ANGLOMANIA UK 1 by zuki turner

FASHION•SPORT•LIFESTYLE

ISSUE01 AW08 £5.00

DAVID BENTLEY

nelson mandela • tom ford • Pele • Nicholas Anelka Henry Holland • team GB • LOUIS VUITTON • Claire Merry Vivienne Westwood

MODIO PUBLISHING ANGLOMANIA LTD PO BOX 209 77 BEAK STREET, SOHO, LONDON, W1F 9DB EDITOR IN CHIEF & ARTISTIC DIRECTOR mo galy sow FASHION COORDINATOR cleo davis BEAUTY attracta courtney EDITORIAL TEAM paul joseph ayo alli DESIGN zuki turner PHOTOGRAPHY george bamford paulo regis paul de luna jonny storey robert mendolia magnus ekstrom uzo oleh jimmy griscourt richie vuitti michael thompson ryo kaikura CONTRIBUTORS davina catt lauren weinberg dan brennan ART brooke mcgowan PRESS AND MARKETING claire newman PRODUCTION MANAGER tom simpson INFO info@lequipeanglaise.com PRINT epc bristol DISTRIBUTION domestic comag international; export press ISSN 1477-6448

I always remember the axiom: a leader... is like a shepherd. He stays behind the flock, letting the most nimble go out ahead, whereupon the others follow, not realizing that all along they are being directed from behind. - Nelson Mandela WE DEDICATE THIS ISSUE TO NELSON MANDELAâ&#x20AC;&#x2122;S 90TH BIRTHDAY

CONTENTS 16.OLYMPICS-LET THE GAMES COMMENCE

20.NELSON MANDELA 32.clarence seedorfGOALS4AFRICA 34.DIOMANSY KAMARA 36.POLO 42.DAVID BENTLEY 46.THIERRY HENRY-nou camp, new life 50.DAPPER GAFFERS 54.NICHOLAS ANELKA 60.PÉLEfootball’s fashion trailblazer 66.PéLEFOOTBALL’S FIRST CELEBRITY 72.ADIDAS ORIGINALS 78.ZINEDINE ZIDANE 82.TOM FORD-THE COMEBACK KID 88.REBEL REBEL 96.HOMME 110.LOUIS VUITTON 124.PARIS NOCTURNE 138.BODY CON 148.CLAIRE MERRYFLYING THE FLAG FOR BRITISH FASHION 152. HENRY HOLLAND 162.RMK 172.MIASMA 176. THE BIG,THE BOLD AND THE BOUCLÉ 182.zaha hadid-moving art 184.aquatechture 186. m is for erotic 190.big books 192.rolling stones 194.what’s hot on the road 196. go go gadget 198.welcome to miami 202.rome-a living monument 206.the ANGLOMANIA launch party at movida

Well Equipped Compiled by Cleo Davis

1. Performance range rackets defined into three families: Game Improvement, All Round and Player Rackets, £on application by Wilson 2. Monza Spider putter promotes forward-spin on centre hits and works in conjunction with its advanced geometry and weighting to dramatically diminish the production of backspin on heel and toe hits, £139 by TaylorMade-adidas Golf 3. Beijing inspired ‘Medallion Bag’, designed by winning Central Saint Martin’s fashion student George Omerod, £70 for PUMA 4. SwissBike™ TX Mountain Bike that folds efficiently into the boot of your car and can be discreetly stored under the bed, £495 by Montague Military Technology 5. The Vapour board is one of the lightest boards on the market thanks to its new ‘Carbon Vapourskin Lite’ £720 by Burton Snowboards 6. TaylorMade Burner 2008 is the next generation of Burner fairway goods, targeted at all players who want longer, tour-like distance. Available in two versions: High Launch and Tour Launch, £149 by TaylorMade-adidas Golf 7. Williams sister’s [K] Blade racket. A good choice for the 3.5+ player looking for some added power, feel and manoeuvrability, £189 by Wilson

This was the toughest race, but also one of the best ones I have ever driven. When I came round the last time, I saw the crowd standing up and I prayed: â&#x20AC;&#x2DC;Just finish, just finish. -LEWIS HAMILTON BRITISH GRAND PRIX

CHAMPIONS Luis AragonĂŠs has the last word...

Many people will look at this Spain team because it has been a model for playing football. I think all football lovers want people to make good combinations, to get into the penalty area and to score goals. At the beginning I said that if we managed this squad well, we would be champions. The team just thought I was trying to give them confidence. I just hope Spain carry on in this way and have many more victories.

WIMBLEDON 2008 AND THE WINNERS ARE...

Winning Duo: The Williams Sisters

Not Federer: Rafael Nadal

Junior Champion: Laura Robson

1. Navy Wimbledon cable knit halter top £90 by Polo Ralph Lauren 2. White Wimbledon blazer £270 by Polo Ralph Lauren 3. Navy Wimbledon blazer £370 by Polo Ralph Lauren 4. Wimbledon cream polo dress £210 by Polo Ralph Lauren

What began as a collection of ties in 1967 has grown into an entire world, redefining international style. Polo has always stood for quality products, creating lifestyles and inviting people to take part in our dream. - Ralph Lauren

let the games commence The countdown is on for the next instalment of the world’s greatest sporting spectacle. For China, it could mark a watershed moment in the nation’s history. For Team Great Britain, meanwhile, it is business as usual. Paul Joseph reports on Beijing 2008. The focus of the Olympic Games has always been on individual rather than collective achievements, but the competitors who go into battle in Beijing next month will be vying for centre stage with a nation of over 1.3 billion people. Hosts China are using the Games to showcase the country as an emerging player on the world stage, and with a breathtaking new Olympic stadium – dubbed the “bird’s nest” for its architectural style

– as Beijing’s centrepiece attraction, this year’s event promises to be a hard act to follow. Next up, lest we forget, is London in 2012, and if a nascent power like China are able to produce an efficient and organised Games then it will only add to the pressure on Seb Coe and company to get it right in four years time. But whilst the task of hosting the Games will remain an albatross around London’s neck for some time yet, the level of expectation on the shoulders of Team GB to perform on the track, field and beyond is regrettably minimal. There may be an enduring perception amongst other competing nations that the UK remain major players – particularly in cycling, athletics, sailing and rowing – but the statistics

tell another story. Only three medals have been forthcoming since 1952: a memorable gold for the men in Seoul in 1988, having won bronze four years before, and a third-place finish for the women in Barcelona in 1992.

is down to a few hundred yards as pollution mixes in with misty weather. Authorities have already implemented a series of measures designed to improve air quality during the Games, with 300,000 highly polluting vehicles banned from the city from July 1.

The build-up to Beijing hardly bodes well. The spectre of sprinter Dwaine Chambers’ (at time of writing) unresolved court case to appeal his lifetime ban from the Olympics for doping continues to linger over Team GB.

If the fog clears, the scene could be set for one of the greatest Olympics in recent memory. The hosts themselves are expecting to play their part, with many amongst the Chinese sporting community anticipating a strong showing of the nation’s athletic prowess. From gymnastics to table tennis, athletics to basketball, China will be taking aim at the traditional Olympic powerhouses to strive for medal glory.

Some cruel souls may even suggest Britain’s best chance of success would be to compete with their eyes closed; but with heavy smog enveloping Beijing – one of the most polluted cities on earth – that jibe could become reality. Visibility throughout the Chinese capital

As for Team GB, in contrast to the long-suffering inhabitants of fumeridden Beijing, the advice would have to be: don’t hold your breath.

Ben Ainsle

Hollie Avil

Iain Percy

The Send Off

Team GB Beijing 2008 Photography: Richard Langdon/Action Images/onEdition

Sarah Ayton

Sailing is Britainâ&#x20AC;&#x2122;s most successful sport, having won five medals at each of the last two Olympic Games in Sydney and Athens. With world class Olympic sailors such as Ben Ainsle, Sarah Ayton and Iain Percy going out to Beijing to add to their already impressive medal collection, Britain could not be better placed to maintain their position as the top Olympic sailing nation in the World. As one of the fastest growing sports in the UK, triathlon has burst onto the scene not only for the elite but for mass participation. Hollie Avil has recently just finished her A Levels and is preparing for the biggest week of her life in August where she will compete in her first Olympics.

The Long walk to 90 text: Ayo Alli

It’s a late June evening. The weather in London is, for a change, bright & sunny. Perfect, in fact, for the 46664 people who gather to watch some of world’s top recording artists in Hyde Park. Will Smith and Jada Pinkett play host as a bevy of celebrities (from A-list stars, like Lewis Hamilton, to the further reaches of the alphabet) come on stage to introduce Razorlight, Amy Winehouse, Queen, Sugarbabes, Joan Baez, Simple Minds, Leona Lewis, Eddie Grant, Annie Lennox. Yet all this collective star power is totally eclipsed by the frail 89 year old politician who walks slowly on-stage aided by a cane, leaning heavily on the lady walking beside him. He spends less than 10 minutes there, yet the adulation of the crowd is an almost physical force. He is the reason all these people are here – the public (and the broadcasters) paying, and the celebrities forgoing their collective fee that would run into millions.

exists. It is built, literally, on foundations of gold. The hills that poetically jut above the smoke are man made – waste from the goldmines dumped there as weirdly creeping hills.

Nelson Rolihlahla Mandela is today the world’s elder statesman. But few things in his family background really hinted that he would become political activist, revolutionary, political prisoner and international icon, Nobel Peace Prize winner, and, finally, president of a free and democratic South Africa. Except perhaps his given name, Rolihlahla – which roughly translates as ‘trouble maker’ (Nelson is apparently a name given to him by an English school master who had problems pronouncing the click in his Xhosa name. He liked it, it stuck).

He works as an articled clerk in a law firm. His friend and mentor, Walter Sisulu, who is already established as an estate agent, helped him get the job. He continues studying via correspondence from the University of South Africa, finally getting his degree. Then he’s a law student in the University of Witwatersrand in the city. He meets Joe Slovo, Ruth First and Harry Schwarz – South African, white, Jewish, communist, friends. He joins the African National Congress (ANC), and organise its Youth Wing.

He was born on July 18th 1918, to a minor branch the Thembu dynasty – the reigning royal family in Transkei. As such, he could have looked forward to life as a rural South African minor royal – basically, farming and the inherited position of Privy Councilor in his cousin’s court. He went to Clarkebury & Fort Beaufort, the usual boarding schools of the Thembu – where he excelled both academically and at track and boxing. So far, so predictable.

Even before the Afrikaner dominated National Party won the 1948 (white only) election, South Africa was a segregated and racist society. Basically, whites were the owners; Asians and Chinese are the shopkeepers; mixed race people (or ‘coloureds, as they were called) middle-management; and blacks the workers. Gandhi cut his political teeth protesting the Pass Laws in South Africa – which restricted the movement of non-whites in South Africa. What Gandhi started, Mandela would finish.

Then he went to Fort Hare University in the Eastern Cape. This was southern Africa’s premier black university at the time. Of course, in the then British colony of South Africa, education – as most things was inevitably segregated. Fort Hare has the distinction of producing more African leaders than any other – Nyerere (Tanzania), Mugabe (Zimbabwe), Kaunda (Zambia), Nkomo (Zimbabwe), Khama (Botswana), Lule (Uganda), Desmond Tutu, and many others. So, it’s hardly surprising that it was a hotbed of political activity.

Apartheid. Apart. Hate. After 1948 the restrictions on non-whites became worse, more institutionalised, more visceral, more personal. Apartheid – separate development was official state policy. All life opportunities were pretty much determined by race. South Africa was for white people (Asian, Chinese and coloureds are allowed – as long as they remember their place) and Bantustans, ostensibly independent tribal homelands, was for blacks. In apartheid South Africa, there are laws restricting blacks in where and how they could live, travel, work, be educated, get married and mingle.

And when Mandela met Oliver Tambo – his political and philosophical soul mate - it was almost inevitable he would become politicised. They were expelled by the end of the first year for organising student protests at the university’s racist policies. His uncle, the Regent Jongintaba, was somewhat predictably distressed by this act of rebellion; and, perhaps to foist some idea of responsibility on the young Nelson, decreed that both he and his cousin Justice, the heir to the throne, were to be married to suitable girls he had chosen. Both young men promptly ran away to the bright lights of the big city. Johannesburg has a strange landscape. It is surrounded to the south by a range of low, dusty hills of surprisingly regular height that intersperse sprawling groupings of rude shacks. The townships already exist. At dawn and dusk, they take a surreally tranquil cast as smoke from thousands of coal fires drifts slowly through the valleys these hills form. This is mining country: the rich seam of the Witwatersrand Reef snake beneath the ridge that the city lies atop. Gold. This is the reason the city

Most of the mine workers are migrants – from Natal, Transkei, Swaziland and the Cape; and some from faraway Malawi, Lesotho, Zambia and Zimbabwe. They are mostly men – few jobs exist for women in the 30’s and ‘40s outside of domestic service for white families all the way on the other side of the city in the suburbs. Jo’burg city epitomises the whole point of the colonial enterprise in Africa – to suck in cheap labour to work at extracting the earth’s bounty in mines, farms and plantations. Mandela lives here, as WWII increases activity in the mines and industry of Jo’burg, drawing increasing numbers from the countryside.

