Tempus Magazine | Issue 75 | August-September 2021

TIMELESS INSPIRATION

TAKE AIM Inside the unrivalled craftsmanship of London’s finest gunmakers

SIR JACKIE STEWART | SAILING AND SUPERYACHTS | ULTRA-LUXE WOMENSWEAR ISSUE

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Aim high. Then, aim higher

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interview on page 78, Wilhelm Schmid, CEO of German watchmakers A Lange & Söhne, summarised the brand’s 2021 novelties as exploring ‘the subtle difference’ – small, incremental changes that inch each watch closer to a perfect form. If there is a message we can take from these strikingly similar philosophies, perhaps it’s that incremental steps can lead us closer to perfection – but also that, even once we reach our goals, there is always more to achieve.

In this issue, we explore the craftsmanship of some of the most outstanding artisans of our time – from Lalique’s history of design collaborations (40) to sailing with Nautor’s Swan (56) – as well as chatting to Formula 1 legend Sir Jackie Stewart about how his safety campaign changed the sport forever (54). We also discover the extravagant new womenswear collections from some of our favourite designers (70) and I head to the prestigious Goldsmiths Centre to meet London’s most exciting young art jeweller, Benjamin Hawkins (66).

In an edition packed with stories of craftsmanship, heritage, innovation and ambition, we hope you will find it as inspirational to read as we did to create.

estled in an inconspicuous Georgian terrace in Kew, there is a powerhouse of English craftsmanship in the form of Boss & Co. London’s oldest gunmaker was founded by Thomas Boss in 1812 and soon gained a reputation for creating exquisitely handcrafted guns and rifles. Thomas had, like his brothers, inherited his skill and passion from his father William, who had himself moved from Leicestershire to Birmingham at 15 to apprentice as a gunmaker.

Today, Boss & Co still makes all of their guns bespoke and by hand; each one an exceptional creation for their customers, who may wait three years or more for a shotgun to be finished. That focus on heritage craftmanship is not to say, however, that Boss & Co is stuck in time. The brand’s newest gun, the 1812 Edition, is the world’s first ever ambidextrous over-andunder side-lever shotgun, and is designed to last for generations. We head to the Boss & Co factory for our exclusive cover story on page 44.

Yet, there’s no denying that part of Boss’ allure is its fine tradition, and the many innovations for which the brand is so known are always a natural evolution of the needs of the shooter.

This is true in watchmaking too. In our exclusive

Enjoy the issue

Michelle Johnson Editor

EVEN ONCE WE REACH OUR GOALS, THERE'S ALWAYS MORE TO ACHIEVE

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update from the world of luxury lifestyle

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Contributors

Editorial team Editor Michelle Johnson michelle@tempusmagazine.co.uk

Fenton Fox Bailey We travel back to the 1980s with photographer Fenton, who brings his unique eye and love of colour to our exclusive womenswear shoot on page 70

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

Lauren Jade Hill Journalist Lauren explores the history and heritage of French crystalware masters Lalique, and discovers the spirit of joie de vivre that is driving the brand’s future (40)

Motoring Editor Rory FH Smith Chief Sub-Editor Dominique Dinse COMMERCIAL

Jeremy Jauncey Sustainable travel champion, Panerai Global Ambassador and Beautiful Destinations founder Jeremy tells us how tourism can be a force for good in our Leaders Column (14)

Business Development Director Remi James remi@tempusmagazine.co.uk +44 (0) 203 519 1005 Sales & Content Executive Freddy Clode freddy@tempusmagazine.co.uk Sales & Event Enquiries info@tempusmagazine.co.uk VANTAGE MEDIA

Rory FH Smith In our Formula One special (50) Rory meets racing legend Sir Jackie Stewart at the Silverstone Grand Prix to find out more about the safety campaign that revolutionised the sport (54)

Chairman Floyd Woodrow Managing Director Peter Malmstrom COVER IMAGE Boss & Co 1812 Edition © Matthew Brown Photography Article on page: 44

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CONTENTS

10 The luxe list Our pick of the must-have gifts of the season 14 Transformative travel Beautiful Destinations founder Jeremy Jauncey on the power of travel 20 Pretender to the throne GTO Engineering’s modern classics are as good as they look 26 The new ultras As more people become ultra-high net worth individuals, we examine the trends of the mega-rich 28 Artistic license How our art collections are transforming the world of interior design 34 Rest & revitalise Our pick of the best London spa hotels for ultimate relaxation 40 Gleaming inspiration Lalique’s creative director Marc Larminaux on his crystal clear vision for the heritage brand 44 Aiming for excellence London’s oldest gunmaker Boss & Co shares a thriving tradition of craftsmanship 50 Return to form Reflect on the drama and delights of this year’s British Grand Prix 54 A lasting legacy Formula One hero Sir Jackie Stewart on the safety campaign that changed the sport for ever 56 Shining seas Catch up with Nautor’s Swan owner Leonardo Ferragamo at the Swan Tuscany Challenge 60 A Japan for all seasons The Olympics and Paralympics aren’t the only reason to visit this enchanting country 66 A rolling stone Meet London’s most exciting bespoke jeweller, Benjamin Hawkins 70 In the mood for luxe Discover this season’s extravagant womenswear in our exclusive fashion shoot 78 Quest for perfection A Lange & Söhne CEO Wilhelm Schmid on the importance of “the subtle difference” 82 Star wars As the Bezos-Branson rivalry takes to the skies, we ask: is the world ready for a mogul-led space race?

84 Back on track Find out how paralysed racing driver Sam Schmidt got back in the driver’s seat 88 Our heroes Celebrating our frontline workers as the NHS is awarded the George Cross 91 RE:VIEW The summer of music begins with the BBC Proms in our guide to the best shows, books and events 96 Save the date The finest events of the season 100 Tried & tasted With Nothing Underneath founder Pip Durrell shares her most fashionable foodie spot

ISSUE 75

44 Aiming for excellence: Boss & Co 1812 Edition 9

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

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Moët & Chandon Grand Vintage 2013 These two new champagne vintages from Moët & Chandon are refreshingly complex and perfectly aged to enjoy with rich foods. The Grand Vintage 2013 Blanc and Rosé, masterminded by cellar master Benoît Gouez, is the 75th Grand Vintage in the house’s history and marked by a uniquely late harvest. The blanc is a blend of chardonnay, pinot noir and meunier, with persistent bubbles and autumnal notes of ripe pear, chestnuts and honey.

The rosé (right) is a similar blend, with a full-bodied flavour of berries and crisp stone fruits, and delicate spices on the palate.

We’ll drink to that. moet.com

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The OWO Residences by Raffles Opening next year, The OWO and OWO Residences are Raffles’ first openings in London. The 125-room flagship hotel and 85 branded residences will transform the historic Old War Office building in Whitehall. The Grade II* listed Old War Office (left), originally completed in 1906, will also incorporate nine restaurants and bars, a spa and 20m indoor pool, and 620 seated-capacity grand ballroom – no chance of outstaying your welcome here. raffles.com

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Jaquet Droz Grande Seconde Tourbillon Skelet-One This unique Grande Second Tourbillon Skelet-One (left) is an exceptionally ambitious timepiece made especially for the 2021 Only Watch auction on 9 November, the charity sale benefitting the Association Monégasque against Muscular Dystrophy. With a large, off-centre dial at 6 o’clock, reworked tourbillon and a brand new skeleton structure, the watch is finished with a plique-à-jour enamel decoration of red, yellow and orange to represent happiness, passion and optimism. We’re counting down the seconds until this timepiece goes on sale… jaquet-droz.com

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Fawaz Gruosi Haute Joaillerie designer Fawaz Gruosi celebrated his birthday with a presentation of his brilliantly-coloured collection of statement jewels, at a stylish soirée at the exclusive Hotel Cala di Volpe in Porto Cervo on 8 August. The collection is bursting with colour thanks to his remarkable range of precious gems and diamonds. Some of our favourite pieces include an 18k rose gold bracelet set with 239 baguette-cut Burma rubies, and these 18k white gold earrings (right) set with 341 baguette-cut white diamonds, 788 brilliant-cut white diamond and 174 brilliant cut emeralds – the colour of Sardinia’s Emerald Coast. Available at Gruosi’s flagship boutique in London’s Berkeley Square, these divine pieces are the ultimate statement jewels. fawazgruosi.com

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Omega Sunglasses Famed for its precision watches, Omega has released a range of 23 new sunglasses created in partnership with Italian eyewear company Marcolin. Taking design cues from Omega’s most exciting novelties, feminine styles are inspired by the Omega Constellation, borrowing details from the case and circular bezel, while three new gentlemen’s shapes include a geometric metal frame, classic panto design and a new pilot design with aluminium frame, double bridge and clean-cut geometries. The summer is looking distinctly rose-tinted. omegawatches.com

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Alia Yachts Al Waab II This 55m superyacht by Alia Yachts is the longest steel and aluminium yacht below 500GT in the world and the first superyacht to be launched from Alia Yachts’ new 2,000-tonne capacity ship lift. The Antalya-based shipbuilders worked with design and engineering firm Vripack to complete the customised yacht, which features a lavish split-level master suite on the upper deck and a sprawling beach club on the exterior. Al Waab II will see its world debut this September. aliayachts.com

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Martinez Brand new members’ cocktail bar Martinez opens on Soho’s Greek Street this summer, with a delectable menu that reunites forgotten vintage cocktails with much loved classics. Headed by Maurice Marshall ( formerly of Sketch and Cuckoo Club) and bartender Max Greco, social media stars ‘The Cocktail Lovers’ – Gary Sharpen & Sandrae Lawrence – are also cocktail consultants. The sleek, loftstyle venue’s focal point is the central Art Deco bar, where guests can enjoy drinks including the Martinez, the Charlie Chaplin and Hotel Nacional. Cheers! martinezlondon.com

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Jonathan Adler x Yellowpop Potter and designer Jonathan Adler and neon signage experts Yellowpop have launched this fun-filled limited edition pop art collaboration. Comprising eight dynamic designs, including Adler’s famed eye symbol (left), figurative profiles, matching ‘monsieur’ and ‘madame’ designs, ‘Peace’ and ‘Love’ signs, as well as a trippy head pentaptych with cheeky plumes of smoke. Enough to light up any room in style.

Yellowpop.co.uk

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Knightsbridge Circle Luxury lifestyle and travel management company Knightsbridge Circle is launching a new Elite Tier membership that will see it become the most expensive concierge service in the world. Priced at £100,000 per year, the Elite Tier is designed with ultra-high net worth individuals in mind as the most exclusive experiences of 2022 – from Super Bowl to Fashion Week – are set to be in higher demand than ever. The invite-only membership also includes platinum medical care and one-to-one service with a dedicated and discreet concierge – only the very best for you. knightsbridgecircle.com

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Villa Agrippina Gran Meliá Despite its location in the bustling heart of Rome, Villa Agrippina is a private oasis of calm and relaxation, consisting of a spacious villa and private suites set within lush gardens with tranquil pools. The 110 room five-star hotel is housed in a former palace and its sprawling grounds, dating from 1900 and updated in 2012 with an effortlessly contemporary style punctuated by soft pink hues – referencing the colour palate of the Eternal City – and sleek minimalist interiors. With ultra-personalised service offering private tours, mixology sessions, spa and beauty treatments and more, this is the ideal way to experience la dolce vita. melia.com

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TRANSFORMATIVE TRAVEL Jeremy Jauncey, founder of sustainable travel company Beautiful Destinations and Panerai Global Ambassador, explains how tourism can transform communities for good

IMAGE: PANERAI

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hat is true luxury? For me, it’s being able to visit far-flung places and have an experience that money can’t buy.

It's not having lots of things to show off, but rather the moments that really matter.

There’s a growing millennial market that cares deeply about the environment, and their interest will influence decades of future growth in the industry. I think it's really important to have that mindset, and to understand how traditional interpretations of luxury are shifting.

My first eye-opening experience within sustainable travel was when I first visited Rwanda.

At the time, I had no idea about the commitments made by the nation’s government to completely embrace conservation and sustainability across all facets of life. I met former poachers who are now protecting wildlife, because Rwanda’s government created financial and cultural incentives to protect the wildlife they used to hunt. That really showed me first-hand the power of changing the dynamic around tourism to incentivise sustainable development. Five years ago, Rwanda banned plastic bags; this year they outlawed all single-use plastics.

This is what makes hospitality such an exciting industry to be in. There’s a balance between holidaymakers seeking out amazing, transformative experiences around the world; the entrepreneurs and hospitality leaders who are curating these experiences but who are also able to enrich and improve local communities; and the communities that can reap the rewards of providing unique experiences.

In fact, tourism is one of the few industries where your economic impact is felt instantly – from the very moment you arrive. When you pay for your taxi, when you tip your waiter in a restaurant, when you buy from a local shop, the community is immediately benefitting from your investment.

There are many challenges, such as over tourism

in places such as in Venice but, if we can get the balance right, we can create truly positive impact.

So, what do we as holidaymakers have to do to create impactful travel? The first and most important thing is to understand our impact.

We’re all very aware of the climate crisis, but less familiar with online tools that help measure an individual’s carbon footprint – such as WWF UK – particularly in terms of transportation. Travel and tourism are responsible for roughly 5%-8% of greenhouse gases, with short-haul flights the worst offender. By working with climate consultants Gold Standard, Beautiful Destinations was able to see the carbon impact of the number of nights our employees spent in hotel rooms through the year versus sharing accommodation and Airbnbs.

When it comes to choosing our hotels, it’s important to look at how venues provide their services – for example, are they growing food locally or built using sustainable materials? – as well as how they are supporting and investing in their local communities. Hotels can provide everything from employment opportunities to training, education and better healthcare, and even partnerships with other local businesses to share those tourist dollars. A hotel can have a large carbon footprint, but it can have an equally large community footprint.

Finally, we can visit destinations that really need our help. By choosing locations that can really thrive with an injection of tourism dollars, you can have your transformative life experience while benefitting the lives of others – and that is a key component of truly sustainable travel.

I passionately believe that travel can be a force for good in the world. It’s a uniting force that can bring people together and so I’m excited to partner with Panerai and work to raise awareness of the amazing things that happen when you travel. beautifuldestinations.com; panerai.com

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THROUGH TOURISM, YOU CAN HAVE

TRANSFORMATIVE LIFE EXPERIENCES WHILE IMPROVING THE LIVES OF OTHERS – AND THAT IS A KEY COMPONENT OF TRULY SUSTAINABLE TRAVEL

COLUMN

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Revive and thrive Following the Festival of Speed’s successful comeback, Tempus heads to Goodwood to discover how Revival, the world’s greatest historic motor race meeting, is preparing for a riotous return this September Words: Michelle Johnson

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ny aficionado will tell you that classic cars are about far more than what’s under the bonnet. The world of vintage automobiles is a lifestyle, encompassing everything from vehicle restoration to your personal style.

