling program, and it proved profitable – except when it came to glass.

No one recycles on the grounds of ethics alone, Hart explains. “The recycling industry functions because it makes a profit. So when there’s not a profit to be made, it stops.”

And so, after some brainstorming, a new initiative was created – one in which glass is crushed and turned into sand, and contributed to the construction industry to make concrete and mortar.

“There was lots of trial and error,” she admits.

But, within a year, it had become a financially selfsufficient vehicle employing five people full-time.

BETTER LIVING Since 2017, Hart’s teams have benefited from stable jobs, allowing them to travel, build homes and provide university educations for their children. “If you don’t give people the opportunity to have a good quality of life, you can’t expect them to care about the environment,” says Hart.

“I never want the right choice to be an act of philanthropy,” she says, “because I don’t believe that makes sustainability viable. I think, as a society, we have to find ways that appeal to people and we live in a world where financial, economic motives matter. I don’t think social justice or environmental responsibility should ever only be in the hands of people who can afford to lose money doing it.”

More recently, the Covid-19 pandemic created a new challenge for the organisation when she was forced to close doors for seven months. Hart says she “stepped into crisis mode. I have a sister in the army and I actually asked her for some leadership technique advice!’” Nevertheless, she was able to pay all her staff half a salary for the months they were closed.

The enforced hiatus gave her time to reflect, too: “I gave a lot of thought to what success really meant to me as a person and how I could link my success to other people’s,” she says. This resulted in a new philosophy. “The things that we’re doing [with the Foundation] are no longer the by-product of our business – they are the purpose of our business.”

To those thinking of embarking on a similar journey, Hart’s top tip would be: “Don’t think about it too much.”

Referencing a time when Hurricane Matthew forced the club to close for two weeks, Hart recalls that not only was there no water (because the boat that delivered it couldn’t dock), but a cow wandered into the property and had fallen into the septic tank.

“The tank is now repaired, we have an even better wastewater management system than before, and the cow lived.” she says. “But if you thought about any of those challenges, you’d never start. So you just have to just jump into it and enjoy the ride.” greenapplecartagena.com; blueapplebeach.com

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Saving the Wild: William Fortescue

William, tell us a bit about your story. How did you become a wildlife photographer?

When I left school I wasn’t sure what I wanted to do. I somehow managed to get an internship at Governors Camp Collection who have seven safari camps in Kenya and Rwanda. My daily jobs included cleaning shower heads to doing stock checks, but I also got to go out on safari and I began taking photos with my first proper camera. After a couple of years of doing this on and off, I went to study Marine and Natural History Photography at Falmouth University.

Two years after graduating, I went back to Governors Camp as an in-house photographer, running photographic safaris and creating content. I now spend around half my year working at Governors, and the rest of the time working on personal photography assignments in places like Ethiopia, Tanzania and Rwanda. It got even more exciting a few months ago, when the London-based Red Eight Gallery gave me a phone call and offered to represent me as their first wildlife photographer.

Where did your passion for wildlife come from? Is that something you’ve always had?

I firmly believe we all have an intrinsic love for wildlife. I’m just very lucky that I’m able to make a living alongside that passion. Despite now living in London for part of the year, I did grow up in the countryside spending days outside.

When I went to work in Kenya I was suddenly regularly seeing elephants and lions, and that was a completely new experience, which I became addicted to. We all have a passion for nature inside us, and that’s why so many people buy wildlife prints to adorn their homes.

Your shots are equally beautiful and theatrical. Can you talk about how you capture these incredible moments?

I’ve had the odd heart-thumping moment. In Amboseli National Park in Kenya last year, we ripped the doors off the car I was in so I could

Talented wildlife photographer William Fortescue talks about his passionate support for conservation and our intrinsic human love of nature

get a bit lower with the camera. I was lying on the floor of the car, looking up at an enormous elephant though my lens. The lens was wider than my field of vision, so as I peered over the top of my camera I realised his tusks were only a few feet from my face. Thankfully, he looked down at me for a second, decided I was no threat, and carried on past the car.

The closer you can get, and the wider angle lens you use, the more impact images will have in print. My kit bag looks more like a portrait photographer’s – I don’t take a big long lens.

I’d rather stay longer, get closer, and strive for

I FIRMLY BELIEVE WE ALL HAVE AN

INTRINSIC LOVE FOR WILDLIFE

a more exciting image.

I also rely on the guides I work with. Eric Ole Kalama, whom I work with on my elephant images in Amboseli, seems to know more about their behaviour than anyone I’ve ever met. His ability to constantly predict their behaviour is what has allowed me to get within a few feet of some of the world’s biggest elephants. It’s very much a team effort.

You’re a big supporter of wildlife charities. How do you think wildlife photography and conservation efforts complement each other?

They truly go hand-in-hand. I’ve got two charity partners, the David Shepherd Wildlife Foundation and Jamie Joseph’s Saving the 62

Wild. They both rely on beautiful content on a regular basis. There’s also the fundraising element, and Red Eight Gallery and I donate 10% of the proceeds of print sales to these charities. Part of this donation will go to fund Saving the Wild’s work in the Kimana Wildlife Corridor. Over the past eight months there’s been a huge battle there to stop an illegal avocado farm which posed a huge threat to the elephant population.

A key component of conservation is the successful involvement of local communities.

There’s tremendous competition for space, and it’s so important to make sure the people living next to a pride of lions or herd of elephants can live sustainably alongside these breathtaking animals. Saving the Wild has got an amazing beekeeping project which is providing scholarships for children, with 70% of the money earmarked for young girls.

We really want those who buy the prints to know about how these charities are benefiting local communities, which is why we emboss their logos next to the signature and print number. So, when you hang that print on your wall, every time you look at it there’s a reminder of what’s being achieved in Africa.

What’s next on your radar?

Later this year I’ll be working with Jamie at Saving the Wild ahead of the release of her documentary about the Kimana’s super tusker elephants. We’ll also be creating some rhino images for her ‘Blood Rhino Blacklist’, as numbers have fallen from 500,000 in 1900 to around just 27,000 today. Jamie has been battling for the last five years to try to protect those that remain, and it’s a partnership that I’m really excited about.