The level of ANC activity in opposition to this grew. In 1955, Mandela and the others helped draft the Freedom Charter – a document that called for a democratic, non-racial South Africa that remains the basic foundation of the country’s constitution today. Firmly committed to non-violence, the ANC initiated a series of strikes, sit-ins and protests. The regime reacted with increased restrictions and violence. They formed alliances with Asian and coloured parties; and the South African Communist Party (SACP) as the communist bogeyman haunted the capitalist world through the cold war, the SACP was banned in 1950 and being a member carried a jail term. During this time, Nelson and Oliver form Mandela & Tambo, the first black law firm in South Africa. They have no shortage of clients, as they handle cases for blacks at little or no cost, both in terms of cash and aggravation. In 1956, pretty much all those who had drawn up the Freedom Charter were arrested; 156 of them were put on trial for

I have dedicated myself to this struggle of the African people. I have fought against white domination, and I have fought against black domination.

their lives, on charges of treason. Mandela acted as spokesman for the defendants, who were eventually acquitted. But the lines were being drawn, and it was becoming apparent that the regime would seek to kill anyone who defied apartheid. Mandela was the lead organisers of the ANC on the ground, and with Sisulu, Tambo and Albert Luthuli – who were then the recognised thinkers – formed the ANC political leadership. As the regime ramped up the violence against the opposition – culminating in the massacre at Sharpeville in 1960 – Mandela helped form Umkhonto we Sizwe (Spear of the Nation), the armed wing on the ANC, which he led in a campaign of sabotage against the state. Later, at his trial, he explained that this was in self-defence – a basic human right – and sabotage was chose specifically to not endanger lives. He travelled to other African countries to raise funds, arms and training for the armed phase of the struggle. When he returned home he was the most wanted man in the country. He was finally caught, when the CIA tipped off the regime to his whereabouts and disguise, after 17 months as a fugitive. He was sentenced to five years in jail in 1962; and was subsequently charged with the crime of ‘Sabotage’ – which carried the death penalty – along with 11 other ANC leaders who had been arrested at a farmhouse in Rivonia. This trial caused a sensation and made him a global figure. His statement to the court in Pretoria on 20th April 1964 is rated as one of the greatest speeches in history. After totally destroying any moral justification of apartheid, he ended his statement saying, “During my lifetime I have dedicated myself to this struggle of the African people. I have fought against white domination, and I have fought against black domination. I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die.” The world didn’t hear Nelson Mandela speak again for 27 years. He and the others were sentenced to life imprisonment on Robben Island, off Cape Town. He became Prisoner number 46664. As their political status was not recognized by the regime they were subject to humiliation and abuse as well as hard labour in the limestone quarry. The film ‘Goodbye Bafana’ depicts his experiences in jail, somewhat – though it is based on the somewhat self serving account of his guard. Apartheid ground on, and so did resistance. The regime deployed police, and then troops to the townships. Violence begat violence. Massacres became the order of the day, even schoolchildren weren’t spared. Oliver Tambo, who had escaped to the UK, kept the struggle in the eyes of the world. And, slowly, Nelson Mandela became the most famous political prisoner in the world. As most countries isolated Apartheid South Africa with sanctions and boycotts, the tee shirts became more ubiquitous and the songs were heard more often. ‘Freeeeee Nelson Mandela!’ It was only a question of time. We all sort of knew that. When the extremely dignified, silver-haired Mandela walked out of Victor Vester Prison, on 11th February 1990, it was the beginning of the end of apartheid. He refused to renounce the armed struggle. “Our resort to the armed struggle in 1960 with the formation of the military wing of the ANC was a purely defensive action against the violence of apartheid. The factors which necessitated the armed struggle still exist today. We have

no option but to continue. We express the hope that a climate conducive to a negotiated settlement would be created soon, so that there may no longer be the need for the armed struggle.” But Mandela also held out the olive branch of a negotiated dismantlement of Apartheid, and a democracy – based on the Freedom Charter - that guaranteed the rights of all citizens, including the white minority. It took four hard years of negotiation to bring about a new constitution. There were a few times when it all looked like it might end in blood – massacres, the assassination of Chris Hani, the shenanigans of the fascist AWB. But with Mandela’s lead, they persisted. Finally, on 27th April 1994, South Africa became a democracy with the ANC winning 62% of the vote in the first free and universal elections. Mandela was inaugurated president of an ANC led government of national unity on 10th May. He was almost 77. He stated his intentions in his inaugural address. “Never, never, and never again shall it be that this beautiful land will again experience the oppression of one by another and suffer the indignity of being the skunk of the world. Let freedom reign. The sun shall never set on so glorious a human achievement. God bless Africa.” And while it is important to know his history, the key question is, ‘what makes Mandela so special?’ For most people, it is simply that he stood by his principles all through his 27 years in jail and his subsequent public life. It is his mix of both pragmatism and principle that is so impressive. But, perhaps more importantly, he symbolically forgave white people for all the crimes they committed against him, and Africa. The 27 stolen years didn’t make him angry and vengeful. The Truth and Reconciliation Commission, which he set up to shine a light on the crimes committed during apartheid, offered amnesties to individuals who admitted their guilt. But he went one step further, and made Umkhonto we Sizwe acts of violence subject to scrutiny – despite stiff opposition within the ANC. When he wore the jersey of the Springboks - the South African rugby team that had come to symbolise Afrikaners and Apartheid during the dark days - to present them with the Rugby World Cup in 1995 in Johannesburg, the Rainbow Nation became a reality. For Africans, he symbolizes both victory in the struggle against domination and the beginning of a new African Renaissance. After all, what Gandhi began Mandela finished - colonialism was defeated. In his first speech as president to the Organisation of African Unity’s Heads of Government meeting in Tunis in June 1994, in an emotionally charged atmosphere, Mandela pointed out that Tunis is built on the ruins of Carthage – destroyed for challenging the might of Rome over 2000 years ago. “We are certain that you will prevail over the currents that originate from the past, and ensure that the interregnum of humiliation symbolised by, among others, the destruction of Carthage, is indeed consigned to the past, never to return.” For the rest of the world, his presidency symbolised something different. This was a man with almost total moral authority. When President Bill Clinton attempted to rebuke Mandela for being friendly with Cuba and Libya, he publicly told the US president that he would not simply abandon those who had supported his struggle. “You do not have the moral authority to tell us who we should call our friends,” he told the world’s most powerful man. All Clinton could do was stand there and look contrite, like a schoolboy being publicly admonished by his teacher. Mandela graciously mixed with world leaders who had condemned him as a terrorist – Margaret Thatcher, George Bush, Henry Kissinger and others who had condemned him were forgiven and treated with courtesy and friendliness. Ironically, at this time he still needed the formal

Never,

never, and never again shall it be that this

beautiful land will again experience the oppression of one by another and suffer the indignity of being the skunk of the world. Let freedom reign. The sun shall never set on so glorious a human achievement.

God bless Africa. - NELSON MANDELA

1. NELSON MANDELA 2. LEONA LEWIS 3. ANNIE LENNOX WITH THE CHILDREN OF AGAPE CHOIR 4. EDDY GRANT AND SINGERS 5. JAMELIA 6. Jada Pinkett Smith and husband Will Smith 7. RAZORLIGHT 8. JAMELIA 9. AMY WINEHOUSE 10. BRIAN MAY 11. Soweto Gospel Choir 12. LEWIS HAMILTON 13. AMY WINEHOUSE 14. NELSON MANDELA 15. HAPPY BIRTHDAY NELSON MANDELA, THE FINALE 16. EDDY GRANT 17. BRIAN MAY 18. ANNIE LENNOX

permission of the Secretary of State to enter the USA as a private citizen – as until July 2008 he was still officially listed as a terrorist by the State Department. He was feted by royalty and rock stars (receiving over 100 awards from practically every country in the world) all the while insisting that he was nothing special – just an old man who really desired a quiet life with his 20 grandchildren and growing number of great-grandchildren. And then, in stark contrast to most African liberation leaders, he simply retired after his first term in 1999. Also, he was ready to admit his own shortcomings as president – most notably that his administration did too little to combat the AIDS epidemic sweeping South Africa. He dedicated his efforts on charitable work – setting up his Nelson Mandela Children’s Foundation, as well as supporting other causes, most notably SOS Children’s Villages; Make Poverty History; the Jubilee 2000 debt relief campaign; and the 46664 AIDS fundraising campaign. On his 80th birthday he married

his third wife, Gracia Machel – widow of former Mozambique president Samora Machel. In 2003 he finally retired from public life. While Mandela’s legacy is obvious - apartheid is destroyed and South Africa is a democracy – there still remain the basic problems that wracked the South Africa when he went to prison back in 1962. Most of the owners are still white and the workers still black. Democracy has brought little economic and social prosperity for most South Africans. Yes there is a growing black middle class. But if the recent spate of brutal killings of other African migrant workers and refugees by poor blacks is any indication, economic disempowerment remains a huge issue. But these are problems the next generation of South African leaders will have to solve. At 90, Mandela deserves a rest.

Happy Birthday…

MONTBLANC SUPPORTS 46664 AND THE NELSON MANDELA FOUNDATION Montblanc is delighted to announce that it is one of the selected retailers to distribute the 46664 bangle. The 46664 bangles are made with South African precious metals and hand finished by skilled craftsmen, who have been infected or affected by HIV or Aids. The 46664 bangle will be available from selected Montblanc boutiques worldwide, from the 27th June 2008. All bangles are individually numbered and will also be engraved with Nelson Mandelaâ&#x20AC;&#x2122;s historic prison number whilst he was imprisoned on Robben Island. The launch of the first edition of the 46664 bangle ties in with Nelson Mandelaâ&#x20AC;&#x2122;s 90th birthday celebrations, and was held at the Montblanc Bond Street boutique. The event, with Naomi Campbell in attendance, was hosted by the CEO of Montblanc International, Lutz Bethge, and marked the official sale of the 46664 bangle at selected Montblanc boutiques around the world. All proceeds from the sale of the 46664 bangle will go directly to the Mandela Foundation and the 46664 charity, which supports those suffering from Aids and HIV throughout Africa. Naomi Campbell Lee-Ann Liebenberg

Danny K, Katherine Jenkins and Kurt Darren

Danny K

Lutz Bethge

Katherine Jenkins

Leather football ÂŁ99 by Paul Smith

SPORT

CLARENCE SEEDORF - GOALS4AFRICA DIOMANSY KAMARA POLO ASCOT DAVID BENTLEY THIERRY HENRY NICHOLAS ANELKA PELE ZINEDINE ZIDANE 31

GOAL4AFRICA

Story and Interview: Paul Joseph

Every new fund-raising initiative for Africa bears the mark of Nelson Mandela. The latest, Goal4Africa, fronted by Dutch footballer Clarence Seedorf, is no different. Seedorf tells ANGLOMANIA why he feels inspired to carry the torch for progress.

The most memorable goal celebrations are often the most ostentatious – think Roger Milla’s corner flag hip-shuffle or Jurgen Klinsmann’s selfmocking full-length dive – but a new choreographed salute will be on show next season that is low on flamboyance, high on symbolism.

foundation – has spent the summer promoting the new venture, which has been launched to coincide with Nelson Mandela’s 90th birthday and has procured the support of Achmat Dangor, chief executive of the Mandela Foundation.

Representatives for Goal4Africa, an initiative designed to help improve education in Africa, have requested that all players wanting to show their support for the project can raise one arm straight up towards the sky and put the other arm behind their head after scoring a goal.

Speaking exclusively to ANGLOMANIA, Clarence Seedorf explained why Goal4Africa marks the realisation of a 25-year personal dream.

And with the likes of Kaka, Emmanuel Adebayor, Didier Drogba, Frank Lampard and Samuel Eto’o having already endorsed the innovative scheme, the low-key gesture could catch on swiftly. The financial arrangement works in a unique way – inviting fans to donate money for every goal scored by their favourite team or player, in any kind of football match, from a kick-about with friends to the World Cup Final. The project’s global ambassador is AC Milan midfielder Clarence Seedorf, who was approached by fellow Dutchman Chris Vermeeren, a former sports marketing executive and the brainchild behind Goal4Africa. Having omitted himself from consideration for the Euro 2008 Holland squad, Seedorf – who also founded the Champions for Children

LA: Clarence, the proposal for raising money through goals strikes me as a way of making charity fun. Was this the idea behind it? Clarence Seedorf. Absolutely. But you know what? It should be fun, because when you go to these poor places, the people aren’t always crying, you know? Of course, there is hunger and illness and a certain amount of pain, which means that, yes, you see sad faces. But I guarantee you that in the western world we could also learn a lot from the happiness of these people. They don’t have material things, but they know how to be happy and how to appreciate life as it really is. Long term, what do you hope to achieve? I want to leave something sustainable, for the whole continent of Africa. I want to give these people the chance to educate themselves, to raise their kids and to grow with dignity. These things are important. We’re not better than the people we want to help – we just have the opportunity to give them the privileges that they are denied, and to create sustainable projects together with the local people. That’s what it’s all about, and to emphasise again, it has to be fun.