This is, perhaps, one of many reasons that the world’s greatest historic motor race meeting, Goodwood Revival, captures the imaginations of its thousands of attendees each year. The event, held in September at the Goodwood Motor Circuit, is a celebration of the vintage era, staged entirely in period theme to capture the halcyon days of the 1940s, ’50s and ’60s Combining hundreds of rare and priceless cars on and off the track, racing enthusiasts can delight in watching champions of past and present

recreate Goodwood’s famous racing with events such as the St Mary’s Trophy, the Royal Automobile Club TT Celebration and the Stirling Moss Memorial Trophy, as well as the most competitive – and cutest – race of the event: the Settrington Cup children’s pedal car race.

But the nostalgic festivity doesn’t stop there. Revival is famed for its period fashions and entertainment, too, with many visitors attending in full vintage dress to revel in the style and ethos of an earlier time and escape the trappings of modern life.

It may not surprise festivalgoers that Goodwood Revival – and, indeed, all Goodwood events – have a long-held tradition of sustainability at its heart.

Celebrating a time when communities lived by 17

an ethos of “make do and mend” – from repairing treasured belongings to restoring their cherished cars – is only natural that the organisation champions a similar reduce, re-use and recycle approach. Brandnew for 2021, the Make-Do and Mend corner at the event will showcase how we can repurpose and restore more in our modern lives, too.

The event’s founder, the Duke of Richmond, says: “We all know that fashion has a huge impact on our planet and so this year we wanted to make sure that we used our incredible event to highlight solutions to this problem. We want to reconnect with the best of the past and as an antidote to the throw away culture, share how special pieces can be treasured, valued and passed down through generations.” »

ALL THE FUN OF THE FAIR To mark this revitalised approach, Goodwood Revival has recently announced stylist, editor, author and undisputed Queen of Thrift, Bay Garnett as its first ever Style Advisor. The ultimate authority on second-hand style, Bay shot to fame in 2003 with her ground-breaking British Vogue shoot, which saw supermodel Kate Moss appear in second-hand clothing.

“Goodwood Revival really brings to life the idea that second-hand can be beautiful and glamorous – and that fashion passed from generation to generation is something that should be celebrated,” she says.

With Revival so defined by its vintage style credentials – tweeds and trilbies for men, faux furs and frocks for the ladies – and ban on modern cars within the circuit on race days, Bay expects to be truly in her element as she immerses herself in the event, providing hints and tips for perfecting your vintage outfit ahead of time.

“I’m hugely excited to be attending in my new role as Revival Style Adviser and can’t wait to discover the stories and inspiration behind people’s outfits,” she says.

Elsewhere at the event, guests can explore more immersive areas this year, all centred around the historic motor circuit. The Freddie March Spirit of Aviation display returns as a magnificent concours d’elegance for pre-1966 aircraft, where elegant and rarely-seen machines from the history of aviation will be available to explore, while the brand-new Revival Car Boot Sale – which promises to be the most glamorous boot sale in the world – will offer guests unique memorabilia, vintage clothing, accessories and motoring wares, and much more.

Quite literally ‘Over the Road’ of the main site, all the fun of the fair is ready for guests in a party mood, with the Revival Cinema presented

by Sky Cinema, Butlin’s Rock ’N Roll Ballroom, a Fairground, Bonhams Auction and plenty of shopping stalls – all ready to entertain children and the young at heart alike.

VINTAGE HOSPITALITY WITH A TWIST While guests can meander down the classic high street or peruse the concours of cars themselves, there are plenty of ways to enjoy Goodwood’s famous hospitality and add a touch of extra refinement to your weekend.

For a party atmosphere with private dining, the convivial atmosphere of Sunday at The Mess or the tongue-in-cheek Christening-theme venue at the Assembly Rooms are ideal ways to spend the day, while remaining in easy reach of all the excitement.

The Goodwood Mess and The Officer’s Club not only offer private dining and entertaining experiences but help get you even closer to the racing action, exceptional views and access to trophy events, and private areas to relax and socialise between shopping sprees.

The most enviable views, however, come via the Salvadori Pavilions. Situated at the most desirable vantage point on the circuit, guests can enjoy hospitality on a table of 10 within a shared pavilion, or splash out on a private pavilion to host a celebration to remember – complete with champagne reception, a four-course lunch, afternoon tea, trackside viewing and exclusive paddock access.

Whether you’re swayed by the festival spirit or the classic racing, there is no denying that the return of Goodwood Revival is ready to restore the soul with its riotous comeback. As British racing driver Roy Salvatori once said: “Give me Goodwood on a summer’s day and you can forget the rest of the world.”

The Goodwood Revival runs from 17-19 September 2021. Limited tickets and hospitality are available now at goodwood.com, and children 12 years and under go free

Vintage style: Classic cars take on Goodwood Motor Circuit (previous and opposite, © Jayson Fong); Stylish fine dining (above, © Stephanie O’Callaghan); Revival’s festival atmosphere (right, © Toby Adamson)

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PRETENDER TO THE THRONE We get behind the wheel of the GTO Engineering 250 SWB Revival and discover a spectacular homage to one of the most iconic motor vehicles of all time

Words: Peter Malmstrom | Photography: Andrew Green

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ecreations can cover a vast cacophony of contraptions, from frankly dangerous home-built hobby horses to popular massmarket recreations of legendary cars like the Shelby AC Cobra. These can come in various guises, from poorly built imposters to carefully-crafted replicas that easily outperform the originals. So, when I first prepared to get behind the wheel of a recreation of the iconic 1960 Ferrari 250GT short wheelbase, I wasn’t sure what to expect.

GTO Engineering was established in the early 1990s by Mark Lyon as a specialist Ferrari sub-contractor, working with some of the most prestigious Ferrari dealers and specialists

providing appraisals, car servicing and race preparation. It is also the creator of the GTO Engineering 250 SWB Revival.

Lyon’s passion for all things Ferrari has seen the firm grow to an impressive facility based in Twyford, just a stone’s throw from Henley-onThames. The team that Lyon has mustered over the years has amassed thousands of hours of specialist work on all manner of Ferraris of various ages. Touring the facility quickly makes clear that anything produced from this stable is going to be of the highest quality. I learn that some of GTO Engineering’s recreations have been cleared to race in historic racing series.

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The team’s obsessive focus on detail and precision is clear in the rows of Ferrari engines, all in various states of reconstruction, that I see meticulously lined up in workshops that resemble operating theatres rather than dedicated engine and gearbox rooms.

Likewise, lines of gearboxes with components cast from original moulds, and upgrades such as finned aluminium gearbox casings, all underline the depth of detail GTO Engineering is prepared to go in the pursuit of excellence. It was, therefore, unsurprising to see a long line of very interesting customer cars being worked on by the brand’s dedicated engineering team. »

AUTHENTIC ENGINEERING The GTO Engineering 250 SWB Revival is a faithful recreation at the top of the tree. It not only looks like the iconic 1960 Ferrari 250 GT SWB Berlinetta Competizione in every fine detail but, in fact, really is a Ferrari under the skin. All these beauties are built using a suitable “donor car” (usually a 250 or 330 Ferrari), retaining enough of the original components to remain a Ferrari on the logbook.

Such attention to detail puts these among the most credible replicas on the planet – and with a price tag to match.

Each car is built to the owner’s exact requirements with a variety of period options and some modern tweaks (such as optional underdash USB ports and discreet air conditioning), so an exact price for the finished article varies considerably. On pressing my hosts for a price of the particular example I am driving, I find I could expect to pay north of £800,000, making these faithful Revivals respectably priced even in the heady world of serious Ferrari collectors – though they are still only a fraction of the £8m to £10m price tag on an original example. It’s clear that GTO Engineering is catering to a very specialist market with these cars.

Wandering out into GTO Engineering’s carpark, bathed in sunshine on a glorious summer’s day, I definitely feel my pulse rise as I lay eyes on the Revival for the first time. The original 250 SWB has become such a familiar sight to all Ferrari lovers, but few have seen one up close and in the flesh – and even fewer will ever get the opportunity to drive one. First impressions are everything and this example, clothed in blue with white racing roundels on the doors, certainly looks striking, with sharp definition. It just looks right.

Closer inspection reveals more faithful details, from the multi-spoke Ruote Borrani wire wheels to the original headlight fittings, grilles and lamp clusters. Gone are the bumpers on this racing version so, with a handcrafted all-aluminium body, leaving it in the supermarket car park just isn’t an option.

The interior is equally authentic in its detail: the classic Nardi steering wheel with polished alloy boss and prancing horse greets me from a dashboard of pressed steel, wrinkle finish paint and a horizontal bank of Veglia gauges, taking me back to the golden era of seat-of-the-pants GT racing. Like the original, the interior is the ultimate expression of function over form, enveloping me in a bygone era with all the smells and sensory references of quality finishes, as well as minimal essential controls, making this a joyous hybrid for road and track – and a faithful recreation of one of the ultimate GT cars of all time.

Firing up the highly-tuned Ferrari 3.5-litre V12 engine completes the full audio and visual effect of the GTO Engineering 250 SWB Revival. A blip of the throttle tells you that this is a racing car with a racing engine – the noise is wonderfully deafening. Depressing the clutch is reassuringly heavy; engaging first gear is surprisingly positive.

The original four-speed gearbox would see the GTO Engineering 250 SWB through to a 0-60mph time of 6 seconds and well over 150mph top end, reflective of the performance needed to be a winner in 1960s GT racing. »

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SPEED

AS I FIND MYSELF DRIVING THROUGH THE ENGLISH COUNTRYSIDE, I CAN’T HELP BUT DREAM

OF THE DAYS

SUCH CARS WERE ON THE TRACK AGAINST EQUALLY ICONIC ADVERSARIES Racing dreams: Inside the GTO Engineering workshop (this page); The GTO Engineering 250 SWB Revival (previous)

BEHIND THE WHEEL Pulling away with a slight increase in revs to feel the bite point of the clutch, we are off and running and looking for suitable roads to put the car through its paces. The car handles smoothly with little evidence of tramp or lack of balance on turn in, as we enter high speed bends. For a 1960s road car, which in essence this car is, despite the loving rebuild and meticulous set up

by GTO Engineering, the ride is beautiful. Going through the gears with the huge gearstick, really shows the reliance on the engine to produce both power and torque at the right moments across the extensive rev range needed to power you through the long gear shifts.

While my natural inclination is to take it easy (within reason), as most classic Ferraris come with a certain fragility and question mark over wearing components, every aspect of this car is robust and right on point; a testament to the skill and dedication of the team that built this monster. It behaves much as an original 250 must have felt straight out of the factory in 1960 and knowing everything from engine to drive train was expertly built and precisely set up is an unusual feeling in classic Ferrari driving.

That knowledge gives me the confidence to open the car up and explore its full potential.

Sensible upgrades – like the slightly larger engine giving the Revival 320 bhp and the lighter, more efficient, brake callipers – are obvious improvements from the original, but in all respects the car looks, sounds, smells and handles like an original, but robust and healthy, giving a new dimension of comfort and reassurance that you just wouldn’t have hurling an original 250 SWB around. Reactions from the general public ranged from disapproval of the noise and bravado of this 60s classic, to outright disbelief at seeing a 250 SWB on the road.

Driving the GTO Engineering Revival leaves me with mixed emotions. The drive is sensational and the engineering exceptional, but it takes time to accept that this is not the original 250 and the focus must be on what it actually is – one of the most detailed and faithful replicas that I have ever had the pleasure to drive.

And it has been built exactly for that pleasure of driving. In this regard it is faultless and exceeds all my widest expectation, firing up my emotions and satisfying every one of the five senses – as well as lighting up a sixth sense of historic nostalgia and connection with the past.

As I find myself driving the unattainable through the bucolic English countryside, I can’t help but dream of the days these cars were on the track in competition with equally iconic adversaries.

An amazing experience with a mechanical thoroughbred, meticulously prepared by a team obsessed with detail and imbued with the talent and skills to deliver this spectacular homage to one of the most beautiful motor vehicles of all time. gtoengineering.com

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The New Ultras As more individuals become Ultra-High Net Worth than ever before, we take a look at the seven ways the mega-rich are leading change Words: Lysanne Currie

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he number 21, says The Economist’s Tom Standage, is connected with ‘luck, risk, taking chances and rolling the dice’ and, for the world’s ‘New Ultras’, that seems to be true of 2021.

The quantity of ultra-high net worth individuals – usually defined as those having investable assets of more than $30m – grew by 24% worldwide in 2020, the fastest rate of increase since 2003.

According to the Credit Suisse Global Wealth Report, more than five million people became millionaires during the pandemic. “Wealth creation in 2020 appears to have been completely detached from the economic woes resulting from Covid-19,” it says, adding that lower interest rates and government interventions have had a significant impact on wealth creation.

“There has been a huge transfer [of wealth] from the public sector to the household sector, which is one of the reasons why household wealth has been so resilient.”

Put simply, says economist Anthony Shorrocks, author of the report: “Global wealth not only held steady in the face of such turmoil, but in fact rapidly increased in the second half of the year.” But will that luck continue post-pandemic and beyond? Here are the seven key trends we can expect to see within this growing demographic.

FLEXIBLE LIVING Working from home, online shopping, remote learning. These have become the new normal for many during Covid-19. Although these will not need to continue to the same extent as during lockdowns, nor can we expect them to be dropped entirely, given the popularity of some new business models such as remote personal shopping appointments and subscription packages.

“Companies in every industry will need to combine analytics to monitor customer behaviour with the agility to respond quickly to new patterns of demand,” says Standage.

An increased demand for sustainability and transparency is also predicted to grow: “Companies face demands from employees and customers to take stands on climate change and racial justice, areas where politicians have done too little. More than ever, CEOs need to be politicians,” he says.

Standage also predicts that on the back of the UN climate conference this November: “2021 could come to be seen as the year when the world got serious about tackling climate change”.

THE JET SET According to The Global Wealth Report’s key findings, while there’s been reduced desire to travel (even if travel were possible), almost a quarter of UHNWIs are nevertheless planning to apply for a second passport or citizenship – a “remarkable 50% growth in a year”.

Meanwhile development land from London to New York, Helsinki to Madrid remains a popular property investment. Perhaps understandably, there’s been an uptick in demand for private flights, too; such as those offered by Sentinel Aviation, which provides travel free from airport crowds or linking flights, and offers high levels of onboard hygiene.

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REGENERATIVE TRAVEL In the post-pandemic world, holidays that centre on sun-loungers by the pool have been shunned in favour of meaningful travel experiences that resonate on a deeper emotional level.

This intense demand is driving travel brands to create more adventurous personalised vacations, attuned to local culture that inspire consumers toward a path of self-discovery.

UHNWIs have been flocking to the likes of the Extraordinary Adventure Club, which offers epic journeys for mind, body and soul, or experiential travel companies such as Black Tomato, which offers reconnects clients to themselves.