For more information on William Fortescue’s work, please visit redeightgallery.com/artist/williamfortescue or contact info@redeightgallery.com redeightgallery.com

Wild at art: William Fortescue’s (above right) work brings his conservation efforts to life

PARTNER FEATURE

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The art of living fearlessly We meet 10 of the creative visionaries revolutionising the art and fashion worlds with the Sarabande Foundation Words: Ross Forbes

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isionary fashion designer Lee Alexander McQueen was renowned for his fierce creativity and desire to push the limits of fashion and its artistry. It is unsurprising, then, that his Sarabande Foundation, founded in 2006, has grown to become the pinnacle of that legacy, nurturing and celebrating more than 100 pioneering artists and designers.

Providing everything from top scholarships to low-cost studio space and bespoke mentoring, Sarabande has supported visual artists, sculptors, filmmakers and photographers, as well as accessory and fashion designers. With annual showcases, artists in residence programmes, pioneering industry talks, workshops and exhibitions, McQueen’s inspiration is felt throughout the organisation, to which he left the majority of

his estate upon his death in 2010.

Famous supporters include ambassadors Naomi Campbell, photographer Nick Knight OBE, filmmaker Sam Taylor-Johnson OBE and Andrew Bolton, curator at the Metropolitan Museum of Art. The Foundation is now led

by CEO Trino Verkade, McQueen’s long-term collaborator, who says: “No other institution offers the same depth of support across such a breadth of disciplines… We keep our objectives simple: to support the most exciting creative talents who will truly help shape the world going forward.

“Culture requires bold, fearlessly creative individuals to move forward into the future, to focus on today and tomorrow’s issues,” she says. “We don’t let talent and ideas fail because of lack of a studio to work from, or a lack of

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education that gives someone the necessary tools to hold their voice out loud. Neither do we let exciting ideas just disappear because an individual didn’t have the community with whom to brainstorm or explore them.”

With alumni including jeweller Benjamin Hawkins and designers Craig Green and Molly Goddard, and artists Mircea Teleaga and Molly Goddard and Michaela Yearwood-Dan, there is no shortage of exciting work within Sarabande’s impressive portfolio – with new work available to buy through the Foundation’s retail arm, House of Bandits, which operates an online boutique as well as physical pop up events.

Here, Tempus meets 10 of the most exciting artists and designers of tomorrow. sarabandefoundation.org

DESIGN KARIMAH HASSAN Born in Wales with Yemeni and Bangladeshi heritage, Karimah Hassan creates live paintings at performance events in London and New York to highlight the important of communities in the city. Her bold, expressive works (such as Together We Go Alone, pictured) has seen clients including The Barbican, Ted Baker, Arts Council England, and The Highline New York.

She also spent the first lockdown painting a series of one-a-day portraits of people who tag her in photographs on Instagram, which she has turned into a book and exhibition, The Strangers Yearbook. »

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AURORA PETTINARI YORK Textile artist and embroiderer Aurora Pettinari York was born in Milan, and is inspired by GrecoRoman mythology, and stories of “humans colliding with other humans, animals and gods” –creating lonely figures longing for connection.

Pettinari York has exhibited her work (right) internationally, including group shows at the V&A in London and MUDEC in Milan, as well as projects with architects and fashion designers for London Craft Week and Milan Fashion Week.

BIANCA SAUNDERS Selected in 2018 as ‘One To Watch’ by the British Fashion Council, London designer Bianca Saunders launched her eponymous label just the year before. She has shown four seasons at London Fashion Week Men’s with her boldly constructed garments (left), which push the boundaries of gender and create fresh new ideas for menswear intertwined with inspiration from her Caribbean heritage. Her designs have featured in publications including Vogue and i-D and she is a finalist for this year’s LVMH Prize.

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DESIGN

CASTRO SMITH Jewellery designer Castro Smith began his training as a painter and printmaker before his apprenticeship with the Goldsmiths Company and subsequent studies with engraving firm RH Wilkins. In 2017 he was awarded the Winston Churchill Memorial Trust scholarship and travelled to Japan to study under the guidance of master silversmith Hiroshi Suzuki.

Working mainly on bespoke orders, he produces contemporary pieces combining techniques and styles. Smith is the recipient of the Goldsmiths Special Council Award; the Podolsky Award and the Theo Fennell Award. »

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CULTURE REQUIRES BOLD,

FEARLESSLY CREATIVE INDIVIDUALS TO MOVE FORWARD INTO THE FUTURE

– Trino Verkade

CONOR JOSEPH The macabre and the human form are key themes in the jewellery of Conor Joseph, a Central Saint Martins graduate who takes inspiration from film, visual art and sculpture to create piece that are like an extension of the body. The darkness of his designs is juxtaposed by his sometimes delicate, fine classic craftsmanship. A Sarabande jewellerin-residence, Conor’s ‘Second Skin’ concept recently found a client in actor Luke Evans (top right), who ordered a custom ring created using an image of his hand.

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DESIGN

ALICE VON MALTZAHN London-based contemporary artist Alice von Maltzahn is an international artist working predominantly with paper. Von Maltzahn studied at Wimbledon College of Fine Art, The Ruskin School of Fine Art and Oxford University and her work (such as Vessel Interrupted, left) has been exhibited in Germany and the UK. Working with sustainable material, such as Japanese papers and inks, her work, with its meticulously created, larger-than-life artworks, examines the traces we leave behind.

SAELIA APARICIO TORINOS Born in Spain and now based in London, multidisciplinary artist Saelia Aparico Torinos works in sculpture, animation, large scale free-hand drawings and glass blowing. She has exhibited more than 75 times – including 12 solo shows – and recently won the prestigious Generaciones 2019 Award for contemporary art. Saelia also created a large installation at the Sarabande x JOYCE pop up in Hong Kong. »

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IMAGES: SARABANDE FOUNDATION, MARLEN KELLER

WED London based bridal and eveningwear brand WED was established in 2019 by Amy Trinh and Evan Phillips. Semi-finalists of the LVMH Prize, WED is inspired by the surreal and imaginative drapes of early couture, WED aims to disrupt the bridal market and create a sustainable shift away from the notion that the wedding dress must be a one-day occasion piece. The same styles are offered in white for bridal, black for evening, and each piece is designed to be worn on, pre- or post the bride’s wedding day.