What kind of support have you had so far? Incredible support. I always hear how football is just about money, but my experience has been different. Players, coaches and clubs have all offered their support. Even some of the biggest clubs – Real Madrid, Chelsea, Liverpool – they have all been very helpful and pledged to endorse the project. At what point in your life did you feel a desire to help others? Oh I was very young, seven or eight, and I already knew what I wanted to do – and that was to give back, especially by helping kids. When I was at that age the Ethiopia situation was on television every day and it had a major impact on me. My family was not rich, but I had both parents with me, I had a lot of love and I was a happy kid – even if I didn’t have material goods, Nike sneakers or whatever. Then, as I became older, and I realised I had a talent in football, it became even more clear that I had a mission in life – and that was to make the best out of my talent so I would be able to give back from my position to kids. Can you explain the role of Nelson Mandela as an inspiration for this project? It is Mandela’s vision that we are following. I don’t want people to donate money because of the sad faces they have seen on television. I want people to understand the mission, which is the

mission of Nelson Mandela. I don’t think we need to raise any more words on that. Everyone who has met Madiba has their own story of what it was like. What’s yours? Well, I met him once when the Dutch played South Africa 12 years ago where I shook his hand and that was a very special opportunity. Today [at Mandela’s birthday celebration in London] I’ll have a second opportunity and I look forward to it very much indeed. He is a unique man who has shown the world what it means to fight for peace, he has shown the world what forgiveness means, he has shown the world that things can be done and we now have an opportunity to help his mission become even more concrete and strong. Goal4Africa’s first high-profile event will be a charity match at Munich’s Allianz Arena on July 12 between two star-studded teams including the likes of Seedorf, Milan teammates Kaka and Gennaro Gattuso, Steven Gerrard, Emmanuel Adebayor and many more. The first project to be funded by the initiative aims to improve education in Manenberg, one of the poorest areas of Cape Town, South Africa, by building a multipurpose playground and creating programmes that link learning with sports. For more information go to www.goal4africa.org

Finding

His Game Diomansy Kamara is one of football’s enigmas – blessed with blistering pace and enough ability to attract the attention of some of Europe’s top clubs. Yet at 27, he is still to find his level. When Senegalese striker Diomansy Kamara turned down the chance to join Portsmouth in favour of Fulham in July 2007, eyebrows were raised. Pompey were a club that looked to be going places, with coach Harry Redknapp landing key summer signings in Sulley Muntari, John Utaka and David Nugent. Furthermore, under the ownership of the mega-rich Alexandre Gaydamak, they had also become one of the Premiership’s most extravagant wage-payers. Granted, Harrods-subsidised Fulham are hardly paupers either, but we were left wondering: what lured Kamara to Craven Cottage? Was it the bright lights of South West London? Unlikely, with the Big Smoke hardly inaccessible from the South Coast. Or had thenCottagers boss Lawrie Sanchez pulled off the hoax of the century and convinced the 27-year-old of Fulham’s ambitions to break into the top six? Again, an unlikely scenario for a club that has actually

declined over the last two seasons and only narrowly avoided relegation the previous campaign. In fact, Kamara’s decision was indeed based on the desire for personal gain. But refreshingly, money was not the vital factor. The choice of the French-born striker, who began his career with Parisian club Red Star 93, can be traced back to season 2004/05 – a season that was filled with promise, since Kamara had just completed a club-record £2.5 million move. His destination? Portsmouth. Along with a host of other European clubs, Pompey had been alerted by Kamara’s performances for Italian club Modena, where he had played regularly for four seasons. In his debut season at Fratton Park, despite missing over a month with injury, Kamara appeared 29 times, scoring six goals. But it was Harry Redknapp’s refusal to play him in his favoured position, up front, and instead shunting him out to the wing, that convinced Kamara his future lay elsewhere. A summer move to West Bromwich Albion, then a Premiership side, offered Kamara another chance to make it in English football, but

it was Laurie Sanchez’s pledge to play him as a striker that swung it for Kamara once again he found himself pushed out wide. Coaches knew his blistering pace could be utilised, but were not sufficiently confident in his ability in front of goal to play him as a striker. “If he could finish, he’d be worth £20 million,” Bryan Robson, his manager at West Brom, said. But then, they used to say the same thing about another pacy winger-cum-striker: Thierry Henry. That season, Kamara scored just twice as West Brom were relegated from the Premiership. But Kamara stayed put, perhaps hopeful that he could prove his goalscoring credentials in the less taxing Championship. His optimism was well-founded. In season 2006/07, Kamara scored 23 goals in all competitions, and a striker was born. “It took me some time to adapt to the physicality of the English game,” he admits. “And throughout my first year at West Brom I was played in the wrong position.” He also attributed his erratic finishing to a new arrival in the Kamara household. “My family life was a little hectic in 2005 because I became a father,” he says. “I wasn’t getting much sleep and that had an impact. But as soon as my daughter got a little older everything settled down.”

With Kamara settled and scoring, Premiership clubs were suddenly keen to snap him up. Portsmouth and West Ham seemed favourites to land the rejuvinated speed-merchant, but it was Laurie Sanchez’s pledge to play him as a striker that swung it for Kamara, and he signed for a substantial £6 million, on a five-year deal. “The Fulham manager has told me we’re going to play 4-4-2 and that’s the formation that suits me best,” Kamara said after signing. “Out wide is not my position.” His debut season at Fulham has not gone as planned, with Fulham deep in relegation mire, and his striking position threatened by the arrival of the American Eddie Johnson during the January transfer window. In January he was one of the few Senegalese players to come out with any credit at the African Cup of Nations, scoring once as Senegal were eliminated during the group stages. Now another summer move appears likely, with West Ham and Italian side Roma both in the hunt for his services. At 27, Kamara should be approaching his peak. The talent is there – all he needs now is stability.

FEATURE

Game of Queens (& Kings)

text: Davina Catt photos: George Bamford

Mention the word “Polo” and what comes to mind? Perhaps flighty males practising bursts of speed, tight turns, and bone jarring contact? My own thoughts turn towards a virile figure: he is Don Juan-esque, oozing style and charm, full of seductive selfcontradictions. His arm candy, the eye-catching yet vacuous female (or more appropriately ‘females’) hanging by his side. “Polo player’, after all, twists neatly round the tongue: just the word ‘player’ remains. One definitely isn’t enough in this hedonistic whirlpool. The word represents a potent and addictive cocktail of glamour, elitism and high-octane living, flavoured with heaps of sexual insatiability. Yet, quite simply, these thoughts are naught but clichés. My next mental image centres around a nippy, black, three-door Volkswagen. Perhaps this is a mere reflection of my late 20th century upbringing? Or my brave new world of 21st century existence, one where fiction has descended into the trashy realms of airport reading: after all Campbell-Black sells. One where celebrity, fashion-fad culture is the rickety on which we build our empire(s). One where, ultimately, bling just isn’t that bad. A truism, it may be, that the sport of Polo has royal, rich, fastliving associations. No doubt the game is the inheritor of the ‘have’ sector of society. ‘Have-not’ doesn’t even configure – so called ‘ adequate’ income in these circles just isn’t cool. However move beyond the usual clichés of divot stomping, prurience, or the grounds of Royal Windsor, and the sport, underneath its sassy veneer, is actually steeped in a compelling history in which fashion influences, among others, abound, often gaining far too little attention. Indeed ‘Let other people play at other things. The king of Games is still the Game of kings,’ was actually the verse inscribed on a stone tablet, found in Persia in the sixth century BCE and even then was not just some whimsical quip conjured by the court jester or a member of the royal playing party. In fact, the precise origins of the sport are obscure and undocumented. The oldest known version of the game, though, can be traced back to a tournament in 600 BCE. The imperious nature of Persia at this time meant that the sport was adopted by Kings and Emperors alike. After all, riding was the zenith of noble culture – the game, however, was no weak man’s dwelling, but a duel of heated aggression and vigour. It was furthermore used for training cavalry (a mini battle with up to 100 on either side) and thus the form infiltrated Asia, China, and the Indian subcontinent. The British caught on, as they often do, introducing the sport into modern times, where it became integral to officer training. Think safe English types attempting

to perfect ball control! However it was Hurlingham, London’s then fashionable club du jour; which established a set of rules in 1874 and spurred a sport synonymous with glamour, social cachet, and wealth. This is the point at which we now know it. (Or the point of my reveries at least.) Such stellar sides of the sport only accelerated when a noted American publisher took the sport back home and it struck a chord with the heady, high fliers situated in the Hamptons, Long Island. From there, the sport spread to Argentina, where bona fide stallions (and I don’t mean the ponies) made it their own. Thus, if players have progressed from Emperors to officers to the bon vivants of the jet set, what on earth are they going to wear? Surely a sport, which so enjoys the luxuries of Babylonian living, has some fashion history? In contrast to the rules of the game which have only mildly changed over time – chukkas, mallets, balls, ponies, and some bullish aggression from four players on either side – the game’s sartorial legacy is swathed in as many changes as you might find backstage at Paris fashion week. The term ‘clothes as armour’ could be taken quite literally back in the middle ages. The close helmet and the scaled shield were a must. However the riding was free-fall with no saddles, stirrups, or leg protection for greater movement. When the sport infiltrated Victorian England, the fashion followed suit. Definitely not enough to excite any ‘power glam’ leanings of Miuccia Prada, the dress was simple and elegant – white flannel trousers, a white tennis sweater, worn over a white shirt with a straight collar. Think blond and foppish and slightly swimming in fashion backwater. In fact, the original polo shirt, which was required to meet both fashion/function requirements, long before anyone had heard of the trench coat, has quite a history of its own. Initially it wasn’t the boyish staple we think of today. After the straight collar shirt, came the button down style, devised so collars didn’t flap in the rider’s face as they galloped along on horseback. Massive sartorial steps forward at the time. This was made out of Oxford-cloth cotton and had thick long sleeves. Think sloany tailor Brooks Brothers, who still produce them today. When the button down shirts proved too impractical, the ‘polo’ shirt became a simpler white, wool jersey. Pulled over the head, with rolled collars, long sleeves, and buttons descending five inches down the front from the collar, this shirt reigned on the UK pitches for years and represented the truly fashion-forward! Interestingly, the polo ‘T’, worn today by everyone from schoolboys to heroes, was first devised by tennis star, Lacoste, in the 1920’s and only later adopted by polo players, who were attracted to its less cumbersome design.

FEATURE

Come into close contact with a smooth talking captain type today, and the dress has only slightly modified. You’ll recognise him from afar, protective helmets, knee guards, white breeches, heeled boots, and (of course) the numbered polo shirt.

interior décor. Ralph Lauren has always maintained that buying into the brand means buying into a lifestyle. A key tenet, which has allowed Lauren to achieve fashion credibility, keep the bucks rolling, and successfully make a seam through the ruffled edges of fashion fickleness. One must admit a pretty sterling effort at However, sartorial undulations aside, Chinawhite after-party influence, from a sport that involves six chukkas and lasts all of dancing over, one of the sports biggest ‘claims to fame’, and seven minutes! indeed, a whole new sartorial story, is the single-handed, massive influence the sport of polo has had on massive global brand, Actively played in 77 countries today, polo is rearing against its Ralph Lauren. Mr. Lauren, a New Yorker, took a fancy to all things exclusive associations. Yet the racy reputation of what is still the English, tweed, pretty and preppy and decided to break away oldest and fastest sport will, no doubt, always remain firmly intact. from his employers, Brooks Brothers, and create his own line. If you’re the type who wants to swan about looking cool, with Polo – the perfect moniker to represent his classic designs – was no knowledge of minimal need then this sport is this (and every) established in 1967. Needless to say, the polo shirt became seasons must-have, necessary accoutrement for you. However one of his basics. Along with the infamous polo player emblem next time you’re in a stand sipping away at a glass of something now adorned on many a left breast, the game has kick-started stiff, remember that sundress, sex, and a pair of designer a million dollar empire, which has gone on to successfully storm sunglasses-on-head are not the games only components. the women’s fashion market and make its mark on the land of

A DAY AT THE RACES

Horses, Hats and Her Majesty at Royal Ascot

Michael Blancome and Mark Stuart

Kelly and Jonna

Emma Bremner-Milne and friend

Her Majesty the Queen

Belinda

Lucy King

Bent it like Beckham A year ago he was in danger of becoming a national pariah. But a season of dynamic consistency has turned David Bentley into one of the country’s great young hopes. Paul Joseph charts the rise of England’s new wing-wonder. For a man who has been accused of everything from arrogance to treachery, David Bentley’s response to comparisons with English football’s most contemporary national treasure are as curious as they are enlightening. “People say I’m the new David Beckham,” the Blackburn Rovers player said in an interview with the Guardian newspaper last season. “I don’t mind that at all, it’s nice being compared to a legend. He’s better looking than me, though. Much. You can actually lose yourself thinking about what a good-looking guy he is. My missus says I’m more rugged, whatever that means.” The words of an egotist? Or a man whose deep-rooted confidence is tempered by a healthy self-awareness and a delicate sense of selfirony? You decide. Either way, the 23-year-old, who intriguingly shares Beckham’s initials,

his magic wand-like right foot, as well as a mild facial resemblance, has become something of a media favourite over the past couple of years – the result of his notable emergence as a prospective heir to Beckham’s right-wing throne, but also because he is one of an everdecreasing breed of footballers who are considered “characters” due to their eschewing of tired clichés and meaningless soundbites. On leading a normal life: “I try to be normal, but what’s normal? Ripping out your bathroom? Having a pint with your mates? I’ve had the same girlfriend for nine years, Kim. I have a couple of dogs, I like to go shopping. I don’t do much else. I’m going shooting next week, does that count?” On the importance of discipline: “You give a player an inch and they’ll take a mile, that’s just the way young rich footballers are. We need managers to rein us in. It’s a bit like when you’re at school – if you have a strict teacher, you respect them; if you have a teacher that’s always larking about, you lark about yourself.” On England’s immediate future under new boss Fabio Capello: “I hate it when people hammer England, all this talk of ‘where are the young

players coming through?’ Crap, bollocks! The team is here now.” Hardly Oscar Wilde in its caustic eloquence, but nonetheless Bentley’s liberal tongue stands out like a beacon amid a sea of anodyne football-speak. As for his final point, Bentley’s hopes of being a part of that ‘here and now’ were helped by an impressive showing for Blackburn during the 2007/08 season (he contributed nine goals as Blackburn finished a respectable seventh), culminating in him earning his first England start against Switzerland in February at the new Wembley Stadium. It was Capello’s first game as coach, and the winger’s selection was

telling. In the Italian, Bentley clearly had a fan. Yet had a more instinctively patriotic man taken the helm following the sacking of the hapless Steve McLaren last November, things may not have worked out quite so well for the Peterborough-born player. In June 2007, Bentley risked the wrath of a nation by pulling out of the England squad for the European Under-21 Championships in Holland, citing fatigue. The under-21 coach at the time, none other than that notorious anglophile Stuart Pearce, questioned the midfielder’s commitment and Bentley was subsequently excluded from the senior squad for a friendly with Germany.