RELOCATION, RELOCATION While the headlines may have suggested wealthy urbanites were fleeing high-density areas to set-up in more rural locations, New York is actually still the top choice for ultra-high net worth individuals. In fact, the city that never sleeps boasts a footprint of 25,000 UHNWIs. There was, however, an increased appetite for diversifying one’s property portfolio.

“UHNW homeowners are not exiting their primary urban markets, but expanding their real estate footprints into other markets that suit various aspects of their lives,” says REALM founder Julie Faupel.

According to the Knight Frank 2021 Wealth Report, 26% of UHNWIs plan to buy a new home [this year], with the biggest driver the desire to upgrade main residences. In particular, rural and coastal properties, and large open spaces.

“The pandemic is supercharging demand for locations that offer a surfeit of wellness – think mountains, lakes and coastal hotspots,” it says.

Lake Como (near Milan, with thriving airports and international schools) is proving especially popular, as are luxury villas in Thailand.

WEALTH

SHOP ’TIL YOU DROP Luxury investment continues, with handbags topping Knight Frank’s Objects of Desire List with a price increase of 17%. Fine wine also weathered the pandemic well, seeing an increase of 13%, while cars came third on the list.

Nonetheless, with the pandemic came much time to reflect, and one way this manifested among wealthy individuals was a rethink of their shopping habits.

More than a third of UHNWIs from France, the UK and the USA reported that the pandemic has made them question their consumption of luxury goods, while more than 40% of UHNWIs are said to be more interested in environmental, social and governance (ESG) focused investments than 12 months ago. The young super-rich are increasingly focusing on sustainable luxury, placing more importance on locally produced products, for example.

This new focus has also led to an increase in borrowing rather than buying, with affluent consumers hiring designer clothes from the likes of Mother of Pearl and Depop. After Carrie Symonds wore a £2,900 bohemian gown by fashion designer Christos Costarellos (rented

for less than £45) for her wedding to prime minister Boris Johnson in May, online rental portal Hurr reported a 268% surge in bridal hire.

ETHICAL INVESTING 85% of HNW clients now prefer to invest in companies that they trust or have strong ethics. According to Norman Alex bank, “61% [of investors] say that a transparent investment process is the most important proof point of a responsible wealth management organisation… Millennials continue to have a broader frame of reference than other clients and are more likely to consider customer feedback and satisfaction, the use of socially responsible investing screening, and company statements on culture.”

This will include such factors as companies’ carbon footprints, a diverse and inclusive workforce, and fair treatment of employees.

Now is the time for wealth managers to pursue a genuinely client-led agenda.

“Instead of sorting clients by their wallets, they must differentiate them by their needs and use behavioral insights to unlock new sources of value,” says Anna Zakrzewski, Managing

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Director & Partner of Boston Consulting Group (BCG). “And instead of letting complexity and cost dictate the pace of innovation, they must let clients set the tempo, employing digital platforms and cross-functional teams to speed go-to-market and to scale impact.”

The most successful wealth managers will be those highly attuned to the New Ultras’ needs, says the BCG: those who “have longer investment horizons, a greater appetite for risk, and often a desire to use their wealth to create positive societal impact as well as solid returns.”

A GENERATION OF STORYTELLERS Super-rich leaders are learning the art of storytelling and power of branding, to build customer loyalty and to generate new business.

“Brand storytelling is an essential part of any modern business,” says a Walpole Insight piece, “creating companies that are both profitable and captivating, with distinct personalities and narratives behind them”.

The New Ultras are less likely to be ‘hermits’ and instead create a carefully considered narrative that demonstrates who they are and what they are trying to achieve in the world.

ARTISTIC LICENSE How prized art collections are taking centre stage in modern homes and transforming the world of interior design

Words: Nicky Morris

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nterior design has continually evolved over the last century, with even the most stately homes becoming an increasing source of comfort, and the place where we can most express our personalities. A meticulously planned design, harmonising both function and beauty while reflecting our individuality, is an interior that we all strive for.

The desire for our homes to reflect our personal tastes is ever growing and, as art collecting becomes ever more popular to savvy investors, interior designers are faced with the task of using prized art collections as inspiration for home interiors, transforming the world of interior design as we know it as homeowners demand that their collections take centre stage.

“Interior design is never complete without artwork,” says luxury interior designer Shalini Misra. “It’s almost a living part of an interior design because the perspective of artwork changes for whoever’s seeing it.

“I absolutely love seeing my clients’ art collections,” she adds. “It’s such an interesting way to learn about one’s client’s personality and get an insight into their taste and interests. The art itself provides inspiration for the palettes and textures in the room.”

With artwork at the forefront of modern interior design, homes are becoming increasingly reflective of their owners’ identities.

“Artwork is a way that people are finding they can personalise spaces easily and express their personality,” says Jo Littlefair, of luxury interior design studio Goddard Littlefair.

“I think that’s something that we’ve seen emerging for some time, that people do want to follow trends but they also want to stand out as individuals. So, we’ve definitely experienced art as an expression of personality and individualism.

“Art collecting itself is becoming more and more of a trend,’’ she says. “While we’ve worked with people who’ve had very strong opinions on art collections in the past, we’re seeing it percolate through to other clients where such an interest is more unexpected, so there’s definitely an influence trickling through.”

As art becomes an increasingly central feature of home interiors, designers like Misra and Littlefair are able to truly reflect their clients’ personalities and tastes in their designs. »

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DESIGN

Design for life: Artistic interiors by Goddard Littlefair (right) including Charlotte House (previous), Chelsea Creek (this page, ©Taran Wilkhu) 31

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DESIGN

Modern art: Shalini Misra (below) designed Hamilton Terrace with contemporary art in mind (left, both ©Mel Yates)

WHERE THE ART IS So what is the impact of incorporating artwork into an interior space? “It just makes a space completely come alive,” says Misra. “The moment you bring in artwork, it adds another layer, another dimension and a very strong visual experience.”

And, just as the perfect composition can transform an interior, placing creations in our home space can also give new life to our favourite works of art.

“When you see a Picasso or Matisse in a residential setting, compared to a white-space gallery, it’s really interesting.” says Littlefair. “It feels richer, and it feels much more surprising as well.”

But seamlessly blending magnificent sculptures or colourful contemporary paintings doesn’t come without its challenges. Finding the perfect space for your treasured pieces is a key part of the design process – each piece needs to be carefully considered to create a harmony between aesthetic and functional features.

“The size and the weight of each piece dictates certain elements of interior design,” says Misra.

“Walls need to be wide enough for large pieces and floors sometimes need to be structurally reinforced for very weighty pieces. Therefore, the layout needs to have a lot of thought to plan where these pieces should be placed.”

Integrating artwork into your interior design also gives your home a sense of cohesion.

Strategically placing your most treasured works throughout the space creates a journey throughout your home with each piece acting as a lure from one room to another.

“We often place art as a way of tempting people to walk into a room,” says Misra. “It adds to the flow, it directs you and it makes a path for you on how you should really approach the house, and of course it makes it a far more interesting journey.”

When incorporating larger pieces, such as sculptures, it’s important to ensure that the piece can be experienced at different angles.

Talking of her own home interior, Misra explains why she placed a Tony Cragg sculpture at the heart of her own house, between the breakfast room and family room.

“People just circulate around it because it’s a piece of sculpture, you can see from all four sides,” says Misra. “So, it’s really important to think of the view. I like to keep a lot of space around the artwork so you can admire the pieces.”

And, of course, the beauty of using artwork to establish the tone of your home interiors is that it can be easily transformed by exchanging one piece for another.

“It’s like accessorising an outfit,” says Littlefair.

“You can change a white T-shirt and jeans by wearing a hat or a pair of sunglasses or some jewellery. Just the same as you can change an interior, you can uplift it and ring the changes with artwork.” shalinimisra.com; goddardlittlefair.com

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Rest & revitalise While many are heading to the Great British countryside this summer, we are taking advantage of London’s best fivestar spa hotels. Stay overnight and wake up to an inviting pool, before indulging in any one of these innovative tensionbusting treatments and world-class facials Words: Lauren O’Neill

THE SPA AT 45 PARK LANE A new spa has hit Mayfair and it does not disappoint. Coinciding with the 10th anniversary of the Dorchester Collection’s 45 Park Lane, this stunning, 10,000sq ft wellness space is home to the longest pool on Park Lane –measuring a cool 20m – as well as a sauna, steam room, hydrotherapy pool, gym and personal training room. Designed by Jouin Manku, its standout feature is the strikingly serene Roman-style, floral mosaic wall that adorns the length of the pool.

Adjoining is the relaxation lounge, with open fireplace, where guests can unwind and enjoy healthy snacks courtesy of executive chef, Jamie Shears. Luxury treatments are provided

by Valmont and Aromatherapy Associates – to dissolve the tension of the past year, we recommend the Aromatherapy Associates Ultimate Aromatherapy Experience. The Spa at 45 Park Lane is available exclusively for the use of hotel guests and residents of neighbouring Mayfair Park Residences. Aromatherapy Associates Ultimate Aromatherapy Experience, 60 mins, from £150 » dorchestercollection.com

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INDULGE

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BAMFORD SPA AT THE BERKELEY Bringing a taste of The Cotswolds to central London, The Berkeley’s Bamford Wellness Spa offers city dwellers a rustic countryside retreat.

Set on the hotel’s seventh floor, its serene, natural decor is a breath of fresh air and, while its outdoor rooftop pool might currently be undergoing refurbishment, there is still plenty on offer for relaxation at the Knightsbridge spa.

Using only British skincare brands, treatments

by Bamford and Oskia London harness the healing power of nature.

For a blissful night’s sleep, guests can book in for the Bamford B Silent Massage Treatment before drifting back to their suites. This full body treatment starts with a footbath and shiatsu, while a combination of the B Silent nighttime concentrate, B Silent body oil and neck and chest massage maximise serotonin levels to induce sleep. Bamford B Silent Massage Treatment, 90 mins, £190 the-berkeley.co.uk 36

AKASHA AT HOTEL CAFE ROYAL In the heart of busy Piccadilly Circus, Akasha Holistic Wellbeing Centre at Hotel Cafe Royal is a haven amid the hustle and bustle of the city centre. The calming, minimalist space by David Chipperfield Architects is clean and modern, yet grounded by ample use of Carrara marble. As well as offering relaxing massages and skilled facial treatments, Akasha allows you to take your wellness journey a step further, offering additional wellbeing therapies such as Reiki and meditation.

Also available is Watsu – a form of hydrotherapy that combines stretching, joint mobilisation, massage and traditional Japanese shiatsu – and it houses London’s first dedicated Watsu pool. Other hydro-treatments at the spa include a Vichy shower treatment room and private hammam dedicated to purifying scrubs and massages. To complete your hydro journey, take a dip in the 18m pool and jacuzzi, and leave feeling refreshed and re-energised.The Four Elements Signature Treatment, 120 mins, £240 » hotelcaferoyal.com

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BULGARI SPA AT THE BULGARI HOTEL Undoubtedly one of the chicest spas in London, the 2,000 sqm award-winning Bulgari Spa is the crowning glory of Knighstbridge’s Buglari Hotel. The tranquil, expansive space, created by Antonio Citterio Patricia Viel and Partners, is set over two floors and features a 25m swimming pool, surrounded by loungers and cabanas, vitality pool, 11 treatment rooms, a double spa suite complete with private steam room, and a 150 sqm fitness area.

Advanced beauty, grooming and wellness treatments come courtesy of the likes 111SKIN, iS Clinical and British CBD brand, Kloris. The Kloris Stress Melting Ritual, exclusive to Bulgari Spa London, is the perfect tonic - 90 minutes of pure bliss, it begins with the application of 100% organic CBD balm and warm aromatherapy oils, followed by a relaxing hot stone massage. For those who would like to make use of the facilities more regularly, there are a limited number of private memberships available. Kloris Stress Busting Ritual, 90 mins, £270 bulgarihotels.com

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ESPA AT THE CORINTHIA Described as the ‘next generation of spa’, Espa Life at Corinthia London takes wellness to the next level. With ample space and facilities, you could easily spend an entire day here. Set over four floors, the spa has 17 treatment rooms, a private spa suite and a 24 hour gym, as well as a dedicated thermal floor with indoor swimming pool, vitality pool, amphitheatre sauna, ice fountain, marble-heated loungers and private sleep pods.

There is a hair salon on site courtesy of Daniel Galvin, and the extensive offerings also include facials by Dr. Barbara Sturm, osteopathy, acupuncture, traditional Chinese medicine, and intravenous nutrient therapy. To calm the body and mind, try the Vital Energy Restore wellness therapy, which includes a full body massage, breathwork, singing bowl-tingsha and scalp massage. Vital Energy Restore, 90 mins, £250 espalifeatcorinthia.com

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DESIGN

GLEAMING INSPIRATION The artistic and creative director of Lalique, Marc Larminaux, shines a light on the story behind this flourishing French heritage brand’s evolving designs Words: Lauren Jade Hill

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2021 collections, which include the new Gaïa

by Lalique collection of decorative objects paying homage to mother Earth; new jewellery designs delivering a masterful interpretation of the peacock; the Still Water range of crystal horse-head sculptures designed by artist Nic Fiddian-Green; and new lighting designs created in collaboration with the interior designer Pierre Yves-Rochon, enhancing the designer’s existing Lalique creations.

“For the new Gaïa collection, I wanted to take the audience on a walk through the French countryside — a walk into the vineyards of the South of France and the bushes of Normandy,” he says. “I wanted to freeze the feeling that you’d have walking around in the early morning when you can see the birds feeding on the grapes and the density and richness of what nature can offer. This idea was the starting point for that collection, then I played with the contrast between frosted and clear glass and the contrast between shapes and rich motifs.

“I’m very happy with the Nic Fiddian-Green collection,” he adds. “It fits in so well with the brand story and the result is absolutely stunning.

This horse head makes you dream. It’s beautiful.”

To show this collection off in a virtual setting, Lalique created a virtual Greek architecture-inspired home called the Dream Palace (dreampalace.lalique.com) with objects from the new collections featured throughout each room. »

Lalique Mûres Vase

he 1888-founded symbol of French luxury, Lalique has continued to thrive through inspiration and artisanal know-how. Mesmerising collections embody the vision of Lalique and internationally renowned collaborating artists, with designs also making their way into lavish architectural projects, including the opulent interiors of the brand’s own restaurants and hotels: Villa René Lalique and Château Hochberg in Alsace, Château Lafaurie-Peyraguey in Bordeaux and the brandnew Lalique restaurant at The Glenturret distillery in Perthshire, Scotland.

As Lalique’s artistic and creative director, Marc Larminaux leads much of the French glassmaker’s creative direction, from facilitating major artist and designer collaborations to coming up with the brand’s famously opulent designs, blending Lalique’s well-established DNA with modern sensibilities.

“As a designer I’m influenced by my time, so instinctively that has an impact on the way I draw, but with a brand like Lalique it’s important to keep a strong connection with the history and brand DNA,” says Larminaux.

“Some concepts are very strong to Lalique.