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DESIGN

SHINTA NAKAJIMA Award-winning silversmith Shinta Nakajima produces ornaments and vessels (left) inspired by natural forms – such as plants, seeds and fruits – using hammering and chasing techniques.

Nakajima describes traditional hammering as a meditative practice, and spends approximately 100 hours on each piece, hammering 15,000 times per hour. Nakajima’s work was exhibited and sold at Masterpiece London 2019.

STEPHEN DOHERTY Stephen Doherty’s works (such as Fading Pink, right) embraces multiple disciplines including drawing, painting and print, to reflect on his environments – the people around him, their relationships and shared rituals. His first solo show ‘Gratitude Blooms’ was exhibited at SHOWstudio in 2020 and was developed during a residency in Goa. Featuring paintings of flowers, petals and studies of the human figure, the show was centred around themes of ritual celebration and performative acts of gratitude.

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M

anchester-based menswear brand Private White VC has been an understated style staple of discerning gentlemen since its launch in 2013.

But, behind the scenes, founder James Eden is also using his unshakeable determination and energy to honour a family legacy while flying the flag for sustainable British craftsmanship.

Former investment banker Eden packed up his lucrative life in the City in 2012 in favour of trying his hand at running the clothing manufacture business his great-grandfather, Victoria Cross-recipient Jack White, had

owned in the 1940s.

Soon seeing a market for an independent brand that championed the fine materials and high-quality craftsmanship the factory’s artisans had at their fingertips, Eden launched Private White VC with a uniquely local ethos. In fact, 90% of products are made in the brand’s Salford factory, with the remaining products coming from a small number of partner factories.

“We get our shoes from Northampton and knitwear from Scotland,” Eden tells Tempus.

“What we’re brilliant at, what we’re known for, 72

is the products we make ourselves. I think we make some of the best products in the world – but, I mean, I would say that.”

Since then, its classic-contemporary style (which Eden describes as “techno-retro”) has gone from strength to strength, honouring the traditions of “Cottonopolis”, as Manchester was once known, while leading the charge in responsible fashion through the use of recycled fabrics and other innovative techniques. Here, Eden shares what it takes to go head-to-head with fast fashion and why he remains inspired by the original Private White. »

LOCAL HEROES James Eden, founder of menswear staple Private White VC, tells us about honouring his remarkable family legacy and celebrating the best of British manufacture Words: Michelle Johnson

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James, please tell us about your inspiration, the original Private White?

My great-grandfather, Jack White, served as a private in the First World War and was awarded the Victoria Cross for his heroics in 1917 – an amazing accomplishment. When he got back to civilian life, he went back to working in his local raincoat factory here in Salford. He got an apprenticeship and trained as a pattern cutter, before becoming factory supervisor, general manager and, eventually, the owner of the factory.

My grandmother was, obviously, very proud of her father. He was quite an icon and was revered and respected in the region. There was this big halo that shone from Grandpa Jack, as well as the factory that he took over. When he passed away at the end of the 1940s the business moved through different guises and family members.

Do you have early memories of the factory?

The factory was always part of my life. I worked there in summer holidays cutting fabric and sweeping the floors, whatever was needed. I developed an acute love for the building, the processes and the people. At the time, the factory was a private label company making garments for ostensibly the best brands in the world. As an impressionable teenager, I was always quite seduced by the Burberry check or Aquascutum patterns.

What made you leave investment banking to take on the factory in 2012?

I worked in the City for a couple of years after completing my Master’s in economics at Cambridge [University], but I soon lamented my decision. I was a very predictable, self-loathing financier – I knew I needed to do something different but, like a lemming off a cliff, I thought I could chase the pound and happiness would follow. My reality check bounced when the credit crunch happened and I realised that if I was going to excel at something I had to be passionate and determined. Meanwhile, back home in Manchester

there was a threat to the business – so I put my hand up for redundancy.

Was it daunting to undertake such a complete career change?

Honestly, I thought, “Well, how hard can it be?”.

I had nothing to lose and everything to gain. I ploughed a bit of capital into the factory and just went in with enthusiasm and lots of naivety.

It occurred to me pretty quickly that, instead of making beautiful things for well-established brands, we should make our own brand, with our own badge of authenticity and endorsement. But it became clear we couldn’t use the existing trading name, because the brands we supplied didn’t like the idea of their private label makers sticking their heads above the parapet. It was immediately obvious that we should name the label after my great-grandfather, one of the cornerstones of our history. Everything grew from there.

How crucial is craftsmanship to the brand?

I would say the core of the brand is the manufacture of the products. There’s a unique handwriting that purveys and persists throughout all our collections.

We make everything ourselves and source all our supplies locally, even within a 50-mile radius, wherever possible. We work with the same mills for our cottons, wools, silks, linens; all our hardware is hand-polished in Switzerland. We have a community of makers and suppliers that we work with. So, we don’t look for celebrity endorsements or gimmicks in how we get our name out there, we just try to communicate our story as best we can, cutting through the noise of the fashion world in a sensible, direct, subtle, but still ostentatious way.

How would you describe Private White VC’s style?

It’s extremely understated. We like our quality to whisper, as opposed to having garments that roar.

We’re quite stealth in that way. If you see a guy wearing Private White, you know he’s a man of

confidence and substance. At the same time, we don’t want to be overly commercial and have big logos or motifs; we want the product and quality to do the talking. We have a classic-contemporary aesthetic – another phrase I like to use is ‘technoretro’, because we’re using timeless silhouettes but embrace the technology, techniques, fabrics and machinery to elevate the function and performance of the garments, whether that’s waterproofing zips to incorporating recycledfabrics made from plastic bottles.