When he was eventually drafted back into the frame for a Euro 2008 qualifier against Israel, Bentley’s substitute appearance was greeted with boos by a section of the England crowd. “I think it [the decision to withdraw from the squad] is for the betterment of my career” Bentley said at the time. “I knew there would be consequences to my decision. I made it to hopefully further my England career rather than shorten it.” One year on, Bentley must feel his controversial decision has been vindicated. Indeed, while he is a certainty to feature in England’s 2010 World Cup qualifying campaign, Bentley’s soaring currency means his

club future is less secure. Liverpool, Chelsea and Newcastle are said to be amongst his suitors and Bentley, who left his first club Arsenal in the summer of 2005 due to lack of first team opportunities, may feel the time is right to make the next step up in his burgeoning career. Whichever path he may choose, Bentley can be proud of what he has already achieved, including the beating of a gambling addiction that began to take hold when he was just 14. He has emerged as the absorbing character we see today: confident, talented, hungry, with a true emotional hinterland, and acutely aware of the occasional absurdity of life as a modern-day footballer.

Nou Camp New Life

It seems like yesterday that Thierry Henry was the Premiership’s biggest foreign star. But a big money move to Barcelona last summer marked the end of his love affair with English football. By Paul Joseph CLOTHES BY TOMMY HILFIGER

On the evening of 17 May 2006, as Thierry Henry trudged off the Stade de France pitch in Paris, it felt like the end of an era. Arsenal had just lost narrowly to Barcelona in the Champions League final, and for the north London club the spectre of Henry’s dwindling contract added an extra layer of grey to the cloudy Parisian sky. Two days later, at a press conference and to everyone’s surprise, the Frenchman put pen-to-paper on a new four-year deal at Highbury. Arsenal’s record goal-scorer, and most important asset, seemed to have committed himself to the club for the remainder of his career. In fact, it was only delaying the inevitable. A year on and the then 28-year-old had endured a nightmare season, as Arsenal began life at their new Emirates Stadium with a whimper, failing to mount a credible title challenge and suffering early elimination from Europe. Following defeat to PSV Eindhoven in the Champions League in April, Henry succumbed to groin and stomach injuries and missed the rest of the season. Three months later and he was a Barcelona player. After his £16.1 million transfer, Henry was quick to give an emotional and heartfelt interview in which he spoke directly to Arsenal fans, telling them the club would ‘always be in my blood, in my heart.’ For outsiders, and even some Arsenal fans, the decision seemed logical from both sides of the fence. At Arsenal he had in many ways become a negative presence, his stature suffocating the talent of his young team-mates. From a career perspective, it was his last chance to play for one of Europe’s historical heavyweights. Arsenal were a team for the future, but Barcelona were already the real deal. There was also the uniquely magnetic pull of the institution that prides itself on the slogan “More than a football club”. Very few players turn down the chance to play for Barcelona, and Henry was no different. ‘You get the feeling here that you’re playing for a region, a country’, Henry said in a Spanish interview. ‘That’s how the fans make you feel, that’s what they demand from you in the street.

L’ A N G L A I S E

It is very moving for a player. ’ Henry’s debut season in Catalonia has not gone entirely to plan. Continued injury problems have restricted his appearances, while Barcelona have stuttered in the league (though at time of writing in early April, are still in touching distance of leaders Real Madrid). A hat-trick against Levante marked the high-point of his season so far, though the race for La Liga is not over, nor Barcelona’s challenge for their second Champions League victory in three seasons. Indeed, it is in Europe where Henry has given some of his best performances, with three goals in seven appearances, including a goal against Celtic in the group stages that brought the memories of his Arsenal days flooding back. Picking up the ball on the left wing, Henry glided towards the penalty box before floating a delicious, delicate right footed curler into the top corner of the net. It was a carbon copy of a goal he had scored, almost literally, a hundred times at Highbury. But for Henry, the comparison drew a curt response. ‘I have heard that said before’, he remarked, ‘but Arsenal is in the past.’ ‘Now I score Barcelona-style goals.’ Henry has never been afraid of self-criticism, and is a keen student of the game, almost to “anorak” levels. No-one needs to tell him where things could have gone better, because he will be asking himself the same question every day. ‘I always go home thinking about the things I did badly and I’ve been like that since I was a kid,’ he said. ‘I’m never happy at the end of a game even if I’ve won the World Cup final. That’s just the way I was brought up.’ Nonetheless, as the season reaches its closing stages, rumours of a summer move, just a year into his Barcelona career, have emerged, with Chelsea and Newcastle said to be

“Henry has never been afraid of self-criticism, and is a keen student of the game, almost to“anorak”levels. No-one needs to tell him things could have gone better, because he will be asking himself the same question every day.” interested in bringing him back to England, where his daughter still lives with Henry’s former wife. A Barcelona director was quoted as saying that if they had known about Henry’s fitness problems they wouldn’t have paid £16 million, and opinion amongst fans is that the club invested in a player whose best days are behind him. Yet on a technical level at least, Henry can perform effectively well into his thirties. His former Arsenal boss Arsene Wenger once said that as he gets older, he expects Henry to drop into the role of a “shadow” striker, once occupied at Highbury by the likes of Dennis Bergkamp and Robin Van Persie. Currently Barcelona employ him on the left side of a three man strike force, allowing him to cut inside with the kind of impact he displayed against Celtic. When the injuries finally take their toll, and his pace and athleticism begin to desert him, Henry may have to call on the reserves of ability that in the past he has perhaps taken for granted. He has always been that most unusual of strikers who can score and create: perhaps in the near future he will have to focus more on the latter.

As for where that future lies, with the Brazilian Ronaldinho’s future at the Nou Camp also uncertain, not to mention that of coach Frank Rijkaard, it seems unthinkable that Barcelona would subject themselves to such major upheaval over the course of one summer. The Barcelona “brand” plays on its ability to attract global superstars to the club – and if one leaves, another must arrive. Casting your eye around the world and it seems hard to know where Barcelona would look to replace Henry or Ronaldinho. Kaka, Fabregas, Ronaldo – they all look a stretch too far at this moment in time, so tied are they to their current clubs on either a contractual or emotional level. Of course, Barcelona already have the Argentinean Lionel Messi – a sublime talent, but lacking the commercial appeal of the aforementioned players. So the likelihood is that Henry will remain at Barcelona beyond this season. At 29 there is still time for him to land himself a place in the legendary Nou Camp hall of fame. He just needs to stay fit – and of course score a few more “Barcelona-style” goals.

Dapper

Gaffers The pressure on footballers to keep up with the latest fashion trends is steeped in dressing-room folklore. Managers, in contrast, would appear to have it easy. But take a closer look and the way bosses have dressed over the years has a rich and varied history. By Paolo Hewitt, author of The Fashion of Football.

On February 24th, eighty thousand football fans descended on Wembley Stadium for the 2008 Carling Cup Final between Spurs and Chelsea. As the fans walked towards the stadium, two huge photos of the competing managers glared down at them. To the left, Chelsea manager Avram Grant posed in a black three button woollen top and shapeless grey suit. Unfortunately, his clothes could not save him, his hunched shoulders and dour expression only succeeding in making him look slightly shifty. In contrast, the Spurs top honcho Juande Ramos peered confidently into the lens, his folded arms enclosed in a classic dark blue Armani blazer, his shirt open at the neck. His mix of smart and casual exuded the kind of confidence that suggests a winner who owns a unique style. Yet style is something that British football managers have rarely displayed over the years. Apart from one off mavericks such as Malcolm Allison, they have performed terribly in the fashion leagues. Most have tended to dress down and dowdy and their reasons for doing so are many. British football managers normally hailed from working class backgrounds. In this culture the suit was dominant, a symbol of decency and respectability. When a boy reached sixteen his father bought him a suit, thus marking his transition into adulthood. Managers such as Matt Busby (Man United), Bill Nicholson (Spurs), and Jock Stein (Celtic) were the club’s public image and so it was incumbent on them at all times to look sober and decent and most importantly, in charge. It is why they were so insistent that their players follow suit (sorry) by wearing the club uniform in public at all times. In fact when colourful casual wear replaced the suit and became de rigueur for the young British male in the `70s, wearing club uniforms became something of an obsession with managers. The Arsenal player Frank McLintock’s lasting memory of his boss Bertie Mee was not his tactical acumen on the field but his constant exhortation to his players to always wear ‘a collar and tie,’ off it. The club uniform was invented to present a united front. Managers hate players who have minds of their own because they tend to disregard orders. A club uniform reminds them they are under one rule – the manager’s rule. The only real exception in past times to this policy was Manchester City

boss Malcolm Allison. His reign as manager in the `70s was marked by a wardrobe that consisted of loudly coloured shirts, large fur coats and colourful fedora hats which he then accessorised with large cigars and Rolls Royce cars. He looked totally out of place with his contemporaries and that of course was the point. His clothes were a psychological weapon to wind up his opponents. Not surprisingly, the football Allison wanted his team to play was as flamboyant as his look and this principle seems to apply to players. The more skilful and creative the player the more adventurous he is when it comes to dressing. Have you ever seen a goalkeeper look as flash as, say, George Best? Unfortunately this principle does not seem to apply to managers who always tend to err on the side of caution. Arsène Wenger’s Arsenal may at times play breath taking football but his unremarkable suits seem more to reflect his austere and cerebral nature than colourful play. His bitter rival Alex Ferguson again dresses traditionally although he can still be spotted in a dashing William Hunt suit revealing his penchant for style and substance. His counterpart at Portsmouth Harry Redknapp was once known for his Mod style. He played for West Ham in the `60s and as the player Mike Summerbee once observed of them, ‘they were the only team who could come off the pitch at the end of a game with their haircuts still intact.’ Unfortunately Redknapp seems to have ditched the elegance of Modernism for a functional boring suit and tie look that matches the football he plays at Portsmouth. Many of his contemporaries are similarly guilty. The name of their game is survival and their clothes reflect this rigid ideology. I am thinking of Steve Bruce, Steve Coppell, David Moyes, Martin O’Neill, Mark Hughes, Alan Curbishley, Paul Jewell, Roy Hodgson and Roy Keane – all of whom tend to opt for the sweat shirt and tracksuit bottoms look on the touchline and the Man At C&A look when in front of the camera. Their lack of style often reflects the talent of their squads. Maybe given a team full of Maradona’s they would be buying up paisley shirts and Westwood suits by the dozen

“Mourinho’s garrulous nature was never matched by his clothes.” and styling it down the nightclubs. But I doubt it somehow. There is an exception. Middlesbrough manager Gareth Southgate seems to have been highly influenced by Italian fashion and is not afraid to style it. He is often seen in a stylish v neck jumper and tie which he rounds of nicely with a smart jacket or classy blazer. This look is one that was first modelled in Britain by the player Gianluca Vialli. Vialli joined Chelsea in the summer of 1996 and immediately made an impression. ‘I remember the first day he came into the dressing room wearing a v neck jumper, nice trousers and brown brogues,’ recalled his team mate Dennis Wise. ‘All of us asked him where he got his clothes and by the end of the week all of us had bought them.’ Vialli was not the only foreigner to inject some much needed style into the managerial arena. Another Italian, Claudio Ranieri who managed Chelsea, often prowled the touchline wearing a stylish reefer type jacket. Unfortunately, he was sacked and replaced by a Portuguese man, José Mourinho, who often wore a herring bone overcoat. Typically the British press rhapsodised over his “style” even though the coat was a stylish disaster, formless and shapeless. Mourinho always looked much better in blue shirt, blazer and trousers which he often used to slide along the touchlines to celebrate vital Chelsea goals. Strangely Mourinho’s garrulous nature was never matched by his clothes, an observation that can also be applied to current Liverpool manager, Rafa Benitez. This man is in my eyes responsible for that most terrible of visual crimes – wearing a suit with a bulky puffa jacket on top of the jacket. No wonder Liverpool are struggling in the Premier League. Imagine you are a player and every time you glance to the touchline for instructions you are faced with that stylish disaster. It is why I believe next season Spurs will be the team to catch. Their manager’s classic mix of style and colour, smart and casual, absolutely reflects the qualities needed to take the prizes. All it takes is Ramos to keep an eye on his wardrobe and his players in their club uniforms and success will be theirs for the taking.