Nature is important and so is contrast and mystery. There’s a lot of poetry in Lalique’s work and there’s a lot of sensuality. All of these are strong markers for the brand, so I always bring them into the creative process.”

Lalique recently revealed its spring/summer

HERITAGE AND ARTISANSHIP Lalique’s identity is built around its historic legacy, going back to when it first took root according to the vision of founder René Lalique.

“René Lalique had a very new philosophy for his time in the way he approached design,” says Larminaux. “He started by designing jewellery.

If you look at high jewellery of that time the idea was to find and illustrate best the material, like a diamond or ruby. René had the opposite approach. The focus was on his drawings first, then he would look at what materials best suited these drawings. He started using not only gems but other kinds of materials like enamel. He wanted to create beautiful items that weren’t particularly expensive. His idea was to create beauty for everyone.”

Since that point, the focus of all of Lalique’s designs has been on the original drawing and the translation of that vision into an object. He later began designing perfume bottles, which was his first step into glasswork. From there he came to only work in glass and in 1921 open the factory that exists to this day in Alsace. “René Lalique only used glass — he didn’t work on crystal.

It was his son, Marc Lalique, who introduced crystal. Marc was more into instilling a luxury philosophy. He wanted to really push the brand into this area, using a more noble material.”

“Knowing that history, I try to have the same approach, working with crystal, in concentrating on my drawing and trying to translate that drawing in the best way I can, playing with the knowledge of the glassmakers to finalise a piece that is the perfect projection of what I am trying to imagine,” he continues.

“René Lalique was a genius in composition. He would play with volumes and fill empty spaces in the perfect balance. I now combine this process with contemporary shapes and colours and a contemporary way of working with the material.

I combine the modern influences I have with the markers that are very strong to the brand.”

“If you look at different crystal makers, each one has its own signature,” he says. “One of

RENÉ LALIQUE WAS A GENIUS IN

COMPOSITION. HE WOULD PLAY WITH VOLUMES AND FILL EMPTY SPACES IN THE PERFECT BALANCE Crystal clear: Marc Larminaux (above, ©Baptiste Lignel); "Still Water"

by Nic Fiddian Green and Lalique in amber crystal (left) and clear crystal (right); The new Glenturret Lalique Bar (opposite) 42

the main signatures for Lalique is the frosting and polishing surface treatment of the crystal.

Another is a very specific piece of know-how that people never see: the mould-making. Every single volume, down to the smallest detail like a blackberry, is designed in a way that it can open in the mould. To achieve this, you have very complex moulds with different parts opening from one side to the other — each one is a piece of engineering. Then there’s the cutting and crystal sculpting.”

Another factor distinguishing Lalique’s work today is its portfolio of artist collaborations. For Larminaux, highlights from these collaborations include the work of late architect Zaha Hadid and eminent artist Damien Hirst.

“Zaha Hadid’s collection was so modern but also so closely linked to the Lalique DNA, representing the markers of nature, history, poetry and sensuality in a very contemporary way. You have the curves; you have the nature; you have everything. It was a perfect match for Lalique and also extremely challenging, taking many months to get to a drawing that could be produced.

“Damien Hirst’s collection was also very impressive. His work has a more provocative approach, which I think is something René Lalique had. [René] was quite provocative for his time and we got this back with Damien Hirst’s work.”

Further to the brand’s seasonal collections, Lalique crystal regularly finds its way into luxury interiors, with recent projects including the creation of decorative elements for Silversea’s new cruise ship, Silver Moon. This July then saw the debut of the Glenturret Lalique restaurant, a fine dining experience located in the heart of Scotland’s oldest working distillery with handcrafted Lalique bar housing Scotland’s finest whiskies.

Fusing artisanship and French joie de vivre with modernity, Lalique is a heritage brand that knows how to stay artistically relevant. lalique.com

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Aiming for excellence We visit London’s oldest gunmaker Boss & Co and discover a thriving tradition of English craftsmanship that is inspiring new generations Words: Peter Malmstrom

M The Gunmaker’s Gunmaker

“W

An excerpt from A Boss & Co brochure, c.1920

E WOULD SAY FROM THE OUTSET that we make only one grade of gun and have never placed a second quality make upon the market. This policy has enabled us to retain the services of the finest workmen in London, and to give them continuous employment.

“The advantages attending the production of best work only are manifold. There is no opportunity for the work of inferior men to be utilised in the economy of the workshop, which is frequently the case when more than one class of weapon is produced.

“The owner of a Boss gun has the satisfaction of knowing that he has the best gun that money can buy, and that no-one has a better. The Boss gun has, therefore, always a standard value, whether new or second hand. Our output is limited strictly according to the amount of first-class labour available.”

y Father once told me, “Son, there are three types of arrogance in this world: arrogance born of youth, arrogance born of stupidity and arrogance born of absolute excellence”. The excerpt to the left is an extract from a sales brochure by bespoke gunmakers Boss & Co from the 1920s and might, in this modern age, be considered a tad arrogant in its delivery.

But, if it is, I can tell you with absolute certainty that it is arrogance born of excellence, and absolute mastery of their craft, which is as true today as it was in the late 1890s when John Robertson – Boss & Co’s legendary gunmaker, who took over the firm from founder Thomas Boss – led the way with innovations such as the single trigger mechanism in 1893. This was followed by the Boss Hammerless Ejector in 1897 and the creation of the elegant and lightweight Over and Under Shotgun in 1909.

This period was perhaps the zenith of fine English sporting gun manufacture, extending from about 1890 through to the First World War, when the flower of England perished on the battlefields of Flanders and great British estates were bereft of sons to inherit. The great gunmakers at the time also lost an army of highly skilled craftsmen, such was the call of duty. The industry saw an interwar revival, before the onset of the Second World War changed English society for ever and, with it, many of the great gun makers of the late Victorian era were lost Fortunately, a few of the greatest names survived to continue the tradition of fine English gun making for a discerning, international shooting elite who valued the exceptional craftsmanship put into these guns.

As other great gunmakers were swallowed up by large international conglomerates, Boss & Co was acquired by individuals who were avid shooters and keen customers of Boss – and who were keen to maintain the quality and handmade excellence established by Boss and its small team of dedicated craftsmen.

Today, owner Arthur DeMoulas has taken the company completely the other way to many other manufacturers, who look for ways to reduce costs and rationalise businesses through more mechanisation. Instead,

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DeMoulas’s vision has been to maintain the core craftsmanship that has driven the brand’s obsessional pursuit of excellence since its inception in 1812.

This by no means equals stasis, however: As gunmaker Jason Craddock says, “Boss is guided by tradition, not bound by it”. The embodiment of this philosophy is in the development of the company’s crowning glory – the 1812 Edition Over and Under Ambidextrous Side-Lever shotgun (right).

DeMoulas was shooting with a pair of vintage Boss side-lever guns when he was struck by the ease of use compared with the traditional top-lever. He immediately set about developing this theme further with his small team of craftsmen.

With the more common top-lever gun (pictured left, inset), when you break the gun to eject spent cartridges, you drop the gun from the shoulder and your right hand rotates clockwise around the grip, so your right thumb catches the lever on the top of the gun, pushes it to the right to break the gun, and the ejectors do their work.

From a right-handed shooter’s perspective, the advantage of a side-lever action is that your hand is already in position when holding the gun in the aim. After your shot, you simply drop the gun from the shoulder and move your left thumb down, which pushes the lever down, breaks the gun and ejects the spent cartridges – a much more fluid action.

To make this mechanism (pioneered by Boss in earlier guns) work effectively in a sidelever gun is no mean feat, and would require a bespoke action devised by the combined skills of a team led by master gunmaker John Varney, who had worked with Boss for 42 years. Varney had discussed overcoming these technical challenges for the manufacture of the new gun but sadly passed away shortly after the finished 1812 Edition went into production.

Fortunately, many of Varney’s skills had passed to Craddock, who had worked on the bench next to Varney for more than 20 years. Under the guidance of DeMoulas and inherited skills of Varney, the Boss team successfully produced the world’s first ambidextrous sidelever over and under shotgun. »

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MADE IN ENGLAND When you start talking about a team where multiple individuals, at the height of their profession, work alongside each other for more than 20 years, you can start to understand the culture Boss & Co maintains – and one which was evidenced in spadefuls when I visited the factory in Kew. While the exterior resembles a non-descript Georgian terraced house rather than a factory, inside it is a labyrinth of rooms occupied by specialist individuals, such as an engraver surrounded by his hand tools, or small teams working side by side on honing the barrels or carving the stocks by hand – without a CNC machine in sight.

My mind went back to the sales literature of the 1920s: “There is no opportunity for the work of inferior men to be utilised in the economy of the workshop”. These words ring as true today as they did in 1921 – and in 1812.

Virtually all gunmaking processes – down to the famous hallmark ‘Boss Rose and Scroll’ engraving – are handled in-house by this small team with a few exceptions such as some customer engraving requests, which go out to specific artists, commissioned as Leonardo or Michelangelo might have been in Renaissance times. The alchemy that is bluing (that wonderful colouring on the metal surfaces) is also done by outsourced specialists who, like ancient Druids, maintain the secret formulae of compounds and heat to create this magical effect on components that are so valuable, any mistake would be catastrophic.

The result of these labours is outstanding.

When I am first handed the 1812 Edition, I naturally break the gun, as is force of habit for any shooter or military man. The ease with which the gun’s action broke was like silk. I was also struck by the surprisingly heavy weight, as for a long time English gunmakers have strived to make their guns as light as possible for ease of carrying in the field for long periods. The trade-off, however, is the recoil. Physics tells you that for every action there is an equal and opposite reaction, so a light gun really kicks back at you. A heavier gun is more comfortable to use, particularly on high bird days when both guns in a pair would be used to reduce heat build-up and rate of fire.

As a right-handed shooter, the gun I was handling was set up with the side-lever on the left, but a matched right-side lever comes with the gun and can be switched over for the lefthanded shooter. »

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LOOKING TO THE FUTURE The question here, of course, is why include a right-handed lever for a left-handed shooter (or vice versa) on a gun handmade to a specific customer? Each Boss & Co gun takes more than three years and over 1,500 hours to make and, having purchased such a masterpiece (costing upwards of £160,000 each and often sold in pairs), would you ever be likely to sell it?

Well, the thinking here is that an ambidextrous gun will not only maintain its stratospheric second-hand value if it ever came onto the market, but it can also be handed down in the family to a right or left-handed son or daughter.

By making and supplying ambidextrous levers with the original gun, the left-handed lever could be installed at any time and would be identical in every respect to the right-handed lever.

It is clear from this philosophy that Boss & Co is not just thinking about today, but recognising their long and illustrious history as well as being firmly focused on the future generations to come.

Boss runs a robust apprentice programme to develop new talent and, in fact, many of the accomplished craftsmen I met at the factory were much younger than I expected and had already been with the firm for years.

As an avid shooter and as an Englishman, my visit to Boss & Co was a revelation that lifted my spirits after the dark days of the pandemic and, dare I say it, Brexit. To realise that not only does craftsmanship of this quality still exist in our green and pleasant land but that, through the efforts of this small dedicated British team and under the leadership of its knowledgeable and passionate American owner, Boss & Co is destined to maintain its standing for generations to come.

There are those among us that thought exceptional quality of this kind was the reserve of our great history, but I can tell you it is alive and well and thriving in Kew, in this small and unassuming factory.

Boss & Co has maintained almost legendary status for over 200 years and, upon meeting the team and handling what is, without doubt, one of the finest guns in the world, this experience has reaffirmed my belief that English craftsmanship will continue to lead the world with Boss & Co for the next 200 years and beyond. bossguns.com

BOSS & CO RECOGNISES ITS LONG AND ILLUSTRIOUS HISTORY AS WELL AS BEING FIRMLY FOCUSED ON THE FUTURE GENERATIONS TO COME

Hand-crafted quality: Boss & Co’s gunmakers use traditional skills to create exceptional guns – such as the new 1812 Edition (previous page) – from its factory in Kew (this page). Images: Boss & Co, Matthew Brown Photography 48

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SPEED

Return to form As Lewis Hamilton conquers Silverstone at the British Grand Prix, we take a look at the drama of the track and speak exclusively to Formula One legend Sir Jackie Stewart Words: Rory FH Smith

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or the past few years, Formula One has been lacking a certain something.

While the Netflix series Drive to Survive kept the F1 flame burning bright by bringing to life the personalities behind the visors, the on-track action has been lacking the kind of unpredictability that makes the sport so brilliant to watch.

Gone were the days of heroic drivers battling wheel-to-wheel on track and in came the predictable and clinical, albeit impressive, consistency from the likes of Mercedes-Benz AMG and its frontman Lewis Hamilton. But, refreshingly, Formula One appears to have turned a corner this season, with the welcome return of a heated and high-profile rivalry and a sensational British Grand Prix at Silverstone.

Enter the established cool, calm and collected defending multi-champion Lewis Hamilton and the young, aggressive underdog Max Verstappen, desperate to clinch his first World Championship title. Since the start of the 2021 season, from the first race in Bahrain, our two protagonists have been battling it out every round, jostling for position and lunging for the lead on every possible occasion. While their rivalry had always been fierce, it had also been respectful – until it all boiled over on the iconic Silverstone circuit on the Sunday of this year’s British Grand Prix.

Starting on pole position, Red Bull’s Max Verstappen led Hamilton for the first corners of the race until defending champion Hamilton tried to take the lead up the inside of Copse corner. After making contact with Verstappen’s rear wheel, the Red Bull driver was sent sideways at speed into the barrier, ending his race in the opening seconds.

Punished for the incident, Hamilton received

a 10-second penalty, but it did nothing to prevent the British driver from claiming his record eighth home soil victory.

“I tried to give him the space, but I was quite a long way up the inside into [corner] nine, and none of us backed out and that was the end result,” said Hamilton in the aftermath of the race. “When someone’s too aggressive, these things are bound to happen. There’s not really much more for me to say – hope he’s okay, because of course I would love to have a wheelto-wheel battle for the whole race, I enjoy racing with him… but I will never back down from anyone and I will not be bullied into being less aggressive.”

Belgian-Dutch driver Verstappen was rushed to hospital after a hefty hit with the wall, receiving the all-clear shortly after. When the celebrations had died down, the championship hopeful was livid after losing the lead in what looked to be an easy win over his main championship rival.

“Glad I’m okay. Very disappointed with being taken out like this,” Verstappen tweeted after the race. “The penalty given does not help us and doesn’t do justice to the dangerous move Lewis made on track. Watching the celebrations while in hospital is disrespectful and unsportsmanlike behaviour but we move on.”

With relations between both drivers at an alltime low and the battle for the championship nearing the halfway mark, expect more sparks to fly between our two protagonists as the ten-sion continues to rise for the remainder of the season.