Do you think we are seeing a renaissance in British craftsmanship?

I would push back on that, actually. If you look at big brands or the high street, there’s still not much made domestically. However, there is more visibility for British-made brands, who can use social media or other direct marketing to reach the purists and consumers directly, and grow their businesses in a way they’ve never been able to, historically. But there’s a lot more work to do before those factory brands, maker labels, craftsmen and artisanal brands are fully embraced by the mainstream.

How did you come to manufacture PPE during Covid-19 lockdowns?

When the pandemic started, we were hearing so many horror stories about lack of PPE and medical equipment. My mother was a medical secretary, my grandfather and uncle were both GPs and my mother-in-law is a retired midwife, so I was very aware of what a problem that broken supply chain could be. Equally, when the shops shut and borders were closed, we really felt that sense of fight or flight, and knew we needed to reposition. So, with the experience and infrastructure we had at our disposal, we offered our services to make what was needed. We worked with local authorities and public health services to manufacturer medicalgrade gowns and millions of surgical facemasks here in the North-West. I’m very proud of these efforts and the work we’ve done.

WE LIKE OUR QUALITY TO WHISPER, AS OPPOSED TO HAVING GARMENTS THAT ROAR 74

What advice would you give entrepreneurs looking to launch a new business?

If you’ve got a vision or an instinct, you’ve got to be as dogged and determined as your resources will allow. I can say, with the utmost confidence, that I’m stubborn as hell – I’m quite resilient and determined – and you need that if you’re going to succeed. That can also be a shortcoming if you have a tendency to ignore good advice, but part of the pain and privilege of being a business owner is following your convictions. There’s never a good time to start a business, but I would always encourage someone to go for it: stop procrastinating or striving for perfection, and just get on with it. privatewhitevc.com

Style staple: James Eden (left), Private White VC's SS21 collection (this page)

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The spirit restored The grand reopening of famed ghost distillery Brora is a triumph for whisky enthusiasts

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he word iconic is overused, but what other term could define Brora? The Highland distillery in Sutherland closed its gates in 1983, after a 164-year history of creating a single malt used in the finest of Scotch blends and that, enjoyed on its own, defined the ‘age of peat’.

Since its closure, Brora’s historic bottlings have inspired a cult following in the world’s most discerning collectors – in 2019, a bottle of Brora 1972 Limited Edition 40-Year-Old sold at Sotheby’s for a distillery record of £54,450.

Now, following an extensive three-year restoration by premium spirits brand Diageo, the ghost distillery has reopened once more. On 19 May, master distiller Stewart Bowman – son of the last exciseman at Brora – reopened the distillery’s wildcat gates and filled the first cask of Brora spirit in more than 38 years.

“Growing up in the village, we often wondered whether Brora would ever return,” says Bowman. “It is with great pride that I can now say to my father, the Brora community, and all the ‘old hands’ that worked at Brora and helped to craft a legendary whisky, that the stills are alive and we are making Brora spirit once again.”

The restoration was announced by Diageo in 2017, as part of a £35m investment to bring famous ghost distilleries Brora and Port Ellen back to life. Brora will now begin producing up to approximately 800,000 litres a year from the carbon-neutral distillery.

Archivist Joanne McKercher worked alongside Bowman and a host of specialists to restore the Victorian buildings and replicate the distillery’s original conditions, equipment and processes key to the whisky’s characteristics – including Brora’s original copper stills, which were restored by hand to exact historic specifications.

“When we first opened the doors at Brora we walked into a time capsule,” says McKercher.

“As a historian and an archivist for malts, I had never seen anything like that before. It was unbelievable just how untouched it was: as if the guys had just finished their shift and walked out… You’re not just looking at stills or a physical building, it’s all of the emotion.”

Using a combination of tasting notes, archive material – including the discovery of documents dating back to the 1890s – and modern distilling knowledge, restorers were able to replicate the operation of the distillery as it was in 1983.

I CAN SAY WITH GREAT PRIDE: THE STILLS ARE ALIVE AND WE ARE MAKING BRORA SPIRIT ONCE AGAIN – Stewart Bowman, Brora master distiller

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“It was a wonderful challenge – one of the most rewarding that I have faced in my career as a whisky maker,” says Diageo and Johnnie Walker master blender Dr Jim Beveridge. “By sampling remaining old stocks of Brora and using historic tasting notes, we slowly built a picture. With my colleague Donna Anderson, we were able to make this vision of the liquid a reality by reverse-engineering the production process. It is our hope that we have safeguarded that beautiful Brora spirit character for generations to come.”

The first release from the distillery, first unveiled in April, was the Brora Triptych (below) – a three-piece collection of extremely rare single malt whiskies each representing a distinct style of Brora’s heritage – and now it is joined by The Brora Distillery Collection: Hidden Beneath, a Brora 1982 39-Year-Old. “When people walk into Brora distillery, I want them to feel a connection to the past,” says Bowman. “To be able to understand the history of the place, and why we’ve put the distillery back together, [so] that we can continue its legacy into future generations.” brora-restored.com

A culinary lens

How exploring China’s diverse gastronomic anthropology made Andrew Wong one of Britain’s most exciting chefs – and led his A Wong restaurant to become the first twoMichelin Star Chinese restaurant outside of China Words: Lauren Jade Hill

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teamed dim sum, Zhou dynasty cured scallops and braised suckling pig: each of these Chinese dishes may sound familiar but, at upmarket Pimlico restaurant A Wong, each mouth-watering creation comes with an extra helping of ingenuity.

It’s here that celebrated British-Chinese chef Andrew Wong draws on his background as an anthropologist of food to invent dishes that introduce diners to the vast flavourful histories and cultures of China.

The celebrated chef opened his eponymous restaurant in 2012, after returning from a working tour of China, and began creating dishes based on his new appreciation of the country’s culinary diversity, as well as his own heritage – the south-west London dining spot is on the same site his parents ran their Cantonese restaurant.