ADILEMMA NELKA THE

he’s just set the record as the most expensive football player in

the world based on his total transfer fees –

a whopping £87 million.

Nicolas Anelka is a bit of an enigma. Despite the reams of column inches written about him over his career, the Chelsea striker remains a barely known quantity. It’s not like he’s reticent. In fact, his forthrightness often puts him at odds with his clubs and the British tabloid press – who in one of their genuinely more witty moments nicknamed him ‘Le Sulk’ – because he isn’t shy about expressing his dissatisfaction. But what really perplexes most observers is, ‘what makes Anelka tick’? Why has this obviously enormously talented footballer never really achieved his full potential? Anelka did enter the record books in 2008. But hold the dazzling corner flag celebration. It’s almost certainly not for the reasons he dreamed about as a kid. It isn’t for scoring a winning hat trick in the World Cup Final; or holding the record as the highest ever French goal scorer; or even breaking the Premiership goal scorer record. No, he’s just set the record as the most expensive football player in the world based on his total transfer fess – a whopping £87 million.

scored 28 goals – helping Arsenal win the double of the League & FA Cup in 1997/98. And then, in 1999, Real Madrid came calling, and £22.3 million that the Spanish giants offered for him was too much for Arsenal to turn down. Despite his helping Real win the 1999/2000 Champions League, the Anelka transfer merry-go-round really began in 2000. Over the next eight years, Anelka moved to six teams (PSG, Liverpool, Manchester City, Fenerbache, Bolton Wanderers, and finally, Chelsea). Anelka can be a joy to watch. His pace & technical ability are dazzling, and his finishing is immaculate. In fact Arsene Wenger, who has coached some of the world’s best strikers, describes Anelka as the best finisher he’s worked with – high praise, indeed. Anelka seems to glide across the field with little or no effort, making clever runs & finding space short of defenders. The problem is that you kind of get the impression that he only plays at 80% of his capacity. His body language often suggests disinterest or boredom. And one statistic that is undeniable, looking at his career as a whole, is a glut of goals – 147 goals from 446 matches (about a goal every 3 games) hardly represents a decent return on £87 million.

He probably isn’t celebrating, as this record reflects the fact that, although Anelka is exceedingly talented (he was the Professional Footballers Association’s Young Player of the Year in 1998/99), he seems a nightmare to manage. To call him Anelka’s international career has pretty much reflected his domestic one – high highly strung is perhaps an understatement. This is probably best evidenced by promise but little fulfillment. He was a part of the Euro 2000 winning French side, the fact that his longest stint at any club has been but failed to score in that competition. And when in just 2½ years. Arsenal manager, Arsene Wenger, the 2006 World Cup, Djibril Cisse dropped out of recently gave some insight to this when he revealed the squad due to injury, Anelka was passed over that he considered signing Anelka when Thierry in favor Sidney Govou. His disappointment was Henri left the club in 2006. Wenger instead decided palpable. Though considering France’s extremely to sign Eduardo Da Silva & Nicklas Bendtner. poor performance it was only a question of time before Anelka was back in the squad. He is now And Anelka’s recent comments to the French firmly a part of France’s attack, with Thierry Henry sports paper, Lequipe - about his penalty that was – a blistering combination. As such, Anelka should saved by Edwin Van Der Sar to lose Chelsea this figure significantly in the Summer’s Euro 2008 year’s Champions League - reveal the reason for competition. Wenger’s reticence. “Since I arrived at Chelsea I have never played my position, never as a second In his personal life, Anelka is very much at odds with striker, always on the left or the right… I did not join the ‘football-cum-rockstar’ image that has become today’s norm. He’s a Muslim (actually a reverted to play on the right or left. I no longer have to prove Muslim, as he comes from a Muslim family) – and as such doesn’t drink or that I am worth playing in the middle in England,” he complained. “I have said nothing. I have observed. I did not want to make any stories because I did not spend his time chasing the ‘oh so available’ women through London’s nightclub yet know the club. But next season I will no longer be the new boy.” And given scene. He married Barbara Tausia, a Belgian dancer and choreographer, last Drogba’s shameless shenanigans at the final in Moscow which means he’s year in Marrakech – (and paid for 25 of his Bolton team-mates to attend which probably on the way out of Stamford Bridge, Anelka could be the Chelsea first somewhat belies the impression that he is aloof). Of course, this is football so choice striker next season. he’s been linked with a variety of women at various times – particularly last year when it was reported that he was having an affair despite his marriage; as well as One thing that few people could deny is that Anelka is an agent’s dream. The having text sex on his wedding day. commissions from his transfer fees alone is phenomenal, and his agent (actually his brothers) must be laughing all the way to the bank. And this doesn’t include His two brothers – Claude & Didier – act as his agents. And if the rumors are to his various commercial endorsements – particularly his Puma boot sponsorship be believed, they are a bad influence on him. According to the grapevine, they deal. And with Avram Grant’s recent sacking as Chelsea manager, Anelka might are responsible for his leaving Arsenal and not being signed full-time at Liverpool be off to another club in the autumn (depending on who takes over at Chelsea (where he was on loan for the season). But you do have to take the football and if they get on with Anelka – always a big if). In fact, the football rumor mill was rumor mill with less than a pinch of salt. already working overtime about Anelka’s imminent departure from Stamford Bridge before the football season ended in May. All this despite Anelka saying The big question is, ‘which Anelka will we see over the summer and next that Chelsea is the team he wishes to end his career at. season?’ Are we going to see the fulfillment of all that promise, or will we be Nicolas Anelka was born in Versailles in 1979, to an émigré family from Martinique. disappointed? At 28, his career swansong is rapidly approaching; plus he has He began his football career at French Giants Paris Saint Germain (PSG) in very few major tournaments to really make his mark on world football. This 1995, and despite his ‘great potential’ only made one first team appearance. Summer’s European Championships and the 2010 World Cup in South Africa, His potential, however, was recognized by Arsene Wenger, who signed him are his only real opportunities to take his place among the world’s football greats for Arsenal in 1997 for £500,000 (a real bargain all things considered). His time that his innate talent deserves. Hopefully, the real Nicolas Anelka will step up & at Arsenal established him as a first class striker, making 90 appearances and wave goodbye to the hugely expensive footballing nomad.

His pace & technical ability are dazzling, and his finishing is immaculate

football’s fashion Trailblazer Pelé’s legend rose at a time when the concept of ‘footballer style’ did not exist. But since then a new era has dawned which has seen football and fashion collide. Now the style legacy of soccer’s greatest champion seems more potent than ever. text: Ben Arogundade.

During Pelé’s reign clothes obsession did not flow through the cultural bloodstream of soccer in the way that it does now. Football fashion did not exist as a genre. There were no style magazines and few men’s publications, and the ones that did exist were American, and therefore uninterested in football or the garments worn by its biggest star. Pelé profiles mostly ignored his style. It was all about the talent – and this was understandable with ability as outstanding as his. People yearned to copy his moves, not his dress sense. No boy lay awake at night fantasising wildly about wearing clothes just like his. The era was pre-New Man, in which male grooming was a low-maintenance sport, and males had yet to admit to using moisturiser or caring about the state of their eyebrows.

CHIC IN THE SIXTIES The 1960s marked Pelé’s first period of fashion autonomy. This was

aptly illustrated by his hairstyle. In the late 1950s he wore a flat top – what Brazilians call a ‘topete’ – shorn at the sides and longer on top. It was an American G.I.’s haircut – the kind of crop parents forced onto their young sons because it was neat and respectable. But in the 60s, when Pelé became his own man, he grew a more even, short afro that stayed with him. From then on, unlike modern stars like David Beckham, Pelé never changed his hairstyle. No Isaac Hayes shaved head, no James Brown bouffant, no Michael Jackson Jericurl, no Nat King Cole slick-back, no Mr T Mohican. Like Muhammad Ali, his afro was constant – frozen in the stasis of its natural, crunchy frizz – as if messing with it might drain his mojo, like the biblical legend of Samson, who lost his power with an extreme haircut. Once a month since the age of 16 Pelé has visited the same Sao Paulo-based barber, Joao Arujo, for the same haircut. During the American Civil Rights decade Pelé graduated into clothes that made him look as if he was part of the movement – black suits

with skinny-fit pants, matching shoes, white shirt, and narrow black tie. Visually he had everything in common with Malcolm X and Martin Luther King. He could have been Sidney Poitier’s sidekick in the 1967 detective drama, In The Heat of The Night. For black migrants at this time, the suit was part of a uniform of assimilation. It was a way of deflecting attention from one’s negritude, of letting white people know – I’m black, but I’m OK, I’m trustworthy. I can conform. Pelé didn’t quite have to play that game. He didn’t wear suits because he needed to secure a job. Football and fame released him from that. The young Brazilian emerged on the scene at a moment when football was still defining itself. Brazil was the game’s greenhouse, and its players were the scientists. They played football freestyle, inventing irrational, spontaneous skills in the same way that early break-dancers pioneered a new face for dance on the streets of New York in the 1980s. WORK CLOTHES REPOSITIONED Arguably, Pelé’s most enduring look is the tracksuit. It is the one style he has not changed from the earliest times. To this day he still favours a top with a proud collar, splashed with block colour and go-faster stripes. Unlike other footballers of his generation, he wore tracksuits off duty. This would have been unthinkable for players such as Bobby Moore or Bobby Charlton. To them, tracksuits were work clothes, never to be worn outside the training pitch or the pre-match warm up. But Pelé viewed the tracksuit as an outfit in its own right – to go out in, to conduct interviews in, to eat in, to lounge in – to live in. This was the equivalent of a mechanic who would socialise in his overalls instead of going home to change. Pelé’s repositioning of the tracksuit was significant in that it catalysed

the market for sportswear brands to begin to tap into a different kind of buyer – a fashion consumer as opposed to a sports consumer. How the Brazilian seems ahead of his time now, as tracksuit chic has become the vogue, with retro outfits selling under the refurbished title of “vintage”, like rare cars or obscure vinyl. The Adidas Originals range revisits the Mexico 1970 World Cup, while highend fashion designers such as Alexander McQueen, Stella McCartney, Comme Des Gar ons, Diane von Furstenberg and Chanel have all produced their own sportswear lines in collaboration with leading brands. Yohji Yamamoto’s Y-3 range for Adidas is one of the biggest crossover successes in a market which is increasingly seeing major fashion houses producing their own lines, such as Prada Sport. LOW BLING Despite the fact that tracksuits have become an intrinsic part of rap culture, Pelé himself was far from hip-hop. He wore his tracksuits without the gold. His was a discreet, subtle bling. He favoured a single silver necklace with a discreet crucifix, both on and off the field. And this was no fashion puff-piece. Pelé is a Catholic who actually believes in the higher power. By hip-hop standards he was bling-lite, a second division jewel merchant. Not for the him were the bull-chested, oversized accessorising of rap, or the supersized finger-and-chest rocks of Liberace or Elvis. But Pelé wasn’t as understated when it came to cars. He had developed a taste for Mercedes automobiles after receiving one as a present in the early 60s. Daimler-Benz, recognising that they had a global star on their hands who could prove an asset to the company’s image, quickly invited the football legend, as well as the Santos squad, to their Stuttgart factory

in June 1963 for a guided tour. It was a weird irony that less than thirty years earlier, Adolf Hitler had turned his nose up at Afro-American athlete Jesse Owens at the 1936 Olympic Games, and now, in the blink of an eye, post-war Germans were glad to receive this particular black athlete with open arms and smiles. Thus, Pelé’s lifetime enthusiasm for Mercs was born. For Brazilians the association was the quintessential signifier of wealth in a developing country with stark contrasts between rich and poor. For blacks in particular, Pelé was one of their own who had made it out of the favelas and into the Latin version of the American dream. Pelé adapted willingly to this role, posing for photographs next to his cars while wearing his best outfits, in what would later become the precursor to the “footballer’s lifestyle” of the modern age. In the late 1960s, as Pelé delirium rose, he began to sign the first of his many endorsement deals. In 1969 new business manager Marby Ramundini secured contracts to endorse a host of products that included shoes and watches. There was also heavy money in football boot sponsorship. In England, George Best signed with Stylo, who sold an impressive 30,000 shoes in the first year of business. During the World Cup in England in 1966 Pelé signed a similar deal with British shoe manufacturers, Barratts of Northampton, who produced a range signed by the Brazilian star and which retailed for £6.19 a pair. He saw no conflict of interests in the fact that during the tournament he actually wore the shoes of another brand – Puma, for whom he would also sign a sportswear and boot deal. Today this would be the equivalent of Michael Jordan signing