Until then, we can all appreciate Formula One’s return to real racing, ruthless rivalries and rousing action both on and off the track. f1.com

Racing rivalry: The Red Arrows fly over Silverstone (previous) before champion Lewis Hamilton (above) battles Max Verstappen for first place (right) 52

On the track with: Lando Norris The British racing prodigy, who finished with a career-best fourth place for McLaren Racing in the British Grand Prix, talks moving up through the gears of F1 with confidence Words: Gabriel Power

Tell us about your experience in Formula 1?

You learn things every weekend. Every driver has different characteristics and we are different human beings. We think differently, act differently, approach things differently and, of course, we drive differently. So, learning how my teammates, like Daniel Ricciardo, do these different things is a great way to gain experience. I learned a lot from [ former teammate] Carlos Sainz Jr because he was with me for my first two years when there was a much steeper rate of progression. But things are changing for me; I’m coming into my third season feeling more confident.

What are your goals for this season?

I wouldn’t say I’m a guy that sets too many goals. I prefer taking one race at a time and just try and do the best I can in every race, rather than trying to set expectations. But I’m very happy with how the season has gone so far. At the moment I’m very happy, and we’ve been scoring a lot of points and hitting consistent points finishes in every race. I’m the only driver to do so this year, which is pretty cool.

How is this season different from your debut season?

A lot has changed compared to year one. One of the biggest things is my confidence and experience level. You come into Formula One having to learn so many things and, as a result, overloading yourself at times. But each year I gain more confidence and enough knowledge that, before the weekend starts, I’m on the simulator knowing exactly what I want to prepare for, what things to focus on and how to correct issues that I suffered with in the past. That helps my belief that I can go out and do a good job every weekend while also enjoying it. logitechgchallenge.com

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A LASTING LEGACY Sir Jackie Stewart is a three-time Formula One World Champion, but his impact on the sport he loves reaches far beyond his own track success. At the 2021 British Grand Prix, he reflects on the campaign for driver safety that has changed F1 for ever Interview: Rory FH Smith

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hile Formula One may be enjoying a much-awaited return to form, with racing rivalries and friendship reminiscent of the glory days of the 1960s and ’70s, today’s racing championship is miles ahead of yesteryear in terms of its improvements in safety.

Tragically, lethal crashes were commonplace in this era – and might still be today if not for the efforts of legendary driver Sir Jackie Stewart.

Sir Jackie defied the odds to not only survive but to emerge a three-time world champion by 1973. Now, at 82 years old, the proud Scottish racer is this year celebrating 50 years since his second World Championship title and 53 years as a Rolex Testimonee (he is pictured here wearing a Rolex Oyster Perpetual Cosmograph Daytona) all while turbocharging his work with his own charity, Race Against Dementia.

It’s no surprise, then, that finding time in Stewart’s busy schedule is a challenge. Thankfully, there is one engagement the F1 star rarely misses – the British Grand Prix, where we sit down to discuss the difference between drivers’ relationships then and now, and why the most dangerous years of the sport are thankfully behind us.

“I think my period was probably the best period of camaraderie and friendship,” says Sir Jackie amid the din of the Formula 1 Paddock Club. “I think because it was such a dangerous sport at the time, that your association of everybody was much deeper.

“The drivers now just don’t live with each other the same way that we did – there were no helicopters and private planes back then. Everybody spent time together. We went to the same hotels, we went out together, had holidays together.”

Born John Young Stewart in Dunbartonshire in 1939, as a young man he was a skilled clay pigeon shooter, narrowly missing out on the 1960 Olympic team. In 1964, he made his Formula Three debut driving for Tyrell, coasting to a 44-second lead win in the wet at Snetterton. Stewart was offered a place in F1 within days, but twice declined, choosing instead to gain experience first in F3 and then in F2 with Lotus, before finally advancing to F1 with BRM in 1965. He competed until 1973, earning the nickname ‘The Flying Scot’ for his skill on the racetrack.

At the time Stewart was racing, Formula One was both different and more dangerous than the comparatively sanitised sport we see today. When one considers the tragic deaths of more than 50 of Stewart’s contemporaries throughout his racing career, his achievement of claiming three titles during the ‘killer years’ is almost inconceivable.

THE DANGER ZONE Not only was safety sacrificed in the search for speed in the development of many cars at the time, but tracks were narrow, poorly manned and lacked any of the safety features we see today.

For Stewart, that became all too apparent in 1966, when his car left the track during the Belgian Grand Prix at Spa-Francorchamps.

“I wasn’t completely conscious, but I don’t remember the actual impact,” recalls the former World Champion. After his car wound up in the woods, Stewart was trapped upside down for 25-minutes, drenched in high-octane fuel.

After fellow racing drivers Graham Hill and Bob Bondurant came off at the same point, both ran over to help Stewart.

“Graham and Bondurant had to borrow spanners from a stranger’s car to get me out, because the steering wheels didn’t come off in those days. Then they took me into a barn, took my fuel-soaked clothes off and waited for help to arrive,” he explains. “[The tracks] were too dangerous, there were not enough marshals and not enough fire equipment.”

Stewart’s experience led him to become one of the most vocal drivers to campaign for higher standards in the sport and more safety measures.

Alongside Formula One doctor Sid Watkins, Stewart was responsible for the upgrading of many circuits, while F1 engineers began taking driver safety into consideration when building the cars.

Thanks to the work of Stewart and Watkins, crashes like Romain Grosjean’s harrowing accident in the 2020 Bahrain Grand Prix and Max Verstappen’s knock in this year’s British Grand Prix have seen both drivers walk away relatively unscathed. Stewart reflects on these incidents with obvious pride: “It was a wonderful demonstration of what has happened since my day.”

Shining seas Leonardo Ferragamo speaks exclusively about his 23 years at the helm of Nautor’s Swan, and the success of this year’s Swan Tuscany Challenge Words: Gabriel Power

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the same values of craftsmanship, innovation, performance, durability, comfort, style, quality and timeless excellence.

“I was very young when my brother Ferruccio first took me on a sailing boat, his Flying Dutchman and I immediately fell in love with this sport,” he adds. “From that moment on I have never stopped sailing, both in regattas and for the pure pleasure of sailing with family and friends. I have always had a soft spot for Swan yachts, namely for the extraordinary skill of the Finnish craftsmen, so in 1988 I bought my first Swan 51 and, 10 years later, I decided to invest in the shipyard.”

So, what is Ferragamo’s vision for the firm?

Swan has built more than 2,000 yachts since its founding in 1966 and has become famed for its high-end, cutting edge vessels – and Ferragamo is looking to continue this trend with his recent push into the powered yacht market.

“We entered the power yacht marked with Swan Shadow last January, and more is yet to come,” he says, noting the firm is “working tirelessly in research and development of new innovative solutions to offer on board and ashore, and in the evolution towards the future to make this brand stronger and stronger”. »

eonardo Ferragamo is a man with a crystal-clear interpretation of everything he touches. You would expect as much from a son of Salvatore Ferragamo – founder of a fashion retail empire – who forwent the chance to continue his sartorial lineage in order to pursue his nautical passions, purchasing Finnish luxury yacht builder Nautor’s Swan in the late 1990s.

“When I bought Nautor’s Swan in 1998 my dream was to make a great brand out of it,” he tells Tempus. “I decided to invest in this iconic brand with pride, confident of the opportunity to evolve the brand internationally.

“At that time the company was representing – and still represents – timeless excellence, embodying a perfect union of style, comfort and performance.”

Coming from a fashion background, Ferragamo seems an unusual choice for the head of a major yacht brand, abut he has harnessed his passion for boating and all things nautical as a means of forging a meteoric path with Nautor’s Swan.

“For me, fashion and sailing are connected on several levels,” he says. “In my life they coexist in a very balanced way; both share

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Nevertheless, there is still a large focus on comfort, luxury and variety. “Today, Nautor’s is a 360-degree brand,” he says. “When an owner chooses Nautor, they enter into a completely dedicated world; we have a charter and brokerage branch for those moving the first steps in the sailing scene or willing to upgrade; the yard for building their dream boat; the ClubSwan Racing for the sportier clientele and a Global Service to be with them 24/7, wherever they are.”

Ferragamo is also a man with his finger on the pulse, claiming that the current Covid-19 pandemic has had an “unexpected impact in the yachting industry”.

“The boat has become a way to escape, offering the possibility to sail in an open sea, far away from the noises of the world and offering a feeling of freedom; a yacht has become the perfect tool with which to sugar coat this trying time.

“Boats are becoming more and more ‘homelike’, with innovative solutions focused on high performance values, competitive sailing potential, but also comfort, style and luxury materials.”

And this competitive sailing potential is a huge portion of Nautor’s MO, hosting spectacular racing events across the globe, including the Swan Tuscany Challenge 2021, which took place in May. “Sailing is in Nautor’s DNA and since the beginning and the brand’s thrilling regattas are the most eagerly awaited events by its owners,” Ferragamo says. “The 2021 edition was particularly important for us. Together with the One Design fleets participating from 10 countries and racing in the beautiful bay of Scarlino, the 2021 Tuscany Challenge marked two other important moments for the brand; the worldwide premières of the Swan Shadow, the first power yacht with Swan signature, and the Swan 58 designed by German Frers.

As someone who made the hop from clothing to sailing, Ferragamo is a man with an eye for details and specificity. But, when I ask for his favourite memory of sailing – one that has driven his career in yacht building – his answer is charmingly imprecise.

“Well, I have loads, from my first days at sea with my brother Ferruccio, to the days spent with my family and friends, to racing with my team… how much time do you have?” nautorswan.com

Ocean action: The Swan Tuscany Challenge in Scarlino (this page and previous, ©Club Swan Racing/Studio Borlenghi)

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MAKING A SPLASH The best yachting events making their long awaited comeback this season

CANNES YACHTING FESTIVAL 7-12 SEPTEMBER Cannes’ glamorous yachting festival is set across Vieux Port – one of the oldest harbours on the French Riviera – and nearby Port Canto.

Yacht owners and admirers can’t miss the line up of luxurious motor yachts, global launches, sailing area, and luxury shopping gallery. cannesyachtingfestival.com SOUTHAMPTON INTERNATIONAL BOAT SHOW 10-19 SEPTEMBER Britain's biggest festival of boating returns in style this September, bringing everything from paddleboards to superyachts, classic sailing boats and new launches from around the world.

There’s plenty of entertainment to be found at Southampton’s purpose-built marina. southamptonboatshow.com MONTREAL IN-WATER 10-12 SEPTEMBER With 100 boats in the water, this unmissable nautical event is a chance to see the Old Port of Montreal full of new brands, cruisers, yachts and motor boats, as well as enjoy the toys and tenders on offer. nautismequebec.com GENOA BOAT SHOW 16-21 SEPTEMBER The 61st Genoa Boat Show is a celebration of Italian boatbuilding with its unique multispecialised concept bringing visitors four shows in one. Discover the TechTradeFair, Sailing World, Boat Discovery and a Yacht and Superyacht Show. salonenautico.com MONACO YACHT SHOW 22-25 SEPTEMBER No round up of superyacht shows would be complete without Monaco. The principality’s Port Hercules comes alive with the world’s biggest display of superyachts, boating accessories, fine dining experiences and luxury shopping. monacoyachtshow.com ABU DHABI INTERNATIONAL BOAT SHOW 13-16 OCTOBER Returning to Abu Dhabi’s Yas Marina this October, ADIBS is the UAE’s most exciting place to immerse oneself in the region’s marine leisure and water sports, while admiring the most extravagant superyachts in the world. adibs.ae

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A Japan for all seasons If the Tokyo Games had you ready to race to Japan, don’t take off your running shoes. We go beyond the capital to discover the best of this amazing country Words: Gabriel Power

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ith the eyes of the world on the Olympics and Paralympics (which begin on 24 August), one could be forgiven for believing that the cultural draw of Japan revolves solely around Tokyo. The towering neon billboards of Akihabara and the winding alleyways of Shinjuku act as a microcosm for the lay Westerner’s idea of what the country represents, or what it can offer to the intrepid travellers who span the globe to visit.

And while the electric atmosphere of the capital is undeniably enticing, those more privy to the further-flung wonders of the country know that to visit Japan yet forgo the vast majority of its extraordinary tourist attractions is to barely visit at all.

Be it spring, summer, winter or autumn, the archipelago can accommodate everyone, from snow-bound powder hounds to scuba divers seeking out coral reefs in the tropics. So, after touching down in Tokyo, pack your bags and hop on the nearest Shinkansen to explore some of the phenomena awaiting you further afield. Here is Tempus’ season-by-season guide to Japan...

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TRAVEL AUTUMN | KYUSHU Brutally hot in summer and frigid in winter, the westernmost of Japan’s ‘main islands’ is the perfect fall retreat, replete with gorgeous snaking coastlines and endless expanses of dense forest.

The region, while home to the bustling cities of Fukuoka and Nagasaki, is still a rugged, wild corner of the country, populated by black bears that roam the mountains, and dotted with secluded onsen (hot springs) hidden among the trees and nearby Kumamoto Castle (pictured).

Although the region is ideal for the more

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adventurous tourists who come to hike, surf and sail, Kyushu has also become a surprising hub for luxury train travel in recent years, with the Kyushu Railway Company carving out a world-renowned niche in the field.

The firm, known for its opulent Seven Stars sleeper train service, has recently launched its newest addition to its luxury fleet, the peculiarly named 36+3 (pronounced “sanjyu-roku plus san”) which offers five-day loops around the island of Kyushu – the 36th-largest island in the world – in comfort-focused carriages complete with tatami mat floors and shoji sliding windows. »

WINTER | HOKKAIDO

Furano, Tomamu and Niseko.

The latter of these three, while offering 2,191 acres of skiable terrain and over 47km of groomed slopes that cater for all levels, is also home to Higashiyama Niseko Village, A RitzCarlton Reserve, an indulgent, ultra-modern five-star resort nestled in the shadows of the iconic Mount Yōtei (pictured). Operated by Marriott and owned by YTL Hotels, the hotel features 50 high-end rooms and suites and prides itself on adhering to the traditional Japanese philosophy of Kachou Fuugetsu, centred on the idea of discovering oneself through nature.

Furthermore, the hotel sits just 39 miles from the nearest airport at Okadama, negating the need for arduously lengthy transfers one might experience when visiting Hokkaido ski resorts.

If winter is the question, there’s only one answer: Hokkaido. The country’s northernmost prefecture encompassing the entire island of the same name, this sparsely populated frozen wonderland is effectively the Siberia of Japan, with biting winds, metre-tall snowdrifts and winter temperatures well below -10° Celsius.

But despite appearing rather inhospitable to outsiders, the region is packed with hidden gems to explore during the colder months, such as the capital and largest city Sapporo and its Snow Festival; Japan’s northernmost town Wakkanai and its extensive history as a hub for the Ainu indigenous people; and myriad world-class ski resorts including

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SPRING | KYOTO PREFECTURE

Be sure to stop by the Fushimi-ku district of the city for a glimpse at some of Japan’s most spectacular temples, including Daigo-Ji and Fushimi Inari-taisha, both of which have featured on countless postcards throughout the years.