Wong studied chemistry at Oxford University and social anthropology at the London School of Economics before deciding to return home to help build the family restaurant. A course at culinary school was soon followed by travels around China, which inspired Wong’s desire to explore the cultural and regional differences that define China’s gastronomy.

“I started by just helping my mother out; now I don’t know where time has gone,” he

tells Tempus. “Along the way we’ve had this incredible journey. I try to always concentrate on the now. I think that’s helped me in the sense that we’re always focused on improving the restaurant – we try to evolve every day.

“My trip to China was an absorbing experience in the sense that it wasn’t just learning about recipes, but was also about self-discovery and the realisation of what I was trying to look into,” he says. “This is a gastronomy that is thousands of years old and a country that has 14 other countries bordering it. That was a point that I discovered how little I knew [about China] but at the same time how exciting it was that I could learn more.”

As Wong discovered the real breadth of Chinese cuisine – and how it is shaped by the country’s 3,000 years of culinary history – he recognised that there was an untapped market in London, which was then predominantly offering Cantonese cuisine.

“We’re talking about a time when most Chinese restaurants in the UK were Cantonese and the rise of Sichuan cuisine had just begun,” he explains. “At this time, I realised that there was so much gastronomy that the London dining scene didn’t know about. I wanted to explore that, and try to interest London in the things that I thought were interesting.” »

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Postcard from Yunnan © Great British Chefs

A MOMENT IN TIME After a period of recreating dishes and reinterpreting them with his own spin, the chef took his culinary creation to another level by collaborating with anthropologist Dr Mukta Das, a specialist in the history of Chinese cuisine.

Together, they have leafed through ancient documents and delved into moments of China’s history to uncover more of the country’s vast gastronomic identity.

In 2020, Wong was inaugurated as an official research associate at London’s SOAS Food Studies Centre, where his new status widens the scope of his endeavour — the most exciting part of this for diners is how Wong translates his findings into food.

“It’s about collating information and trying to use that to paint a picture through food,” he explains. “Some of the dishes might be inspired by a recipe, a combination of recipes or research into a particular ingredient of a time; then, with that, there might be a bit of poetry or artwork. It’s about putting all the information together and trying to create something delicious from that.

“Whether or not it’s a true representation of a moment in time is not really that important,” he says. “It’s more about celebrating Chinese culture and history through cooking.”

WHETHER OR NOT IT'S A TRUE REPRESENTATION OF A MOMENT IN TIME IS NOT IMPORTANT. IT'S ABOUT CELEBRATING CHINESE CULTURE AND HISTORY THROUGH COOKING A culinary lens: Andrew Wong & Mukta Das GBC (below). Opposite from top left: rabbit Dumplings, scallop, rib with sesame and pork floss, and inside A Wong (© David Cotsworth, Great British Chefs and Murray Wilson)

A SENSE OF COMMUNITY Great examples of this can be found in Wong’s menu. A recent creation combined Wong’s interest in the names of traditional Chinese dishes, such as the traditional Fujian delicacy “Buddha Jumps Over the Wall” – an aromatic meat and seafood dish originating from the Qing Dynasty, and so named for its ability to tempt the vegetarian monks from their temples – with the use of ingredient such as chillies and sweet potato (the latter found in his favourite Taiwanese street foods).

Based on these influences, Wong created a fragrant vegetarian dish (so Buddhist monks can enjoy guilt-free) made of crispy skinned sweet potato, tapioca that is marinated to create the sensation of pork fat, a liquorice-infused soy dressing and the saltiness and bitterness of fermented black bean.

“It ended up being this dish that, when you first look at it, may not immediately look Chinese but because of the combination of infused soy with black beans, and the smokiness of sweet potato, definitely represents these specific influences.”

At the restaurant, diners can opt of the gain insight into the range of Wong’s research – and the history of Chinese gastronomy – through the stories behind his highly creative dishes.

Wong explains that this is one of the qualities he treasures most about the restaurant, with the real goal being to make guests curious about China’s food culture.

Dim sum is one such important element of the restaurant’s culinary offering, best explored via the restaurant’s dim sum lunch menu, wherein the chef endeavours to highlight the skill and diversity of flavour of this classic dish, from Cantonese barbecued pork and Admiral Zheng He’s egg tart, to Sichuanese chicken to Laughing Buddha buns.

Wong’s Taste of China menu is an unmatched culinary tour through the flavours of modern China – from Chengdu street tofu, Shanghai steamed dumplings, Anhui province red braised fermented wild seabass, Yunnan seared beef and a dish named “Why we don’t need to eat shark’s fin soup”. Recently, Wong included a cheese course in this menu, drawing attention to this underrepresented element of Chinese cuisine.

In January 2021, the restaurant was awarded for its efforts with a second Michelin star.

Significantly, this accolade makes A Wong the first two-Michelin-starred Chinese restaurant outside of Asia.

“When A Wong won its second Michelin star, I felt so much gratitude towards the community,” he says. “All my parents’ and grandfather’s friends were restaurateurs and I grew up eating their food. I feel that this is not just an award for myself but for all those chefs who contributed to our 130year history of Chinese restaurants in the UK. “I don’t for a second believe we can sit in this privileged position without all the work our forefathers put in beforehand. It is very much a sense of joint celebration.” awong.co.uk

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Breaking tradition.

Established in 1759, Wedgwood is the vanguard of British tableware – from elegant cups and saucers to prettily patterned plates – but the brand’s story is far from old fashioned. Wedgwood VP Sjeord Leeflang tells Tempus why the brand is undergoing a transformation to make plate settings cool and contemporary Words: Gabriel Power

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ew brands embrace their quintessential ‘Britishness’ in a more thorough manner than Wedgwood. Founded in 1759 by Josiah Wedgwood in the Staffordshire village of Burslem, the company has been handcrafting some of the finest British china dinnerware, tea ware and Jasperware for more than 260 years, becoming the tableware brand of choice for some of the world’s most powerful public figures, including the British Royal Family.