for Nike, and then signing for Adidas immediately afterward. To coincide with the 1970 World Cup in Mexico, Puma then produced a range of three boots endorsed by the Brazilian – ‘Pelé King’, ‘Apollo’, and ‘Pelé 10’. To soccer enthusiasts these were the most sought-after boots in the business – the Air Jordans of their day. It was a seminal era in which wearing the same boots as the world’s best player was like getting a dose of football Viagra. STYLE IN THE ERA OF FUNK In the 1970s men’s style sprouted into full bloom, becoming more flamboyant and colourful, which seemed to suit Pelé down to the ground. Like George Best, he was comfortable in the wide lapels, the butt-hugging coloured slacks and the patterned shirts. He dressed like soul brother number one. His clothes were funk. They were R’n’B. They were Blaxploitation. His trousers were The Temptations, his polo-necks were Shaft, his leathers were Superfly, and his afro – not as dandelion fluffy or circular as Maurice White’s from Earth, Wind and Fire – was more Curtis Mayfield. To examine the garments he wore one could envisage a soundtrack to accompany them – James Brown, Al Green, Aretha, The Commodores, Sergio Mendes. It’s not difficult to imagine the Brazilian maestro stepping along the boulevard to the strains of Jungle Boogie, by Kool and the Gang, despite the fact that he was more into samba and jazz. Meanwhile, on the field of play, the 1970 World Cup became his crowning moment. At the same time he became synonymous with the colour yellow, the hue of Brazil’s strip. His performances dazzled,

if his upbringing, maybe his mother, simply taught him how to be, in every setting life can present.’Indeed, there was a sense that he was dressing more like the actor or singer he secretly yearned to be. On the morning of 28 June 1975, when he was invited to the White House to meet president Gerald Ford, he upstaged the world’s most powerful man by wearing a cream suit with a peppermint pinstripe. Afro-American soul brothers of the era had a reputation for style, from the Black Panthers to Shaft, and Pelé, representing Afro-Brazil, wasn’t about to let things slip. His suit was the kind of thing that Mick Jagger would have worn, if he’d thought of it, only with sneakers and a loose tie. The way it hung on Pelé made him look like the funky president, leaving Ford cold, looking like an accountant.

and images of him in the now famous jersey were beamed around the world. Before Pelé, yellow was a colour for sissies, but he transformed it into the tone of the supreme sporting gladiator. By the close of the tournament it had become part of his trademark, like Coca-Cola red. Simultaneously, he inadvertently invented the culture of players swapping shirts. It began after the final whistle of the group match in which Brazil beat England 1-0, and Pelé, wanting to honour Bobby Moore, presented him with his shirt. ‘I said, “OK, we will exchange it”,’ says Pelé. ‘After that, everyone began to exchange shirts.’ Ultimately the heart of the gesture was about sharing – something that comes from an upbringing in which poor families swap shoes and hand-medown clothes with one another. PELÉ’S PEPPERMINT PINSTRIPE In 1975, when Pelé decamped to America to play for the New York Cosmos, he arrived with the air of a gunslinger who had come to save the town. And in defecting from Brazil he was like the son leaving home all over again, only this time his family were not Dondinho and Celeste, but the entire country. Just as he had done as a teenager when he left to play for Santos, he had to present himself in his new environment in a fresh set of clothes, like his parents had taught him when he got his first pairs of long trousers. Now that his genius was established and exported, he needed outfits to match. His unique social geography demanded it, as his appointment book spanned kings, queens, popes, presidents, pop stars and the like. Thus, in America his attire became more extensive. He was wealthier now, more cultured, more clothes-confident, and his wardrobe reflected this. In an era in which there were no stylists, image consultants or personal shoppers telling players how to look good, Pelé was aesthetically selfmade. ‘The man was always perfect to a T, and it always seemed to be without any calculation or any pretensions,’ says Jim Trecker, director of public relations for the Cosmos. ‘It was natural. It was as

AMERICAN DANDY Throughout the decade Pelé resisted the trend for facial hair. He consistently kept shaving while actors Richard Rowntree and Burt Reynolds cultivated thick sideburns and moustaches, and Teddy Pendergrass nurtured a beard that was like wild broccoli. Instead, to articulate his face he sometimes wore a pair of thick-rimmed spectacles in the style of Yves Saint Laurent, Michael Caine and Henry Kissinger. Since 1958 he had been slightly short-sighted, although thankfully it did nothing to disrupt his aim in front of goal. It was during the late 1970s and early 80s that Pelé went through his “white period”. He shared the same taste for three-piece white suits with Mick Jagger, David Bowie and Tom Wolfe, placing him right up there in the pantheon of culture’s foremost stylists. When he accepted the Sportsman of the Century award from French magazine L’Equipe, at the Parc des Princes in Paris in 1981 – 19 years early – he strolled onto the pitch in a white three-piece ensemble, arms raised, with the jacket unbuttoned, allowing the massed audience to check the matching waistcoat. On other occasions he showed a weakness for white safari suits, which offset his skin-tone. It was the African dictator look. All that was missing was a leopard-skin hat for the full Mobutu. Despite retirement, the heat of Pelé’s celebrity burned so brightly that the clothing endorsements continued. In 1987 he launched yet another fashion range, the Brazil Collection, at a runway event in Rio de Janeiro. After the show he appeared on the runway in white denim and sneakers and took a bow for the massed ranks, as if he himself was the architect of the garments. In some ways, to talk of Pelé’s style seems almost like a distraction from the legacy of his talent. After all, what apparel could adequately house this specimen of athletic perfection? Nevertheless, Pelé had more of a clothes sense than many of the stars of his era. He had as much style as Steve McQueen – and certainly more than Ali. His style helped define the universe of football fashion that pervades so much of the modern game. Today, thanks to players like Pelé, soccer and fashion have become an inseparable part of the DNA of sport’s new narcissism. The writing above is extracted from ‘PELÉ’, the giant-sized, limited-edition version of Pelé’s official autobiography. Published by Gloria in London, each volume is handsigned by the man himself. ANGLOMANIA has secured a highly limited number of ‘PELÉ’ books. For further information, please call (+44) 0207 659 9074

Football’s First Celebrity He’s met four popes, ten kings, five emperors and over seventy presidents. But far from courting the world’s stars, the truth is, most of them asked to meet him. So what is the secret behind Pelé’s enduring magnetism? text: Paul Joseph After arriving in a blaze of glory at the 1958 World Cup finals in Sweden at the age of 17, Edson Arantes do Nascimento rocketed to global superstardom. At that tournament, the boy who would become known simply as ‘Pelé’ was not only etching his name into football folklore, but also pioneering the concept of the international sporting celebrity. The reverberations he created in 1958 also served to break new ground for black sports stars making their mark outside of the United States. During his stay in Sweden, Pelé’s skin colour provoked almost as much interest as his ability with a football. Whilst walking the streets, locals would approach him and caress his arms and face, simply to discover whether his colour ran. The impact of Pelé’s emergence was felt not least in his birthplace of Brazil, whose population was almost fifty per cent black, yet remained blighted by a deep-rooted racism that permeated every level of society. This inevitably included football, a cultural phenomenon that extends across Brazil’s social classes. Pre-1958, the national side was bereft of black players – but Pelé changed all that, and before long, black players formed the core of the Brazilian team. His breakthrough in the late 1950s also coincided with a time when the popularity of football was increasing rapidly across Africa and Asia. Bereft of their own sporting heroes, the two continents embraced Pelé – a black man whose ascent from Brazilian shanty town to global superstardom provided hope to parts of the world weighed down by social deprivation. In the footballing heartland of Europe, Pelé’s appeal was no less strong, as he helped to debunk traditional pre-conceptions about

black sportsmen. Prior to the manifestation of more overt racism within football, primarily in the form of crowd abuse, black footballers were widely written off as ill-disciplined, lacking in determination and tactically naive. Pelé, a consummate professional and student of the game with an unquestionable dedication to personal fitness and consistency, made a mockery of these outmoded prejudices. BREAKING AMERICA Whilst localised sports heroes had existed prior to Pelé’s breakthrough, never before had a sportsman’s impact been felt in nearly every corner of the globe. Pelé built his celebrity by touring in the style of a rock band. He drew colossal crowds as he globe-trotted across Africa, Asia and Europe with Santos in the late 1950s, throughout the 1960s and early 1970s, before helping popularise soccer – albeit briefly – in the United States at the tail-end of his career with the New York Cosmos. Pelé’s legacy remains strong in America, with photos of him alongside a quartet of American presidents testimony to his impact. Muhammad Ali was present at Pelé’s final game for the Cosmos in Seattle, where the two met in the dressing room before the game. The heavyweight champion embraced the smaller man and declared, ‘Now there are two of the greatest.’ So how did Pelé break America? In a country already blessed with black sporting heroes, racially he was no novelty. Yet at the same time, Pelé’s background, if not specifically his race, embodied the meritocratic values dear to America’s ideological heart. Pelé’s ragsto-riches journey from poverty to superstardom represented the quintessential American Dream.

LIFE AFTER FOOTBALL Even during his playing days Pelé’s commercial interests were vast, and they intensified after his retirement, keeping him in the public eye and reinforcing the Pelé heritage. He signed ever-larger deals with the likes of Pepsi, Coca-Cola, Pfizer (maker of Viagra), and again with Warner – this time to appear in four motion pictures – as well as an ongoing relationship with MasterCard. At the height of his marketing activity, Pelé’s contracts were said to be worth in the region of $30 million per year. He also remains a regular at football events, including award ceremonies and tournament draws, where he is usually the guest of honour and invariably the night’s centrepiece attraction. For those too young to have even seen him play live, he represents an impossible benchmark for their own talents – a footballing deity, not to be aspired to, but simply worshipped. Pelé was the first-ever sportsman whom advertisers saw as a marketing all-rounder. His clean-living lifestyle appealed to companies who felt safe in the knowledge that he would not tarnish their brand, while his supreme fame lent products instant recognition – the holy grail for advertisers. A survey in the early 1970s showed that the name Pelé ranked behind only Coca-Cola as the most popular brand in Europe.

Pelé’s flair for diplomacy is another significant reason why he is such a hit in the marketing industry. ‘He is a unique individual who transcends borders as well as the affinities people have for their local teams,’ says John Stuart, MasterCard’s senior vice president of global sponsorship. ‘Not many athletes have that capability. Johan Cruyff is a god in Holland. He’s one great player, but he’s pretty acerbic. Pelé is a bit more diplomatic. That’s why he runs so well across borders.’ CONNECTING WITH THE ORDINARY The capacity for extraordinary people to connect effortlessly with the ordinary, to provoke awe while remaining accessible, is at the heart of the most pertinent comparisons between Pelé, Mandela, Ali, Diana, Mother Theresa, and their elite ilk. Like his cultural counterparts, Pelé appears sensitive to the impact he has on people, often calling upon a tactful delicacy to quench the fervour that follows him everywhere. ‘He is just so incredible with people,’ says former Scotland coach Andy Roxburgh. ‘Even if he has a pressing and important appointment he will not rush off or run away from the last autograph. He is very focused on his view that the people come first and you don’t come across many like that in football.’ But it is the story of his arrival in Africa with club side Santos prompting

a temporary ceasefire in the 1969 Congo Civil War that is perhaps the definitive illustration of the reverence with which Pelé is held. Many celebrities can stop traffic. Not all of them can stop wars PELÉ THE PERFORMER It is often the case that the public persona of a sportsman is an exaggerated version of their real ‘self’. Muhammad Ali’s deep-rooted self-belief, for example, provided the template for a brash, outspoken facade. The public Ali oozed charisma, but could infuriate as often as he entertained. Yet in the cold light of day, Ali would admit that his outbursts – often hugely offensive towards opponents – were driven primarily by a desire to popularise boxing and sell tickets for his fights. The way that Edson plays the role of Pelé is an altogether different proposition. Lacking Muhammad Ali’s wit and larger than life persona – not to mention his orthodox good looks – the secret behind Pelé’s popularity lies elsewhere. Certainly, he does not shy away from the kind of self-proclamations that regularly led to accusations of arrogance being levelled at Ali. Indeed, Beethoven and Jesus are just two leading lights with whom Pelé has compared himself over the years. Yet, as the journalist Andrew Downie notes, ‘Even when he is comparing himself with some of the greatest geniuses of all-time, he comes across not as an arrogant celebrity, full of his own importance,

but simply an ordinary man pointing out an obvious truth that even a simpleton could understand.’ Pelé also creates an alter-ego by explicitly detaching Edson – his birth name – from Pelé. ‘I know that Edson is mortal,’ Pelé says. ‘He is without a doubt someone that the public doesn’t know very well. He’s the person who looks after the Pelé myth. But Pelé is immortal, he’s a legend. Edson keeps this all together.’ An effective by-product of this separation of person and persona is that it allows Pelé to celebrate his talent, even in the most bombastic manner, without sounding conceited. How much thought Pelé has put into this speech habit is unknown, but effective it remains. a TRUE GENIUS The sporting fraternity is unique in that it generates unanimous deference amongst its followers. Whereas the relationship between celebrities from other arts and trades is often competitive and edgy, celebrities have always attached themselves to sport in the subordinate context of fans. Whether it be Spike Lee and the New York Knicks, or Jack Nicholson and his beloved Los Angeles Lakers, stars are often reduced to gushing, childlike figures when talking about sport. The reason lies in sport’s ability to give rise to bona fide genius. We often view genius in opposition to talent. Talent, we believe,