But the often-overlooked wider Kyoto Prefecture is also a must-see. At almost 2,000 square miles in area, the region has a remarkable variety of landscapes, from pristine yellow beaches on the northern tip, to lush, forested mountains in the east and south.

The jewel in the crown is Amanohashidate, an expansive pine-covered sandbar stretching the width of Miyazu Bay, and one of the iconic “Three Views of Japan”, as designated by scholar and writer Hayashi Gahō nearly 400 years ago. »

It may seem like a bold claim, but those who have visited will know, the ancient capital of Kyoto is undeniably the most beautiful city in Japan. This is a city where centuries-old wooden temples rub up against cutting-edge contemporary architecture, with winding streets thronging with youthful locals who exude an altogether more relaxed vibe than their frantic Tokyo counterparts.

In spring, the city bursts to life with the advent of the cherry blossom season – the sight of floating sakura petals saturating the air in the parks around town (and nearby Nara, pictured) is entices tens of thousands of Japanese residents from elsewhere in the country to visit for a look each year.

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SUMMER | OKINAWA

capital of Okinawa Prefecture. A pleasant, green city teeming with parks and gardens, tourists can head to one of a multitude of museums documenting the island’s fascinating history, from its role as part of the Ryukyu Kingdom to the controversial presence of US military that has persisted since the end of the Second World War. Furthermore, few destinations in the Western Pacific Ocean offer more rewarding snorkelling and scuba diving opportunities than Okinawa, after which you can sit back and watch the sunset over the water with a chilled awamori, the local spirit.

Way off the beaten track, some 400 miles from mainland Japan, lies Okinawa, the country’s sole outpost in the tropics.

Delightfully warm year-round, and with countless picture-perfect beaches, Okinawa is the ultimate summer getaway destination for many Japanese holidaymakers. Despite its remote location – it is technically closer to Taiwan than the mainland – this is no quaint backwater, but a thriving, buzzing island with over one million inhabitants and multiple urban centres.

The most well-known of these is Naha, the

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A rolling stone Bespoke jeweller Benjamin Hawkins is ripping up the rule book with his organic and artistic haute joaillerie – and it starts with a single gem Words: Michelle Johnson

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enjamin Hawkins is one of the London jewellery scene’s best kept secrets. His eponymous fine jewellery brand was quietly founded in 2016 when, after training in gold smithing and fine diamond ware in Hatton Garden, the jeweller was commissioned to make engagement rings for a few friends. From there word spread, until he was spotted by the Sarabande Foundation – the late designer Alexander McQueen’s foundation for promising artists and future tastemakers – and completed the organisation’s prestigious residency.

Now 26, Hawkins’ modestly sized, sun-lit atelier in The Goldsmiths’ Centre is the heart of his artistic operations, from where he produces one-of-a-kind pieces for his clients. The walls are covered with reference drawings and images that inspire, while precious stones are lined up on shelves just waiting to become something infinitely more daring. The centrepiece of the atelier is Hawkins’ specially made workbench, at which the 6ft 5in jeweller can comfortably spend the day.

“Jewellery is a real obsession for me, but it’s also a constant learning process,” says Hawkins.

“Everything we do now is made to order, starting with drawings before hand-selecting the stones and cuts. Engagement rings are certainly a driving force for us but, as we grow, we’ve been able to create more personalised pieces that are not so typical, blending different styles and techniques in unexpected ways.”

One of Hawkins’ recent pieces is a diamond

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engagement ring called “Nata’s Fans”, consisting of an Asscher-cut diamond surrounded by perfectly pave set fans, all in solid platinum. The statement shape looks art deco but, in fact, is inspired by the architectural lines of a skyscraper.

“My granddad was an architect, and he was the one to teach me how to draw,” says Hawkins, who has hung a portrait of his grandfather in the atelier for inspiration. “I’ve always had an interest in architecture and my approach to the design process definitely references this. Jewellery is a lot like engineering, actually. Anyone can draw a car, but you really have to know how to build the engine, for the design to become a reality.”

Another diamond ring appears to be a simple three-star meeting when worn but inside the band an enamel decoration adds sentimental value. The detail is inspired by the work of an Israeli artist, who collaborated with Hawkins to recreate the first painting the client and his fiancée bought together as an enamel strip. The final enamelling took six attempts to perfect.

“There’s nothing in the world like it. It’s completely personal to them,” explains Hawkins. “And that’s the key to bespoke jewellery, really. When I’m designing a bespoke piece for a client, my inspiration comes from them – the person commissioning the jewellery as well as the one who will ultimately wear it. I just try to really get to know someone and try to create the best reflection of them. What you end up with can be so unexpected. That’s why our portfolio is so diverse.” »

STYLE

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THE GOLDEN TOUCH Although Hawkins trained primarily as a gold smith and diamond mounter, specialist artistic techniques like enamelling and stained-glass decoration are a cornerstone of the art jeweller’s often-surprising style.

“Whether you value jewellery in terms of monetary or personal investment, the skill of the maker is key,” Hawkins says. “Enamelling has been used in jewellery-making since Egyptian times, and the level of difficulty involved creates add a real elegance and romance to a piece.

It’s a matter of seconds too few or too long in the kiln between something being perfect or completely unsalvageable – and I’ve had many times I’ve just had to chuck everything over the wall and start again. Fortunately, I’ve been lucky enough to work with some of the best enamellers in the industry.”

Hawkins’ family hails from Clerkenwell, on the doorstep of London’s diamond district. As a young teenager, his summer jobs would involve sweeping the floors of jewellers’ workshops in Hatton Garden. At 15, he was invited to get involved in small tasks.

“I couldn’t believe it,” he recalls. “There were flames and chemicals and sparkly things everywhere. I didn’t have to do homework or paperwork: I could just sit and make things.”

It was at The Goldsmiths’ Centre, where he trained in gold smithing, silver smithing and enamelling, that he met jewellery designer Shaun Leane – famed for producing Alexander McQueen’s metalwork – and ultimately found a job with Leane’s former master, Brian Joslin.

“Brian has this traditional workshop in Hatton Garden, built in the Victorian era, I think. I would have to bend down to get through the door and sometimes sit on my knees because the workbenches were so low. There was an old safe in one corner and the whole room tilted towards it,” Hawkins laughs.

“Brian has been my biggest inspiration. I would sit next to him for 12 hours a day, and he taught me everything – just seeing his skill to his approach to his work. I would panic whenever I got something wrong – he must have saved me a million times. He gave me the confidence to go forward.”

JEWELLERY IS A LOT LIKE ENGINEERING. YOU HAVE TO KNOW HOW IT ALL WORKS TO MAKE THE DESIGN A REALITY

WEARABLE WORKS OF ART That confidence has seen Hawkins’ brand build quickly through word of mouth and a wishlistworthy social media feed and, while bespoke pieces are still the order of the day, Hawkins is planning his first brand collection.

“My first collection will feature pieces designed around different stones. I’m not preplanning an entire collection; it will be more organic than that. I am still learning, so plan to use recycled stones that we collect on the way, I have started creating artworks designed around the materials and practicing new techniques. I suppose this is less of a collection and more of an avenue to explore ideas with a purpose, or to bridge the gap of waiting for lovely, open-minded clients to experiment on.

“The stones are the inspiration for each piece, and paired with a different artistic technique, from stained glass to inlay and overlay,” he says.

“Right now, we’re starting to produce some pieces that I’m really proud of, and beginning to define our own, recognisable style. There’s romanticism and a story behind every piece. I think that’s the thread that binds our eclectic portfolio together.”

While bespoke commissions require getting to know the personalities of the buyers, an independent collection begins with discovering the character of the stone. And with more people open to coloured diamonds and other gemstones than ever, Hawkins has a lot to work with.

“Coloured diamonds are my favourite stones to work with,” says Hawkins. “They are some of the most amazing phenomena on Earth. You can get a blue-green tourmaline so vivid it blows you away, but you can see right through it. A blue diamond will give you the same depth of colour but sparkle more than a sapphire.

“I also love repurposing stones and jewellery, which has become a much bigger trend in recent

years. There’s obviously a huge ethical issue with mining diamonds and precious stones and, the truth is, there’s no form of mining that’s sustainable. I support the theory behind labgrown diamonds but you do lose the romance.

There’s something special about saying, ‘I took this from the earth and made it into something beautiful for you’. The middle ground is repurposing diamonds. I also love the way old diamonds are hand-cut, as well. They’re less accurate, but so beautiful and full of character and history.”

As for his future plans, Hawkins hopes to soon set up a studio in the haute joaillerie capital of Paris – though he says London will always be home.

“There is a difference between London and Paris,” he says. “In Paris, there’s a culture and tradition of avant garde design, and so the buyers are more willing to buy grander more outrageous jewellery. I’m keen to delve into that scene. Paris has always embraced colour and shape, enamelling and other decorative art.

“London is a bit more traditional. Jewellery here is about getting the best out of the stones and then showing that perfectly. There’s nowhere better for diamond ware, engagement rings and antique jewellery, in my opinion.”

In the tradition of British art jewellers such as Theo Fennell, Hawkins’ passion for unexpected colours, organic shapes and quirky elements that surprise and delight will ensure that this brand will not remain a secret for long.

“That’s why I work so hard to learn so much,” he says. “My obsession to create unique pieces and challenge myself is, admittedly, a bit ridiculous, but it’s totally authentic. My ultimate endeavour will always be to just make beautiful things.” benjaminhawkins.co.uk

Art jewellery: Art Deco style diamond ring “Nata’s Fans” (left) and a 2.2k peach-brown diamond choker with hand carved Chacedony and plique-à-jour enamel detail (above)

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Photographer: Fenton Bailey | Shoot Director: Marcella Martinelli

IN THE MOOD FOR LUXE

While women’s fashion has never shied away from fabulous flair, there is a new mood upon us as we approach the autumn/winter season.

From soft 1980s-inspired tailoring to a touch of gothic extravagance, these designers are making every fashion moment matter

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STYLE

A NEW MOOD IS UPON US WITH SOFT 1980s-INSPIRED TAILORING FOR WOMEN ON THE MOVE – AND A TOUCH OF GOTHIC EXTRAVAGANCE

Previous: An echo of the 1980s from Brunello Cucinelli with this set of (l-r) knitted puffer jacket in light grey and matching trousers; beige wool blazer, black silk top and cream culottes and; light beige 100% cashmere coat, all brunellocucinelli.com.

Gina Couture boots, gina.com Opposite: French small brim bucket hat and black T-shirt, both Dior, dior.com; and earrings from Chopard’s Happy Hearts collection, featuring diamond pavéd hearts, pink mother of pearl hearts and four dancing diamonds, in white gold, chopard.com Left: Soft masculinity by Alexander McQueen in this unlined trench coat with exploded kimono sleeves in stone poly faille; silver ear cuff earrings, alexandermcqueen.com »

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Left: Travel through time with this silver jumpsuit by Dior, dior. com, and limitededition Chopard Happy Sport watch in stainless steel with cabochon sapphires, chopard.com Centre: Top-to-toe Alexander McQueen with a powerful singlebreasted camel coat with dropped MA1 sleeves and a hybrid parka back in khaki, shirt with rib-knit cuffs in white cotton poplin, and cigarette trousers in black wool, alexandermcqueen.com Right: Classic Alberta Ferretti nappa leather jacket in green with graphic printed cotton shirt and trousers, albertaferretti.com; Chopard Happy Diamonds sautoir from The Happy Hearts collection features three dancing diamonds, white mother of pearl, and hearts set in rose gold, chopard.com »

Left: Statement gowns with sustainable flair by House of Sheldon Hall in black taffeta (top) and green traffeta (below), available to rent or buy at mywardrobehq.com. Earrings from Chopard’s Red Carpet collection featuring tsavorite and coloured diamonds set in yellow gold and titanium, chopard.com Below: Hat and T-shirt both Dior, dior.com, with Chopard Happy Hearts earrings, chopard.com Right: This Dior look features the brand’s Oblique Trench Coat in transparent technical fabric, shirt-dress in navy silk and cotton jacquard with ecru dots motif, all dior.com; Chopard earrings from the Happy Hearts Collection and Chopard Happy Sport watch, chopard.com

Photography: Fenton Bailey, fentonbaileyphotography.com; Fashion & Jewellery Director: Marcella Martinelli, arlingtonartists.co.uk; Make-up: Ruby Hammer, using Ruby Hammer cosmetics, rubyhammer.com/arlingtonartists.co.uk; Hair: Ernesto Montenovo, using Tigi, thelondonstyleagency.com. Models: Natasha Luwedde and Eve Delf, selectmodel.com, and Carla Pimentel, wild.management

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Quest for

perfection

A Lange & Söhne CEO Wilhelm Schmid exclusively tells Tempus about the ethos of subtle innovation that drives each generation of German watchmaking

Words: Michelle Johnson

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erman watchmaker A Lange & Söhne is on a mission to make the perfect timepiece. The evolution of each new expression of the brand’s six “families” – the Lange 1, Zeitwerk, Saxonia, 1815, Richard Lange and Odysseus collections – is purposefully subtle, moving each individual watch by degrees to achieve an impossible level of perfection.

If this seems like a far cry from the flash and glamour one might expect from the world of watchmaking, it goes deeper: the brand has no celebrity ambassadors or red-carpet moments and its novelties consistently ignore annual trends or themes. Instead, A Lange & Söhne produces just 5,500 watches a year, with each expression limited in number due to the time-consuming level of craftsmanship that goes into each individual timepiece – with all parts polished and decorated by hand – and so the pace of innovation is determined not by external competition, but by the challenges of bringing daring new designs to life.

A Lange & Söhne’s heritage of precise German watchmaking undoubtedly influences the brand’s ethos today. Originally founded by Ferdinand Adolph Lange in Glashütte in 1845 (today’s 1815 collection pays tribute to his birth year), the original company ceased to exist in 1948 following

German occupation by the Soviet Union after the Second World War. In fact, the original manufactory was destroyed by Soviet bombing on 8 May 1945 – the last day of the war.

In 1990, Ferdinand’s great-grandson, Walter Lange – with the support of Swiss watchmakers – led the company’s restoration, and its first new range of wristwatches debuted in 1994.

For Wilhelm Schmid, who joined the company as CEO in 2011, this combination of rich heritage and subtle innovation defines, perhaps, the most important characteristics of an A Lange & Söhne watch. “’The subtle difference’ was our theme for this year’s Watches & Wonders, but actually we should make it our annual theme, because that’s basically what we’re all about,” he says. “I believe that’s what all fine watchmaking is about. It’s the differences that only experts will appreciate and recognise, and those experts are who we build watches for. We only make 5,500 watches [a year], and that explains it all.”