In fact, the brand’s historic Queen’s Ware china is so named thanks to the patronage of Queen Charlotte, and original pieces can fetch tens of thousands at auction. Wedgwood’s collections remain just as gorgeous today, exuding traditional craftsmanship that harks back to the finely tuned aesthetics of 18th-century English dinnerware, and pays homage to the brand’s founder, himself a master designer.

But, while ‘Britishness’ can often be mischaracterised as overly inward-looking or conservative in nature, there is an element of daring that bases itself in visionary new thoughts, ideas and designs – much like those seen in the industrial revolution of the late 1800s or the sweeping social shifts and fashions of the 1960s.

This is the inspiration behind the brand’s recent transformation. And while it will always cater to those looking for vintage high-class tableware, Wedgwood’s daring new visual direction celebrates the vibrant eccentricity and colourful, youthful nature of the 21st-century brand.

“For a brand that is of Britain but not only British, it’s important that we continue to evolve and stay relevant,” says Sjeord Leeflang, Wedgwood’s vice president (business and offering). “I strongly believe that the essence of Wedgwood remains in the craftsmanship behind the brand, which in some cases remains the same as back in the 1700s.

“The other essential element is that we are a brand that has also developed over time while staying true to itself,” he adds. “We have continued to stay close to the essence of being British: colourful, eclectic, inviting, social – and still a classic.” »

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A SMASHING NEW IMAGE Early last year the brand turned to Anomaly Amsterdam, a marketing agency based in the Netherlands, to help overhaul its somewhat staid image. Instead of emphasising its ultratraditional collections, Wedgwood began to embrace something considerably more contemporary, defined by high-contrast colours and eye-popping designs.

“Our team has done a fantastic job rejuvenating the brand, the daringness is a bold new direction, it attracts eclectic, curious and imaginative people from around the world and encourages feedback and interaction.

“Wedgwood is a mindset and a way of life; we want people to engage with the brand and our products in ways that enables them to be creative and encourages self-expression,” says Leeflang. “For me, to be able to continue to build the brand, we need to be talked about, we need to trigger conversations and invite people into the world of Wedgwood to explore further.”

This new angle has also afforded Wedgwood an adequate arena in which to build on one of the key touchstones of its business model: collaborations. Since its formation, Wedgwood has seen partnerships as a vital part of its brand, and recent years have been no different.

“Collaborations are an important and key focus for the brand and allow us to continue growing and speak to new audiences; for example our collection in partnership with Vera Wang was a key moment in the bridal category,” says Leeflang. “As Wedgwood continues to evolve so too do the people we work closely with, we want to continue to push the boundaries with our products but also to ensure that each collaboration represents the colourful, expressive and eclectic lifestyle of Wedgwood.”

Famous names putting their own mark on the brand’s look include Jasper Conran, Vera Wang and Kit Kemp, as well as Japanese artist Hitomi Hosono.

“We were thrilled to welcome new tastemakers who embody the youthful attitude, expressive personality and eclectic aesthetic of Wedgwood,” he says. “We are currently working on some really exciting collaborations, with some due to be launched this year. Our latest campaign introduces the Art of Entertaining and demonstrates the rules of ‘How to Wedgwood’; indulge, create, be yourself and most importantly, entertain.” wedgwood.com

The modern way: Wedgwood's 2021 collection includes classic and contemporary pieces, including Folia's nature-inspired vases and prestige Anthemion tea sets (this page), and the vibrant Hummingbird collection (previous) 86

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Lighting the way The bespoke lighting sculptures inspired by nature, and illuminating a new trend in statement organic interiors

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reat lighting can transform a room, and the sculptural quality of a fine chandelier has long been known as the ultimate in statement lighting. For Romanian interior artist Andreea Braescu, however, that statement has become a true work of art.

Braescu’s porcelain lighting sculptures are artistic installations in the home, whether the lights are on or off, thanks to the dramatic visual impact of her bespoke structures.

The award-winning artist works with fine bone china to create her flora and fauna-inspired installations, using the translucence of highquality phosphatic porcelain to emit a warm, eyecatching light when switched on – all designed to bring a sense of calm to the viewer.

“When you want to convey an emotional message or a sense of calm, organic shapes serve the purpose best,” Braescu says. “In nature, nothing is regular. The most fascinating thing about nature is the way it creates harmony through apparent randomness.”

This philosophy becomes clear in her Gingko collection (pictured), in which chandeliers of delicate porcelain leaves seem to float in ethereal clusters above the head. Braescu is also careful to

emphasise the organic essence of her designs by removing any regularity of line or detail.

“The organic part is not necessarily the gingko motif, but the pattern they create that allows each leaf to capture the light,” she says. “In this apparent chaos, there is a perfect order, where between all leaves there is as sensitive dependence.”

Braescu’s sculptures are handmade, with the assistance of her team, in her studio in Bucharest with each design taking up to three months to design and craft each bespoke piece. Each chandelier is made of an average 1,000 individual pieces of ceramic – the delicacy of the material matched only by how difficult it is to work with – which are sculpted and glazed by hand, before being fired at a temperature of 126˚C and carefully placed onto a stainless steel frame.

“Indeed, bone china is a material that is notoriously difficult to tame, but is also the perfect artistic medium,” she says. “When it’s fired, phosphatic porcelain takes on the consistency of warm honey – beautiful, but very unpredictable. If unsupported, it melts and changes shape, so working out how to maintain the structure to the porcelain leaf shapes is my biggest technical challenge.

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“[Porcelain] offers a pure channel of creativity, allowing the most richly detailed, expressive work possible.”

Such work can be seen in the homes of her private clients in Texas, Moscow, Beirut, and a royal palace in Abu Dhabi, as well as a 15m light installation created for the pass way of a new hotel in Paris. She recently designed a series of bespoke lighting sculptures for the private salons in Tiffany & Co boutiques in China, Hong Kong and the US. “I think that interior design and lighting complement each other. Decorative lighting certainly draws attention to itself and is a powerful element for creating the atmosphere in a room, but there are instances when you also want to enhance the appearance of some architectural aspects with lighting and to harmonise the whole interior,” she says.