“Andy Warhol once said that Pelé would defy his 15 minutes of fame theory and would instead enjoy 15 centuries.” stems from reasoned intelligence and constant effort at improvement. It repeats flawlessly what has already been done, but does not create. In contrast, genius is regarded as inborn, intuitive and instinctive. Pelé possesses this aptitude, and demonstrates it more frequently and to a higher degree than any other footballer in the sport’s illustrious history. He transcended mere talent by consistently creating new moves never seen before. With this in mind, Pelé’s own comparisons of himself with the likes of Mozart and Beethoven are not so far-fetched. Certainly, he stands up there with more contemporary names worthy of the appellation ‘genius’. Michael Jordan and Ali in sport, Elvis, Miles Davis, Brian Wilson and the Beatles in music, even Stephen Hawking in the world of science. All of them, along with Pelé, share the ability to display effervescent virtuosity, invention and imagination, instinct and improvisation and unconventional technique – the common, unmistakeable traits associated with authentic genius. RIGHT PLACE, RIGHT TIME If Pelé’s sense of timing on the football pitch formed a significant facet of his genius, his emergence as a footballer was calculated with similar perfection. Surfacing at a time when Brazilian soccer had no need of certified coaches, and when the joy of playing was of essential importance even for professionals, Pelé’s unique ability offset his tender

years and slight frame in the eyes of coaches and spectators alike. Then, significantly, the spectacle of Pelé’s apogee at Mexico 1970 was brought, for the first time, by colour television to millions of viewers in Europe and the Americas. Constant television replays of the Brazilian triumph provided a crucial referent for the mythologising of arguably football’s greatest team and player. Andy Warhol once said that Pelé would defy his 15 minutes of fame theory and would instead enjoy 15 centuries. Certainly, fascination with the Pelé legacy shows no sign of diminishing. It is also clear that Pelé is comfortable with the mantle of being a living legend. After nearly half a century in the limelight, this is no surprise. But the clarity and frankness with which he speaks about his cosmic fame remains impressive. He knows he is special and knows why. But perhaps only one question remains: why him? ‘Sometimes this is something that I ask God,’ Pelé says. ‘When I go to bed, I ask – “Why? Why Pelé?”’ At a time when the concept of celebrity has become virtually worthless, Pelé’s question is redundant. Far more significant is the fact that Pelé is remembered primarily as the first superstar and greatest exponent to have ever emerged from the world’s most popular sporting religion. He was quite simply the right genius, in the right place, at the right time.

www.ANGLOMANIAMAG.com

adidas originals text: Cleo Davis

The adidas Originals Autumn/Winter 2008 season continues to celebrate originality and stays true to its characteristics: a collection featuring authentic and creatively unique themes for the lifestyle market. Crafty Adidas had merged with the creative types to introduce the ‘Craftsmanship’ theme, which combines typical adidas quality materials with luxurious street fashion influences. Men should look out for the ZX700 Boat, a creative street reinterpretation of the 80’s running shoe series ZX. And ladies, get practising your Kournikova poses for the purple court-inspired Archive dress; made from the cold-combating cloth corduroy. B-Rave ‘Techrave’ is the second running theme to adidas’ Autumn/ winter wonder collection. Oozing rave spirit, each item brings back memories of ‘90s silhouettes. Metallic moments and neon poptastic colours bring this bright and banging theme to life. Adi-Diesel Originals Denim by Diesel is kicking into its second season with the AW08 collection. With ten brand new styles on offer, the sporty style collaboration introduces its fans to a much broader product palette. Mrs Diesel fans can look forward to a classic selection of three cuts including straight leg, boot-cut and highwaist. There are six new styles in the men’s collection including the already known and much-loved adi-viker style. So Fresh, so Green Adidas is keeping up with its attempts to help save the environment with its second instalment of the eco friendly Grun collection that claims to efficiently utilize the natural resources of this world. ‘Made From’, ‘Reground’ and ‘Recycled’ are the key elements to this line of footwear, which includes classic silhouettes like the Forum basketball sneaker and the ZX 500 runner. All products are made from recycled and natural materials. The autumn/winter 08 collection hit retail in June in Originals Stores, at selected retailers and in special Sport Performance Stores all over the world. Alongside the highlight concepts, other foundation pillars of the adidas Originals line such as Sleek, Tournament and Classic Clean continue to be offered.

10.

13.

11.

14.

12.

15.

16.

1. Aqua Lifestyle Cabana racer II £45 by PUMA 2. Khaki and black Lifestyle Cabana racer II £45 by PUMA 3. Blue Lifestyle Cabana racer II £45 by PUMA 4. Red Lifestyle Cabana racer II £45 by PUMA 5. Chuck Taylor All Star leather hi-top from £70 by Converse 6. White ‘Classic Green’ £55 by Lacoste 7. ‘Hellboy II’ collaboration trainer: Forum Mid-Golden Army £poa by Adidas Originals 8. NET 80 C&S £65 by Adidas 9. Monochrome Lifestyle Cabana racer II £45 by PUMA 10. Lifestyle Crete Metallic (Women’s) £55 by PUMA 11. White Lifestyle Roma 68 Italia (Women’s) £60 by PUMA 12. Black leather with white stitching trainer shoe €269 by Dirk Bikkembergs Sport Couture 13. White ‘Ibsen’ £150 by Paul Smith 14. Black Lifestyle Roma 68 Italia £60 by PUMA 15. Gold Lifestyle Cell Meio Metallic Croc £100 by PUMA 16. Blue ‘Scout’ £85 by Paul Smith 17. Black Lifestyle First Round Boot Women’s £85 by PUMA 18. Serger Hi Art white top £55 by G-Star 19. Red Lifestyle Key Women’s £55 by PUMA 20. Black and lime hi-top trainers €329 by Dirk Bikkembergs Sport Couture

17.

18.

19.

20.

Masculinity, moustaches and man-bags …

compiled by Cleo Davis

Dirk Bikkembergs Sport Couture AW08/09 football shape bags and high-fashion holdalls are the height of sport luxe accessories for men this season. In keeping with the same passion for life and luxury, carefully chosen football players and water polo champions will represent this unmistakably authentic collection. 1.Green weekender with detachable shoulder strap €750 2.Metallic green shopper in leather (also avail in electric blue) €740 3.Black calf leather double zipper leather weekender handbag with metal logo letters in lime €953

To compliment its Complete Running Footwear, a collection of performance shoes, PUMA will launch its Complete Bodywear Collection – the perfect solution for the active, sporty consumer. In true PUMA fashion, the Complete Bodywear pieces are just as stylish as they are athletic. The collection is offered in three categories – advanced, active, and authentic - each with different functions and benefits. ADVANCED The Advanced collection offers lightweight highly functioning compression technology for ultimate support and comfort with minimal bulk. Additional features include an energy system for improved oxygen delivery to the muscles. The USP wicking system rapidly moves moisture away from the skin and optimizes body temperature, and the UV protection feature reduces the effects of the sun’s rays. ACTIVE The Active pieces are designed with seamless body construction, which supports limitless movement. Features include engineered mesh panels to enhance ventilation and airflow, a USP moisture wicking system which speeds moisture transport away from the skin, and knitted-in anatomical planes to support core muscle groups. AUTHENTIC The Authentic apparel is made from lightweight spun polyester, giving it a soft, cottony texture and feel. These semi-fitted pieces, made with a cut and sew construction, are tailored to the body for maximum mobility and comfort. Launching in July the Complete Bodywear Collection will be available throughout the UK & Ireland. For more information, please visit www.puma.com or call 0845 123 7862

Rudolf Dassler by PUMA

presenting the new S/S 2009 at a special event in Barcelona during Bread & Butter

Rooted in heritage sport and revolutionary spirit, Rudolf Dassler by PUMA is a modern SportFashion collection that combines vintage silhouettes with a street edge. The brand’s individual and rebellious philosophy is brought to the forefront this season with a special event focused around street style and music . Rudolf Dassler by PUMA hosted a special event on the evening of July 3rd in Barcelona to present its Spring/Summer 2009 collection to select press, introducing an Exhibition by photographer Nagi Sakai, featuring top model and style icon Irina Lazareanu wearing Rudolf Dassler by PUMA Spring/ Summer 2009 collection. To celebrate Rudolf Dassler by PUMA roots in music and street culture, two international electro/indie band, The New Young Pony Club and The Crazy Dukes played a special live dj performance at the event Spring/Summer 2009 Rudolf Dassler by PUMA collection takes its main inspiration from “Back to the future”, a theme that is focused in architecture and the modern metropolis. Unique design elements from the 1920s inspire the angular, asymmetric graphics on apparel pieces and more futuristic references are seen with layering of transparent fabrics and perforated meshes on footwear and apparel. The “Old meets new” thought process can be seen in the worn heritage inspired fabrics in modern silhouettes. Menswear is significantly slimmer and influenced by our contemporary music scene, whilst womenswear has a looser silhouette and the sport fashion pieces look young, modern and sexy.

1 2

1. Irina Lazareanu 2. Tahita Bulmer from The New Young Pony Club 3. Irina Lazareanu 4. Irina Lazareanu and The New Young Pony Club

IWC Schaffhausen Launch Party for the new Zinédine Zidane Ingenieur Automatic

More than 700 guests came to celebrate the launch of the new Ingenieur Automatic dedicated to Zinédine Zidane. A very special highlight was the presence of the Football World Champions of 1998, who spent a fantastic night amongst many other celebrities, including Tony Parker and his wife Eva Longoria. For the worldwide launch of its new Ingenieur Automatic Edition Zinédine Zidane, the manufacturer IWC Schaffhausen brought together more than 700 guests in one of the capital’s most legendary sites. A host of stars and celebrities coming from different backgrounds were present in front of the illuminated Eiffel Tower at 10pm to discover the very latest Ingenieur Watch developed by IWC, in collaboration with Zinédine Zidane, who has become brand ambassador. Amidst the flashes of the cameras, guests watched the red carpet arrival of the 1998 football world champions, coming directly from the Park Hyatt Vendome: Christophe Dugarry, Laurent Blanc, Bixente Lizarazu, Didier Deschamps, Alain Boghosian, Bernard Lama, Marcel Desailly, Vicent Candele and Christian Karembeu, who was accompanied by his wife Adriana.

Zinédine Zidane, Véronique Fernandez and Georges Kern

There were several highlights throughout the evening , starting with the live performance of the graffiti artist Noé Two, who painted Zinédine Zidane on a magnificent canvas and ending with the guests dancing to the beats of the famous DJ Martin Solveig, pausing only to enjoy the most refined food and refreshments.

Sandrine Quetier and friend

Christophe Dugarry and Dominique Charria

Christine Kelly, Karine Lemarchan and CaroleRousseau Noemie Elbaz and friend

Noe Two Bixente Lizzarazu

Rachel Legrain-Trapani, Ladj Doukoure, Tony Parker and Eva Longoria Carole Rousseau et Georges Kern

Adriana Karembeu and Christian Karembeu Martin Solveig

Celine Geraud

FASHION

&BEAUTY TOM FORD LOUIS VUITTON CLAIRE MERRY HENRY HOLLAND ROMIKO MICHAEL THOMpson

THE COMEBACK KID The Midas touch that once spun Tom Fordâ&#x20AC;&#x2122;s fashion persona into pure gold has failed to translate into Hollywood currency. After returning to the spotlight with his first eponymous menswear collection in 2007, could the designer finally reclaim the magic . . . or has Fordâ&#x20AC;&#x2122;s time come and gone? Lauren Weinberg takes a look.