Here, Schmid speaks to Tempus about his vision for fine watchmaking, how necessity creates innovation and why he will never follow the trends. »

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WATCHES

Lange 1 Perpetual Calendar in pink gold 79

Perfect timing: A Lange & Söhne CEO Wilhelm Schmid (right); the ground-breaking Triple Split (inset)

THE SUBTLE DIFFERENCES ARE WHAT FINE WATCHMAKING IS ALL ABOUT: IT’S THE DIFFERENCES ONLY EXPERTS WILL APPRECIATE AND RECOGNISE

Wilhelm, how do you define ‘the subtle difference’ ethos?

‘The subtle difference’ is very much our core message, and actually it unifies all of our different watches. Let’s take the 2021 Lange 1 Perpetual Calendar, for example. As a German brand, we like to have a clear priority in how our dials are presented: the wearer wants to see the time, and then the date, very clearly. But a perpetual calendar has so many elements to work with, like the night-day indication, days of the months and the leap year indication.

Whether your perpetual calendar jumps instantaneously at midnight or takes an hour for each indication to find its place makes a big difference in its construction. We introduced the Lange 1 Moon Phase as the day-night indication, so the wearer knows whether its day or evening at a glance, and that’s tied neatly into the perpetual calendar mechanism.

The 2021 Triple Split is another perfect example of this. Could you talk us through the creation process?

Innovation is the brief, and for that you have to look at the watch’s history, really. We launched the Datograph in 1999, which was a pretty clear flyback chronograph and that inspired the Chronograph Rattrapante, which was a very complicated watch that could measure two different periods of times – comparative or additive – but only up to a minute. That’s when we said we need a Double Split to measure two-time measurements for up to 30 minutes.

We launched our first Double Split in 2004.

Eventually we said: “What if an event takes longer than 30 minutes?”. So, the idea was born to create the Triple Split, first launched in 2018.

Our 2021 expression can now measure two comparative or additive time incidents for up to 12 hours.

Where does the drive to create these technical improvements begin?

We have a huge advantage as a manufactory because we always start with the design of a

watch; we don’t take a movement and ask how we can use it again. Once we have finalised a design and identified which of our six watch collections it belongs to, and agreed upon the proportions and dimension, it’s then up to our construction to work on making our dreams a reality – which is where the fight starts!

This method necessitates that everyone in our team must be very innovative, because we have to work out each element from scratch.

For instance, our 2021 Lange 1 doesn’t use the same perpetual calendar movement as the 2013 model, because our construction team said it would be better to build a more advanced movement to accommodate the new design, rather than change the design to fit an existing movement.

How important is A Lange & Söhne’s heritage as you look to its future?

Tradition can be a burden or a foundation, depending on how you look at it. For us, history and tradition are a mindset, a set of values that we want to maintain regardless of how the world is changing. It’s the way we respect each other and our clients. It’s the way that we remain watchmakers at heart. We don’t have celebrity brand ambassadors. If you come to Watches and Wonders and enter our booth, the centre of our display is a giant watch. That’s what we’re all about. But, just as it’s important to understand your past, you have to know that history never stands still. Whenever you think you’re done, it is just a good beginning to get better.

How has your vision for the brand changed since you joined in 2011?

The great strength of good, solid companies that no one man or woman can change everything.

It’s a team effort that will make a company like ours keep moving, prevailing and succeeding.

When I arrived, more than 10 years ago, it was clear that our distribution needed a revamp to become more international. For me, it was clear that we needed to understand our customer better. That was the basis for our strategy to

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clarify the brand into a six-watch family, with flagship stores in New York, Tokyo, Singapore, Hong Kong, Beijing, Shanghai.

Who is your customer?

That’s the most difficult question. What we have discovered is that, in watch collecting, you have people who collect on a theme (such as certain mechanism or types of watch) and collectors of certain brands. We realised there are collectors who really understand fine watchmaking on a deep level – something like the way a chronograph counter jumps will speak to them.

This is our target group: collectors with a real understanding of watchmaking.

Is it important to maintain a level of hand-craftsmanship?

Our customers understand and appreciate if parts are hand-polished and decorated, rather than machine-finished. This means that, for watches like the Triple Split, we can only produce around 30-35 watches per year, with customers waiting up to three years for their watch. That’s also why this year’s version is aesthetically very different to the first. In 2018 we introduced a white gold with grey dial, now we come with pink gold and a blue dial.

Are wider watchmaking trends important to you?

When you only make 5,500 watches a year, trends are too short-lived to follow. That’s why you don’t see a green dial on our watches this year. That’s not part of our design or development strategy. We will continue to develop our six watch families, and there’s always a rhythm in it that determines our product development pipeline for the next seven years. Of course, as a watch lover, I keep track of different magazines and blogs, and it’s very interesting to see different trends emerging – but you become very short-sighted if you follow all the trends all the time. alange-soehne.com

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SPEED

STAR WARS Space exploration was once solely the domain of highly trained astronauts. Now, a handful of billionaires are launching the world into an age where the sky is no longer the limit. But are we really prepared for a mogul-led space race?

Words: Gabriel Power

BLUE ORIGIN/ALAMY

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ever has the age-old capitalist mantra of “competition drives innovation” felt so literal as in the last few months of the modern space race. July 2021 saw a small group of the world’s richest men engage in an unprecedentedly grandiose game of oneupmanship, which has already seen two of them – Jeff Bezos and Sir Richard Branson – personally head beyond the bounds of Earth’s gravity in specially made vehicles.

On paper, each has their own reasons for going into space, be it for research, commercial space travel or for the establishment of legitimate space-based industry, and these latest breakthroughs are undoubtedly significant to the fulfilment of these diverse goals. But with such eccentric personalities at the helm, was this ever likely to be a good-natured competition?

On 7 July, Amazon founder and world’s wealthiest man Jeff Bezos announced that he would be joining the passengers of first crewed flight of the New Shepard suborbital vehicle, manufactured by his aerospace firm Blue Origin. The 11-minute flight, which took place on 20 July, was effectively a first step in Bezos’ long-term plan for Blue Origin to “take all polluting industry, all heavy industries and move it off Earth”.

But, in a continuation of the popcorn-worthy feud between Bezos and Virgin Galactic founder Branson – until this point restricted to competing press releases, public announcements and the

occasional Twitter jab – the British billionaire was not about to let his American counterpart steal the limelight.

Just two days later, on 9 July, Branson announced that he would also be heading into space on his VSS Unity suborbital vehicle – 17 years after founding Virgin Galactic’s mission statement of establishing commercial spaceflight. What’s more, he’d be launching nine days earlier than Bezos.

With the dates set, the sense of competition began to flare. On 11 July Branson, 77, became the second-oldest person to ever leave Earth’s atmosphere, behind US astronaut John Glenn (who was 77 when he boarded the space shuttle Discovery in 1998). Bezos then announced that he would be joined in the New Shepard by veteran US pilot Mary Wallace “Wally” Funk, 82, who would subsequently take the crown of the oldest person in space, bumping Branson down into third place.

Furthermore, once Branson had announced his plan to skirt the boundaries of the atmosphere, Blue Origin CEO Bob Smith stated that Virgin Galactic’s claim to space travel was potentially illegitimate because “they’re not flying above the Kármán line” – a hypothetical “border” between the atmosphere and space at approximately 100km above the Earth.

Blue Origin vehicles surpass that altitude; Virgin Galactic flights do not. Neither launch, however, reached orbital flight.

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COMMERCIAL SPACE Although Bezos and Branson have been making headlines with their hands-on approach to visiting space, they are far from the only participants in this new race into the great unknown.

Axiom Space Inc., founded in 2016 by businessmen Michael Suffredini and Kam Ghaffarian, plans to launch private flights to the International Space Station and set up its own commercial space station in the coming years – with its first commercial trip to the International Space Station planned for 2022.

Meanwhile, a more traditional approach is being considered by Russian-Israeli billionaire physicist Yuri Milner, whose Breakthrough Starshot project – co-founded by the late Professor Stephen Hawking and Facebook founder Mark Zuckerberg – is looking to send a probe to the Alpha Centauri star system 4.37 light-years away for research purposes.

Meanwhile, Tesla founder Elon Musk, whose private space exploration firm SpaceX has beaten Blue Origin and Virgin Galactic to the punch multiple times when pushing the limits of private space enterprise, has not commented on the latest launches by his commercial space rivals. Musk’s ambitions include founding a permanent human presence on Mars.

Interestingly, the multiple personalities involved in this layered, Twitter-fuelled competition have vastly different visions for their respective companies’ forays into space exploration – industry versus research versus commercial spaceflight – but also use entirely different, non-competing technologies from one another.

It is clear, when looking at mission statements alone, that this is not a repeat of the great Space Race that once pitted the US and USSR against one another. During that era, the two global superpowers effectively worked toward the same goal; harnessing the power of space for military and scientific advancement, with both sides pushing the limits of technology and taking humanity to frontiers we had previously thought impossible.

Now, with the great global superpowers no longer prioritising space exploration, and many space agencies – including NASA and the European Space Station – at something of a low financial ebb, the world has effectively given these eccentric, ambitious captains of industry carte blanche to take us along with them into the next stage of spaceflight.

But with such a vastly different array of goals and the absence of transparency that comes with state-sanctioned space exploration, where we end up in the next five, 10 or 20 years is anyone’s guess. We are at a fork in the road of our current timeline: skip forward a decade or two and we could be digging for basalt on the surface of Venus, vacationing on Elon Musk’s Martian colony, or scratching our heads on abandoned launchpads in Texas, wondering where it all went wrong.

Back on track IndyCar driver Sam Schmidt thought he would never race again after a devastating crash left him paralysed. Now, he is back in the drivers seat with the unique Arrow SAM III Words: Rory FH Smith 84

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hen IndyCar driver Sam Schmidt, driving 200mph, crashed into the barrier during pre-season testing at the Walt Disney World Speedway on 6 January 2000, his doctors thought he wouldn’t make it through the night. Despite surviving the impact, the crash left Schmidt a quadriplegic, destined to never walk again – let alone race.

However, thanks to the cutting-edge AI technology from electrical company Arrow, Nebraska-born Schmidt has continued to defy the odds in his recovery. Not only has the former IndyCar racer been able to walk again with the help of a bespoke semi-autonomous exoskeleton suit, but he’s also back in the

driver’s seat, behind the wheel of a highly modified 200mph 2020 C8 Corvette.

Made in collaboration with Arrow, Schmidt’s car is called SAM III (the third Semi-Autonomous Mobility prototype). Controlled entirely by Schmidt (above), he sits in the passenger seat to give room for the tech to be placed directly in front of him, while his sunglasses or helmet are fitted with nine strategically placed reflective markers.

These are tracked by four infrared cameras mounted to the dashboard, which utilise motion capture software to track his head movements in real-time. The signals are then fed into a processor, which translates the data from the camera and sensors to a rotary actuator on

the steering wheel. In short, Schmidt turns the vehicle by turning his head.

When it comes to acceleration and braking, Schmidt does this through a straw that goes in his mouth, otherwise known as a ‘Sip and Puff ’ system. Data from a pressure sensor is translated to the throttle and brakes; sipping applies the brakes while puffing down the straw engages the accelerator.

Tempus caught up with Schmidt ahead of the legendary driver’s competitive UK debut on the iconic hill climb at the Goodwood Festival of Speed, we caught up with the legendary driver to and discovered what ignites his competitive spirit to this day. »

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SPEED What stage of your career were you at when you had your life-changing crash in January 2000?

I’d been racing since I was about five years old in Motocross but my dream was always to race in the Indy 500. Living in Southern California, Rick Mears was nearby and raced in the Indy 500 for Roger Penske, so I became just laser-focused on that growing up as a racer. I didn’t have the funding to be able to take part initially but, finally, I got the funding to race in Indianapolis in 1997, ‘98 and ‘99. In September of 1999, we made it to Pole and won the race in Las Vegas, so I was really at the top of my career then. I’d spent three years in IndyCar by that point and I was one of the favourites to win the championship the following year in 2000.

What do you recall of the crash?

We had started pre-season testing for the 2000 season in January when my car hit the wall at 200mph. I blew apart a C3 and C4 vertebrae in the impact and was taken to hospital. They didn’t think I would make it through the night but then, after I did, they said I’d be on a ventilator for the rest of my life. I guess I’ve been trying to prove people wrong ever since.

IMAGES: ARROW

How did you find adjusting to your new way of life?

My son was six months old at the time and my daughter was two and a half. One of the things people just don’t realise is, although I’m the one in the chair, it really turns everybody’s life upside down. I had to completely reorganise my life. I went from being a very independent professional race car driver to not being able to do anything for myself. I started six months of really intensive physiotherapy, which I’ve continued to do for at least two hours a day for the last 21 years.

Once I was off the ventilator, I got a lot of strength back in my neck and my diaphragm, so I was able to travel, but I never got the use of my arms or legs back. So, we had to design a programme whereby my wife would focus on the kids and I could go out and get a job. I was fortunate because I had an MBA. I also have really good insurance and a community that supports me, and it didn’t take me long to realise that I’m that 1% who can say that, because 99% of people don’t have good insurance or the

support of a family. In this situation, for example, the divorce rate is 85%, so I’m very fortunate that my wife has stuck with me.

Did you ever imagine you’d be back in a car again?

Hell no! But the technology is amazing now and Arrow is at the forefront of emerging technologies. This car I’m sitting in is a perfect example. We were driving our first prototype within six months, which is completely amazing.

Of course, it was different to what we have now – just like how your cell phone has evolved. The SAM III has been seven years in development, finally goes over 200 miles an hour and we hauled ass at the Goodwood motor circuit the other day. It really is just a blast – and it all comes back to you pretty quickly.

What’s it like to take on Goodwood’s infamous hill climb?

You know, I’ve always just looked at this event from afar, thinking I’d love to just go and be a spectator or walk around the place, but to be able to come here and actually participate is a total dream come true.

Do you have plans to return to competitive racing?

Yes, we recently did our first competition, although it wasn’t on the radar, but this new mid-engine car has got unbelievable handling.

There’s a series in the States called the Optima Streetcar Challenge so, back in April, we showed up in Las Vegas against a field of highly customised Corvettes and other vehicles. We competed head-to-head with around 100 competitors and ended up somewhere in the 60s after doing Autocross, a road course and a drag race. So now we’re just going to make the car faster and to make me a better driver!

What advice would you give to someone starting in their journey with a disability? the truth is, it sucks. Really, you just have to find your passion. It could be computers, it could be competing in the Paralympics, it could be athletic ventures or even being an advocate for others with disabilities. There are so many opportunities. Also, embrace technology: voice-controlled technology has come on so far in the past five years, with assistants like Siri

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and Alexa to help with all my emails, texting and phone calls. Ultimately, the world is out there. The only thing holding you back is your own attitude and your own ability to go after it. There are a lot of state-funded programs for people with disabilities and you’ve just got to take advantage of them.

Tell us about your foundation?