“My intention is to create the feeling of harmony and freedom one has when surrounded by nature. I know I’ve succeeded when my work evokes the joy and serenity that being in nature brings.” andreeabraescu.com

DESIGN

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RE:VIEW

RE:VIEW CELEBRATING THE TRIUMPHANT RETURN OF THE WEST END

Plus + • Dr Alex George’s Live Well Every Day • Return of the Venice Design Biennale • Life Lessons Festival with Ruby Wax • Save the Date: your luxury events calendar ©Matt Crockett/DWA LLC

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T H E AT RE | B E S T O F THE W EST END

Taking centre stage London’s West End reopens for a summer of celebration

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t’s time to raise the curtain on British theatre once again, as London’s West End reopens for audiences after a year of closure. The easing of lockdown across the UK has seen indoor venues open for half capacity from 17 May, and prepare for a return to full capacity as early as 21 June.

Overcoming the challenges of catering for a socially distanced audience is no mean feat, particularly when one takes into account the scale of many of our favourite productions.

With ensemble casts, orchestras, set design, lighting and costume departments squeezed into the narrow backstage corridors of our historic theatres.

Hit musical Everybody’s Talking About Jamie is one of the first major productions to reopen this year, taking to the stage of the Apollo Theatre in May. This celebrated true story of a schoolboy with dreams of becoming a drag artist has also been adapted into a film starring Max Harwood and Richard E Grant and

scheduled for release later this year.

Other major musicals relaunching in London include Les Misérables: The Staged Concert, which is enjoying a three-month run until September, when it will close to relaunch the full theatrical production, and Olivier Award-winning Jersey Boys, which opens at the new Trafalgar Theatre.

Six – a pop star retelling of Henry VIII’s six wives at the Lyric Theatre – and Tina: The Tina Turner Musical at the Aldwych Theatre both resume their West End runs.

But it’s not just returning shows that theatre fans can be excited for: brand new productions are ready to breathe fresh life into London’s theatreland. Andrew Lloyd Webber’s new musical retelling of Cinderella will premiere in mid-July, while the National Theatre will reopen in June with a new production of Dylan Thomas’ Under Milk Wood, starring Michael Sheen.

With so many shows ready to tread the boards once more, all we can say is: the show must go on.

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©Pamela Raith Photography

THE MOUSETRAP Agatha Christie’s The Mousetrap is the longest running show in the world and, in 2022, the classic whodunnit will celebrate 70 years of continuous run in London (Covid lockdowns notwithstanding). The reopened show will see two casts – comprising Olivier Award-winning actors – playing out the classic murder mystery.

St Martin’s Theatre from 17 May

THE PRINCE OF EGYPT Based on the Oscar-winning animation, composer Stephen Schwartz’s The Prince of Egypt brings the story of adoptive brothers Moses and Ramses to life in spectacular fashion. Prepare to be swept away by the soaring melodies, stunning set pieces and huge cast and orchestra.

Dominion Theatre from 1 July

AMÉLIE: THE MUSICAL You won’t be able to help falling in love with this musical adaptation of the much-loved French film. Amélie: The Musical gained three Olivier Award nominations following its sell out 2019 UK tour; now, Audrey Brisson (main image) stars as shy romantic Amélie, who has a gift for helping others with secret acts of kindness.

Criterion Theatre, 20 May – 25 September

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B O O K | DR AL E X G E OR G E

Live Well Every Day: Your plan for a happy body and mind

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ocial media star Dr Alex George may have begun his life in the public eye as a star of ITV2 reality series Love Island in 2018, but it was during the Covid-19 pandemic that he won the hearts and minds of the nation thanks to his tireless campaigning for prioritised mental health support for young people.

The doctor, who has spent the majority of the Covid-19 pandemic working in the A&E department at University Hospital Lewisham in south-east London, was appointed to the newly-created position of Youth Mental Health Ambassador – as well as becoming a member of the Mental Health Action Group – in February 2021.

His determination to campaign for better access to mental health services for adolescents was triggered by personal tragedy, after his youngest brother Llyr died by suicide in July 2020.

Known as Dr Alex, the physician is now on a mission to empower us all to make positive control of our health choices in his new book Live Well Every Day. Its core, inspirational message is that better health is just a few small changes away.

“My intention with this book is to put you back in the driving seat of your own health and wellbeing, and to show you how to take control and make incremental changes to your life that will last,” he says.

Dr Alex’s medical qualifications and mental health campaigning imbue Live Well Every Day, which addresses seven key health challenges of modern life – from immune system health and fitness and nutrition, to stress and mental health and sexual health.

“Health and happiness come from the cumulative effects of many small and positive daily changes to our lifestyle. It’s about building sustainable and healthy habits – taking small and purposeful steps to a healthy future,” he says. “By the end of the book, I hope my readers have developed their own ‘bespoke health toolkit’ to be used across every aspect of their lives, and to make long-lasting and meaningful change.”

As the good doctor asks, what can we change today and not put off until tomorrow?

This book is a great first step.

Live Well Every Day is published by Octopus

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RE:VIEW W E L L N ES S | L IFE L E S S O NS FE S TIVAL 2021

Life in the fast lane

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uby Wax, Professor Brian Cox, Mary Portas and Dr Rangan Chatterjee are among the star-studded line up of guest speakers at this year’s Life Lessons Festival.

Centred on the theme of “life in the fast line”, the event is billed as a festival designed to help people live well. The three-day event will cover diverse themes including health and happiness, living sustainably, and wellbeing after lockdown.

Previously held at London’s Barbican Centre – where illusionist Derren Brown and comedian Romesh Ranganathan wowed audiences – the festival has a new home in the grounds of Chiswick House & Gardens, where a purposebuilt stage offers visitors stunning views over the lake at the popular west London attraction.

Comedian, author and mental health campaigner Wax (right) will lead sessions on ‘The Mind and Mental Health’, while Professor Cox will reflect on what his study of the universe has taught him about planet Earth.