We have a foundation called Conquer Paralysis Now, and we opened a neuro-recovery centre in downtown Las Vegas called Driven. Its main purpose is to try and find cure for paralysis and to help those that already have disorders – not just spinal cord injuries, but [Motor Neurone Disease] and multiple sclerosis as well. It’s amazing how much demand there is, and how many people are living with some type of paralysis. In the US, around 1.8 million people have paralysis and eight million have a mobility issue. We’re focused on trying to solve those problems and creating an environment where they can pursue their passion.

What are your goals for the future?

Well, the cool thing is being able to compete against able-bodied people. Even people without a lot of resources can compete with able-bodied people virtually. For instance, I have a simulator and can compete on iRacing against anybody. Arrow has continued to support us, too. They customised an exoskeleton for me that will let me dance at my daughter’s wedding. They have a good go at making it happen, whatever I throw at them!

I hear some people are selling tickets to the International Space Station, so it could be kind of cool to go the Moon. conquerparalysisnow.org

THE ONLY THING HOLDING YOU BACK IS YOUR OWN ATTITUDE AND YOUR OWN ABILITY TO GO AFTER YOUR PASSION

OUR HEROES As the National Health Service receives the UK’s highest civilian award, recognising the “courage, compassion and dedication” of its staff, Tempus joins the nation in thanking NHS personnel for 70 years of service

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n March 2020, as the UK followed Europe into a cascade of national lockdowns, it was the keyworkers within the country’s National Health Service that established a frontline against the trials of the Covid-19 pandemic. From nurses and doctors to specialists and government advisors, there was not a medical practitioner in the country that remained exempt from the true burden of the coronavirus.

If our collective admiration for our health services wasn’t already at the forefront of conversation, it soon would be, as almost 5,000 former personnel – including retired doctors and nurses – rejoined surgeries and hospitals to help fill the needs caused by the pandemic. From the exuberant “Clap For Our Carers” chorus on a Thursday night, to public marches demanding fair pay for nurses, public feeling was unwavering.

And so, it is only fitting that the National Health Service should receive the George Cross – the highest possible civilian honour –

to mark its 73rd anniversary this July.

In a personal, handwritten message, The Queen praised the NHS on behalf of the UK, recognising the “courage, compassion and dedication” of its personnel.

“It is with great pleasure, on behalf of a grateful nation, that I award the George Cross to the National Health Services of the United Kingdom,” wrote the monarch.

“Over more than seven decades, and especially in recent times, you have supported the people of our country with courage, compassion and dedication, demonstrating the highest standards of public service.

“You have our enduring thanks and heartfelt appreciation.”

The George Cross was instituted by King George VI in 1940, during the Second World War, and is granted in recognition of “acts of the greatest heroism or of the most courage in circumstances of extreme danger.” Interestingly, the NHS is only the third organisation to be awarded the honour, joining

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Malta and the Royal Ulster Constabulary.

The NHS was founded on 5 July 1948 by health secretary Aneurin Bevan, and was based on the principles that healthcare should meet the needs of everyone, be free at the point of delivery, and based on clinical need.

The service’s many achievements include introducing CT Scans in 1972 and MRI scans in the 1980s; the world’s first IVF baby was born through treatment via the NHS in 1978; the first successful bone marrow transplant on a child took place in 1979; and, in 1987, the world’s first liver, heart and lung transplant was carried out at Papworth Hospital.

The organisation’s 73rd anniversary was marked by a service of thanksgiving at St Paul’s Cathedral, followed by the NHS Big Tea in the gardens of Buckingham Palace, where staff ranging from respiratory ward nurses, counsellors and care workers to catering managers and housekeeping coordinators met representatives from the royal family, paying humble tribute to their invaluable service.

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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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RE:VIEW

RE:VIEW THE SUMMER OF MUSIC BEGINS WITH THE RETURN OF THE BBC PROMS

Plus + • Earl Spencer dives into English history • HOFA Gallery celebrates the mothers of mankind • Start your engines for Salon Privé • Save the Date: your luxury events calendar

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MUS I C | B B C P ROM S

Summer of sound The world’s biggest classical festival returns to the Royal Albert Hall for six weeks of music

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his year, the Royal Albert Hall marks its 150th anniversary, and what better way to celebrate than by welcoming the BBC Proms – with a live audience – back into its hallowed halls? The 2021 Proms, which began on 30 July, will showcase an impressive 52 concerts over a span of six weeks, making it the highlight of the UK’s classical music calendar as well as the world’s biggest music festival.

Opening in fine style with a programme featuring Vaughan Williams, Poulenc and a world premiere by acclaimed Scottish composer Sir James MacMillan – all performed by the BBC Symphony Orchestra and principal guest conductor Dalia Stasevska – the First Night of the Proms was a euphoric celebration for music lovers delighted to experience live music at long last after the rigours of lockdown.

First founded in 1895 by impresario Robert Newman and English conductor Sir Henry Wood, the Proms were designed to bring classical and modern music to a wider audience by emulating the summer promenade concerts held in London’s pleasure gardens. For Wood, who opened the very first Prom with Richard Wagner’s Rienzi overture,

it was an opportunity to build a repertoire of rare and under-performed works, as well as introducing new composers.

That ethos is still in play today, with the Proms captivating even the biggest classical music fans, and standing audience of ‘prommers’, with its surprising programmes. The Proms first moved temporarily to the Royal Albert Hall in 1944, during the Second World War, and it became their permanent home in 1947.

Each season now includes concerts in the Royal Albert Hall, Cadogan Hall, events for children and, of course, the celebrated Proms in the Park events that so perfectly capture the festival’s promenade roots.

The most famous event, the Last Night of the Proms, is a celebration of popular, patriotic music, featuring Wood’s arrangement of Fantasia on British SeaSongs, Arne’s Rule Britannia, Elgar’s Pomp and Circumstance March, and Jerusalem for the most resoundingly uplifting prom possible.

Here are our programme highlights for this outstanding series… bbc.co.uk/proms

©BBC/Jude Edginton 92

PARALLEL UNIVERSES Composer Britta Byström presents a world premiere inspired by the notion of a ‘hierarchical multiverse’ and violinist Jennifer Pike takes on Sibelius’ Violin Concerto in D minor, op.47.

10 August

STRAVINSKY FROM MEMORY The Aurora Orchestra returns to the Proms to mark the 50th anniversary of Igor Stravinsky’s death with a rendition of his Firebird Suite, performed entirely from memory.

11 August

ABEL SELAOCOE: AFRICA MEETS EUROPE South African cellist Abel Selaocoe redefines his instrument in this blend of traditional styles with improv, singing and body percussion. A delight of boundary-crossing fusion.

15 August

THE BBC SINGERS & SHIVA FESHAREKI Experimental composer and turntable artist Feshareki joins conductor Sofi Jeannin and the BBC Singers for a choral playlist that brings the Renaissance to the present day.

19 August

WAGNER’S TRISTAN & ISOLDE Glyndebourne Festival Opera’s sumptuous production of Tristan and Isolde is led by music director Robin Ticciati.

31 August

BBC CONCERT ORCHESTRA Organ virtuoso James McVinnie performs Philip Glass’s Mad Rush. Works by Judith Weir and Jóhann Jóhannsson, and a Samy Moussa premiere, also feature.

6 September

LAST NIGHT OF THE PROMS Outstanding tenor Stuart Skelton joins the BBC Symphony Orchestra and conductor Sakari Oramo open the Prom’s spectacular finale with the premiere of Gity Razaz’s Mother.

11 September

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B O O K | CHAR L E S S PE NC E R

The White Ship Conquest, anarchy and the wrecking of Henry I’s dream

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n 1120, Henry I was the most formidable king in Europe. He had just defeated the French and accrued immense land, wealth and power, and was preparing to hand it all to his son and heir, William AEtheling.

But on 25 November, as Henry sailed to England at the head of a triumphant fleet, a disaster occurred that plunged England into years of violence.

Following in the fleet’s fastest vessel, the White Ship, the revelling prince and his comrades were set on overtaking the King’s ship until, in the early hours, the drunken crew drove the ship into rocks.

With Henry’s heir dead, a bloody civil war erupted between factions within England, Normandy, Wales and Scotland – and the outcome changed the course of European history for ever.

Written by historian and author Charles Spencer – the ninth Earl Spencer and brother of the late Diana, Princess of Wales – The White Ship brings the twists and turns of this brutal period to life in the style of the very best thrillers.

The Sunday Times bestseller showcases the Earl’s flair for historic storytelling as it charts Henry’s aspirations, the White Ship disaster, and the descent into violent civil war with confidence and verve, bringing long-lost characters to vibrant life. A compelling page-turner that will rightfully bring this exceptionally dramatic period of history to a wider audience.

Available now in hardback and paperback

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RE:VIEW ART | H O FA G AL L E RY

Mother of Mankind

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he largest ever exhibition of all-female artist of African descent, Mother of Mankind, has come to Mayfair’s HOFA Gallery (right).

The ground-breaking exhibition of 18 black female artists is curated by celebrated international gallerist Adora Mba, the founder of ADA Contemporary Art Gallery, based in Accra, Ghana.

This rich showcase, featuring well-known and emerging artists, is designed to showcase the rich cross-continental dialogues on the subject of black femininity; how it is created, perceived, and deconstructed through art.

Award-winning artists including Emma Prempeh, Jamilla Okubo and Adebunmi Gbadebowill appear alongside 15 other artists from Nigeria, Canada, US, South Africa, Ghana, France and the UK. “The women presented in this show are in the early days of their artistic careers, yet already making waves and drawing attention amidst an industry which tends to be more supportive of their male counterparts,” says Mba. “ADA and HOFA are instituting a space for their – for our – voices to be heard; our stories to be told; our creative spirits to conceive, unbound, forging our own narratives.”

HOFA Gallery, 22 July – 31 August houseoffineart.com

EVEN T | CL A SSI C CA R S

Salon Privé Concours d’Elegance

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his classic and supercar event, set against the picturesque background of Blenheim Palace, is surely one the most elegant Concours events in the calendar. This September, the palace’s South Lawn will once again play host to historic classic cars, from former race winners to painstakingly restored originals.

Four days of events, hospitality and entertainment is kicked off with the Concours d’Elegance, where more than 100 vintage vehicles will be displayed over nine curated classes – from the Edwardian era to futuristic supercars. Thursday is Boodles Ladies’ Day, followed by the Club Trophy and finally the Classic and Supercar showcase, which features a Supercar Manufacturers Parade.

Once you’ve marvelled at the historic cars on display and delighted at the modern motorcades, fine dining at one of the event’s stunning pavilions is the only way to complete the afternoon. The Churchill Pavilion offers private dining, while the Glass House is serving up an exceptional five-course tasting menu courtesy of guest-Chef Phil Howard. Elsewhere, a range of champagne and shopping is available for guests to peruse in the event’s luxury retail village.

Blenheim Palace, Oxfordshire; 1-5 September salonpriveconcours.com

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SAVE DATE Your London luxury events calendar for August and September 2021

11-15 AUGUST

21-28 AUGUST

1-11 SEPTEMBER

HENLEY ROYAL REGATTA All eyes on the Henley Royal Regatta, which it’s hoped will return to Henleyon-Thames in mid-August. Established in 1839 and the most elegant regatta event in the calendar, rowing events combine with a festival atmosphere. hrr.co.uk

HAMILTON ISLAND RACE WEEK Australia’s largest offshore sailing event is back this year in a scaled-back form. Prepare for a unique yachting experience with plenty of entertainment, in the picturesque setting among the 74 Whitsunday Islands and the edge of the Great Barrier Reef. labiennale.org

VENICE INTERNATIONAL FILM FESTIVAL Expect glitz and glamour from one of the world’s most exciting festivals. This year’s jury is led by Parasite director Bong Joon Ho, with stars such as Jessica Chaistain and Timothée Chalamet expected to attend. labiennale.org

21-26 SEPTEMBER

22-25 SEPTEMBER

23-26 SEPTEMBER

RHS CHELSEA FLOWER SHOW London is back in bloom as the Chelsea Flower Show returns, albeit slightly later in the year. Expect show -stopping gardens curated by famous faces, expert growers and nurseries, and the usual superb hospitality and shopping galore. rhs.org.uk

MONACO YACHT SHOW Everything from brand new megayachts to high-tech tenders and toys. The ultimate meeting for yacht owners and makers to show off their bespoke creations – or shop for new ones – before legendary parties through the night. monacoyachtshow.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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ART BASEL One of the world’s biggest international art fairs is back as Art Basel returns to showcase the Swiss city’s finest institutions, emerging artists, and established masters – as well as introducing the monumental Unlimited exhibition. artbasel.com

17 • 18 • 19 SEPTEMBER TICKETS & HOSPITALITY NOW LIMITED GOODWOOD.COM 97

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Journey to Kinlochewe by amy shore & craig callum amyshorephotography

FEATURING THE woRld’s FIRsT lUxURY cAR FRAGRANcE Steel Pomander - Leather Cap - Fragrance Ceramic

www.charabanc.com

charabancclub

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Tried

Tasted Words: Freddy Clode

With Nothing Underneath is a sophisticated women’s shirt company beloved by modern style mavens, including Meghan Markle. Founder and CEO Pip Durell takes Tempus on a tour of London’s most fashionable foodie spots... withnothingunderneath.com

SUMMER STYLE | THE RIVER CAFÉ The River Café has been one of London’s most iconic restaurants since 1987. Serving up delicious Italian cuisine along the bank of the Thames, it is the perfect spot for refined al fresco dining.

Pip says: “Am I terribly obvious if I say The River Café? It’s the most delicious italian food imaginable, in a stunning setting designed by Richard Rogers.” rivercafe.co.uk

FASHIONABLE FOOD | WILD BY TART

CATWALK CUISINE | LA BODEGA NEGRA

LOCAL LANDMARK | L’ANTIPASTO

Founded by Jemima Jones and Lucy CarrEllison, Belgravia’s Wild By Tart is a 9,000 sq ft site combining restaurant, bar, coffee kiosk, retail store, events space and photography studio. A relaxed menu with big flavours and seasonal ingredients.

La Bodegra Negra is one of London’s most surprising and thrilling restaurants, with an entrance seemingly tucked away inside a Soho sex shop. But, inside, this modern Mexican taqueria serves up scintillating flavours, sophisticated cocktails and more. Upstairs, an outdoor terrace and ceviche bar add more experimental dishes to the experience.

Battersea’s l’Antipasto is a family-run Italian restaurant founded by Alfonso Cretella, who came to London from Amalfi, in 1984. This friendly restaurant, serving delicious traditional west-Italian food, is a refreshing find and a true gem of SW11.

Pip says: “We are having a dinner at Wild by Tart after our wedding in a few months time; it’s the perfect mix of low key cool, with seriously amazing food and wine.” wildbytart.com

Pip says: “What can I say about La Bodegra Negra in Soho? It is never not a fun night!”

Pip says: “This family run Italian restaurant is just down the road from where I live in Battersea, l’Antipasto serves the best bowl of pasta in London – bar none.”

labodeganegra.com

antipastolondon.co.uk

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