Off-stage, guests can spend time enjoying the charming marketplace – described as a “fad-free zone” – where they can explore products from high-end and independent wellness brands, sample a range of street food and beverages (including vegan options and artisanal coffees), or join activities like guided meditation sessions, Lexus Origami workshops, Dr K’s CBD Lifestyle Clinic and more.

Chiswick House & Gardens, 16 – 18 July lifelessonsfestival.com

AR T | VEN ICE DESI G N B I EN N I A L 2021

Design as Self-Portrait

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he Venice Design Biennial has opened for its third edition, this year inviting the world’s designers to create on the theme of Design as Self-Portrait.

Curated by Luca Berta and Francesca Guibilei, the city-wide fair will celebrate the language of contemporary design with some of the most evocative architectural monuments in the city.

The self-portrait only first became a genre during the Renaissance, when artists began to place themselves at the centre of their representation and – from Caravaggo and Rembrandt, to Vincent Van Gogh and Andy Warhol – it has evolved over the decades. Now, in the time of the selfie, everyone is able to create a representation of oneself, and identity has become core to design.

This year’s collective exhibition presents the

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work of more than 20 international designers housed in two venues – SPARC (Spazio Arte Contemporanea) and SPUMA (Space for the Arts) – investigating the increasing importance in how design helps us communicate our identity, in reality and virtually.

Expect to see work from the likes of OrtaMiklos (their Pariette Cactus, left), Anna Aagaard Jensen, Arik Levy and Audrey Large.

Elsewhere in the festival, Czech designer Tadeas Podracky, winner of the first edition of the Venice Design Biennial Residency 2020, will also exhibit his new series of work, while English fashion designer Jo Cope presents Walking on Water, an installation created in collaboration with Pied à Terre shoes.

Venice, Italy, from 20 May - 27 June 2021 venicedesignbiennial.org

the

SAVE DATE Your London luxury events calendar for June and July 2021

12-14 JUNE

28 JUNE - 11 JULY

2-16 JULY

LONDON FASHION WEEK Fashion goes digital with the UK’s ultimate summer showcase of womenswear, menswear and gender-neutral fashion.

Explore the DiscoveryLAB, supporting emerging designers, and exclusive videos that tell the stories behind London’s bestknown brands. londonfashionweek.co.uk

WIMBLEDON CHAMPIONSHIPS Summer sport begins in style with the return of the Wimbledon Tennis Championships. With a minimum capacity of 25%, spectators will get to enjoy the thrills and spills of the tournament, whether in the Royal Box of Centre Court or picnicking in style on Murray Mound. wimbledon.com

LONDON ART WEEK Discover over 5,000 years of art from the world’s leading galleries and auction houses as London Art Week returns to the capital in style. With live and digital events on the schedule, this year’s theme of ‘rejuvenation and renewal’ could not be more timely. londonartweek.co.uk

7-18 JULY

16-18 JULY

24 JULY

TASTE OF LONDON FESTIVAL Celebrate the city’s unbeatable gastronomic culture with everything from street food to Michelin-star chefs, all gathered in Regents Park ready to wow visitors. Sample bites from Gaucho and Benares to Chinatown’s Dumplings’ Legend – and much more. london.tastefestivals.com

FORMULA 1 BRITISH GRAND PRIX Following June races in Azerbaijan, France and Austria, the F1 returns once more to Silverstone for an action-packed Grand Prix in July. Can seven-times champion Lewis Hamilton triumph on his home turf? We’re in pole position to find out. f1.com

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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FORMULA E LONDON E-PRIX The ABB FIA Formula E World Championship makes a welcome return to London for the first time since 2016. 24 drivers go head-tohead in the electric street race through East London’s docklands – and a world-first jaunt through the ExCel centre. fiaformulae.com

ITALIAN STYLE STEPS ONTO THE PODIUM

PR OU D TO BE THE O FFI C I AL TOAST O F FORM U L A 1 ®

D R I N K R E S P O N S I B LY

#FERRARITRENTOF1

The F1 logo, FORMULA 1, F1, GRAND PRIX and related marks are trademarks of Formula One Licensing BV, a Formula 1 company. All rights reserved.

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We turn dreams into reality

E xperience more on heesenyachts.com

Craf ted in Holland. Home of yacht building.

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&

Tried

Tasted

Typiqu e

Words: Gabriel Power

As Jaguar Racing driver Mitch Evans prepares for the ABB FIA Formula E London e-Prix (24-25 July), the New Zealand-born racer takes us on a tour of his favourite dining pit stops in the capital

FANTASTIC FUSION | ZUMA Located in Knightsbridge, Zuma’s London restaurant is where it all began for this popular international establishment. Offering informal but authentic plates of delicious Japanese izakaya dining, it is unbeatable for flavour and atmosphere.

Evans says: “Zuma is world renowned. I love a place where you know you’ll never get a bad meal.” zumarestaurant.com

COFFEE TO GO | THE ROASTING PARTY

BREAKFAST CLUB | GRANGER & CO

JET-SET DINING | COYA MONTE-CARLO

This Winchester-based speciality coffee brand specialises in sustainable, Aussie-style coffee.

Sample the brand’s range of authentic blends at their two London coffee shops in Pavillion Road in Chelsea and Moorgate.

With four sunny spots in London’s Chelsea, Clerkenwell, King’s Cross and Notting Hill, chef Bill Granger’s laid back Australian restaurants are renowned for their delicious breakfast, brunch and lunch menus, all packed with fresh, local produce.

Picturesque views of the Mediterranean meets a fiesta ambience. Coya Monte-Carlo is one of Monaco’s most exciting dining spots, serving Peruvian dishes and signature cocktails with entertainment through the evening.

Evans says: “I’m all about Australasian coffee culture and The Roasting Party reminds me of coffee back home.”

Evans says: “Incredible food, healthy options and good vibes.”

Evans says: “A beautiful setting that is hard to beat and serves food of a similar level. Overall a great combination.”

theroastingparty.co.uk

grangerandco.com

coyarestaurant.com/monte-carlo

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