10 Things You Never Knew About Tom 1. He doesnâ&#x20AC;&#x2122;t wear deodorant 2. He got his first pair of Gucci loafers at age 12 3. He sleeps no more than 2 or 3 hours each night 4. While studying at NYU Tom would stay out all night partying at Studio 54 5. He used to model and was even featured in 12 simultaneous TV commercials 6. Born into a family of staunch Democrats, Tom is never soft-spoken about his disdain for George W. 7. He prefers going commando 8. Heâ&#x20AC;&#x2122;s an avid art collector of works by Warhol, Ellsworth Kelly, Calder and Sam Taylor-Wood 9. Before he met his current partner, Richard Buckley, Tom was often known to date women 10. He would love to have children one day (although he will have to convince Mr. Buckley first). 83

During his fifteen odd years as fashion’s golden boy, Tom Ford never ceased to titillate, shock, and amaze. But since his abrupt departure from Gucci in 2004 – when he announced he was giving up fashion and embarking on a film-making career in Hollywood – Ford’s production company Fade to Black has failed to deliver. Known more for his steamy – some say salacious – nude layout for Vanity Fair’s 2006 Hollywood issue, Ford set his sights on Seventh Avenue. With a new perfume, lux lines of makeup and eyewear under his belt, plus a menswear store opened in Manhattan, Ford is back and ready to reclaim fashion’s crown. However, the question remains: will the prodigal son be welcomed with opened arms or has the era of Tom Ford come and gone? Will Hollywood’s cold shoulder portend a more sceptical attitude towards the designer who once could do no wrong? Three years ago when Ford shocked the fashion world by leaving his starring role at Gucci Group, his legacy was more than his creative genius and its preternatural embodiment of sex and emotion. Rather Ford’s greatest coup was his elevation of the designer to celebrity status. Ford didn’t just dress the stars, he was one. ‘Tom Ford was the combustion that drove the entire Nineties,’ says John Demsey, president of Estée Lauder. ‘The glamour, the excitement and the product not only inspired people to love Gucci, but fueled an amazing moment in fashion around the world.’ During his ten years at the creative helm of the House of Gucci, Ford presided over everything from product design and communications strategies to store décor and ad campaigns. He carried a lacklustre and almost tacky brand out of near bankruptcy, transforming it into an icon of high-fashion glamour worth over $4 billion. Born in Texas, raised in New Mexico, and refined in Manhattan and Europe, Ford’s ascendancy into the fashion pantheon came with his Fall 1995 collection for Gucci. It was here that Ford’s androgynous silhouettes accented by Halston-style velvet hip huggers and satin shirts gave new meaning to the term ‘sex-appeal’, and reshaped how we think about beauty. Ambiguity is one of Ford’s trademarks as a designer, as he refuses to be pinned down to one look, or one sex. ‘I’ve always been about pansexuality,’ Ford told W magazine. ‘Whether I’m sleeping with girls or not at this point in my life, the clothes have often been androgynous, which is very much my standard of beauty.’ Art history and acting were Ford’s early callings, and when he was eighteen Ford set off for New York, enrolling at NYU. But it was Studio 54 that would have the greatest influence on the impressionable Ford, who befriended Andy Warhol and members of the ‘Factory.’ Staying out until the early morning hours, Ford would often retreat to a nearby café to write his school essays on paper napkins. Architecture soon beckoned, as Ford dropped out of NYU, enrolling at Parson’s School of Design. A trip to France at the age of twenty would influence his decision to study at Parsons in Paris and mark the beginning of a life-long affair with fashion. ‘I think all Americans have a fantasy about Paris, and I think it really dates back to the 19th century when a lot of the best things came from [there] . . . I cried the first time I walked around in Paris.’ Ford’s permanence in the ephemeral world that is fashion is due in large part to his perfectionist nature. He modernized Gucci by overseeing every detail of the brand. ‘He controlled everything – not just the design, not just the runway shows, but the stores, the advertising, the packaging, the bags that people carried out the doors,’ said Stella McCartney. ‘He was a complete control freak, and that’s what made the company successful.’ His sensuous designs may have made Gucci a favorite amongst celebs but it was Ford’s media-friendly charm and often off-kilter comments that have given him notoriety and fame. For a man who regards sex and style as synonymous,

and who proudly declared that ‘Sex is something that I think about all the time,’ discretion is hardly one of Ford’s chief assets. ‘Historically, [Gucci] is Sophia Loren. Yves Saint Laurent is Catherine Deneuve. They’re both sexy,’ he told British Vogue in February 2001. ‘It’s just that Gucci is a little more obvious than Saint Laurent. The YSL woman might tie her boyfriend up and drip hot wax on him before they have sex, for instance. The Gucci woman is just going to have sex.’ Despite his obvious obsession with anything and everything carnal, Ford has been with the same partner, former Vogue Homme editor Richard Buckley, for nearly two decades. ‘My own sex life is very monogamous and happy. Just a happy married sex life!’ Ford is also known to sleep no more than three hours each night. ‘Sometimes I sleep even less,’ the designer once commented. ‘I find I can get so much done between midnight and 4 a.m. Everything is quiet, no one is disturbing me, and if I go to bed then, I just lie awake thinking of ideas. They are very creative hours for me. One night a week I crash out, though.’ This endless flow of ideas and inspiration not only influenced his designs for Gucci but for Yves Saint Laurent as well which Gucci Group acquired in 2000. As creative director for both luxury brands, Ford was at the peak of his game. So why the sudden departure? Ford and business partner CEO Domenico de Sole parted ways with the company in 2004 as a result of disagreements with PPR (Pinault-Printemps-Redoute) bosses over creative control of Gucci Group. The dispute allegedly centered around what Serge Weinberg, PPR’s chief executive, believed was a question of what was more important, the brand or the designer. ‘No one talks about Miuccia Prada,’ Weinberg said. ‘No one knows it’s she who designs the Prada brand.’ Adding to the catfight was the allegation by Weinberg that Ford wanted more money, something that Ford has adamantly denied: ‘Money had absolutely nothing to do with it at all. It really was a question of control.’ Whatever it was that finally put the nail in the coffin, Ford’s exit from Gucci and YSL sent shock waves of disbelief throughout the fashion industry: ‘Fin de la saga Tom Ford,’ wailed French Vogue. Ford has described the separation as like a death or a divorce. ‘I was depressed. I wallowed in self-pity . . . I had therapy for the first time in my life and that helped me to realize that the greatest pleasure in my life comes from making, building and creating things. It is the process that I love.’ Ford’s re-entrance into fashion has been a slow and thoughtful process. ‘I realized that I wanted to come back [to fashion] but I was a little shell-shocked – and I didn’t know how far back.’ The launch of Ford’s self-funded flagship menswear store on New York’s prestigious Madison Avenue (ironically located opposite Gucci) is one of a trio including London and Milan and includes everything from luggage and accessories to tuxedos and tailoring. Housed within a renovated 1930s building, Ford’s collection reflects his penchant for sexy-glam, with clothes rich in quality, fabric and details. ‘Giorgio Armani and Ralph [Lauren] have both dominated but they are both 74 years old – and who is behind them?’ Ford has said of his decision to reignite his passion for menswear design. But for all Ford’s successes and bravado the reality can fall short, such as his much touted cover for Vanity Fair’s Hollywood issue in which Ford placed himself on the cover, fully clothed and centre stage with the totally nude Scarlett Johansson and Keira Knightley. The reaction was swift and excoriating, and the consensus was that the photo was icky, creepy, and just plain weird. One thing is for certain though: in an industry where risk-taking is everything and can either make or break a career, Ford has never had a boring moment nor has this Madonna of fashion ever stopped reinventing himself. ‘This job is a total ego thing in a way. To be a designer and say, “This is the way people should dress, this is the way their homes should look, this is the way the world should be.”’ But then again, this has always been Tom Ford’s goal from the very beginning: ‘world domination through style.’

Lashings of luxurious leather

and warm autumn shades of

conker browns

to keep winter cold at bay

Damier Graphite collection helmet â&#x201A;Ź1300 by Louis Vuitton

mens 1

compiled by Cleo Davis

1: Multi strap motorcycle boots €1100 by Emanuel Ungaro. 2: Søren Georg Jensen cufflinks crafted in 18 carat gold £195 Georg Jensen. 3: L.U.C Tourbillon Tech Steel Wings in 18-carat rose gold (available in a limited edition of 100) £70,300 by Chopard. 4: Men’s crocodile print travel accessories. Luggage tag £13; picture holder £25 and passport holder £40 all by Fortnum & Mason. 5: Brown leather weekender bag €5,013 by Emanuel Ungaro. 6: Damier Graphite collection black belt €300 by Louis Vuitton 7: Black suede ankle boots €573 by Emanuel Ungaro. 8: Twentieth anniversary optical frames £565 by Giorgio Armani. 9: Luggage case €1100 by Louis Vuitton.

rebell r ebe

photos: Robert Mendolia

vest: Y’s shirt: JOHN RICHMOND sweater: JOHN RICHMOND gloves: G STAR pant: JOHN RICHMOND boots: BUCKLER scarf: ISSEY MIYAKE

jacket: Y3 ADIDAS hoodie: JOHN RICHMOND pants: VINTAGE DIESEL boots: CESARE PICIOTTI shirt: RAG & BONE

jacket: JOHN RICHMOND pants: CONFERENCE OF BIRDS sweater: Y’S shirt: ROGUES GALLERY

jacket: CAVERN boots: CESARE PACIOTTI denim: G STAR sweater: JOHN RICHMOND T-shirt & scarf: BUCKLER

sweater: CONFERENCE OF BIRDS

jacket: RAG & BONE sneakers: ISSEY MIYAKE sweater: OBESITY AND SPEED shirt: G STAR pants: JOHN RICHMOND

jacket: Yâ&#x20AC;&#x2122;S pants: J. LINDEBERG boots: BUCKLER vest: JOHN RICHMOND bomber jacket: John Varvtos for Converse

Homme

by Magnus EkstrĂ¸m

cotton shirt: Velour 96 jacket: LEE

98 FILIPPA K shirt: WHYRED jeans:

cotton jeans: NN07 100 shirt: BOOMERANG

cotton jeans: TOMMY HILFIGER shirt: ACNE

101

cotton T-shirt: FILIPPA K jeans: GUCCI 102

103

top: DR DENIM 104 shorts: MADS NORGAARD

shirt: WON HUNDRED jeans: DIESEL

105

t-shirt: WON HUNDRED jeans: LEE sneakers: NIKE

107

shirt: VELOUR 108

Photo: Magnus Ekstrรถm www.ibsen-co.com Stylist: Palle Rahbek Model: Romulo Pires Makeup: Trine Lee Retuoch: Nurali Kushkov PhotoAssi.: Claus Bellers

109

LOUIS VUITTON

There were many casualties in the Heathrow airport Terminal 5 fiasco. The news beamed images of thousands of bags lying in a woeful jumble in deserted terminals, the symbol of thousands of ruined holidays and wasted business trips.

Vuitton leather Alzer suitcase. This iconic piece is the holy grail of accessory design – all the elements positively scream luxury, history, quality, craftsmanship, and let’s face it, wealth. If you own one of these babies, you are somebody. Any fashionista worth her salt would sell her firstborn at the prospect of owning such a luxe item. Unmatched One moment of pure pathos characterised the whole sorry affair: Naomi craftsmanship, unchanged since the 19th century, goes into the creation Campbell was arrested after flying into a rage when one of her bags of each limited edition handmade trunk. failed to be put on her Los Angeles bound flight. Alas, this was not the first time she had been involved in a fracas at Heathrow and this As Contemporary Fashion can assert: ‘the craftsmen line up the leather time, there was no ‘get out of jail free’ card for the notoriously fractious and canvas, tapping in the tiny nails one by one and securing the fivemodel. letter solid pick-proof brass locks with an individual handmade key, designed to allow the traveller to have only one key for all of his or Police boarded the plane and led Ms Campbell away in handcuffs, her luggage. The woven frames of each trunk are made of 30-yearand the incident served as an ‘icing on the cake’ reminder of temper old poplar that has been allowed to dry for at least four years. Each tantrums past. However, a detail came to light, which put the matter trunk has a serial number and can take up to 60 days to make, and a into perspective: the missing case in question was a classic Louis suitcase as many as 15 hours.’ The monogrammed lines retail from

111

£2,600 to £3,500, and a special order Alzer suitcase can go up to the teenager had to make the 249 mile journey on his own, by foot. £15,000. The journey was an education in itself. The young boy embarked on his Blame BAA, blame Heathrow, blame whoever; but mismanagement on adventure like a French Dick Whittington and took on a series of odd jobs a grand scale caused the world’s premier supermodel to flip, and I, for to see his way through to the capital. He became an apprentice Layetier, one, feel a degree of sympathy with the Streatham diva. which is the French name for the household member of staff who packs luggage. In the nineteenth century, a French nobleman would go on trips The last story is another in a long line to add to the legend of the oldest which could last up to a few months. Countless cases and clothes would luxury house in the world. It seems fitting that Louis Vuitton, the ultimate accompany them on their voyage. The task necessitated someone wholly name in high-end luxury and an internationally recognised brand, was dedicated to the task of packing a maximum of material into a minimum born from the chance of a lifetime and the brilliance of a travelling of space and Louis Vuitton progressed from one noblehousehold to man. another, acting as a Layetier. His reputation grew until he received the ultimate commission, when Napoleon III of France appointed him as Louis Vuitton was born on 4 August 1821 in Lavans-sur-Valouse, Layetier to his wife, Eugenie de Montijo. France. At the age of 14, he decided to seek his fortune in Paris. Before Through his experience with the French aristocracy, he developed an mod cons like the trains a tres grande vitesse made such trips a breeze, expert knowledge of what made a good travelling case. He distilled his

112

“In 1885, the company opened its first store on Oxford Street in London, which shows the tradition of the road synonymous with retail therapy in the UK.” knowledge into design and began creating his own luggage, setting the In 1885, the company opened its first store on Oxford Street in London, foundation for what was to become the most famous luxury brand in which shows the tradition of the road synonymous with retail therapy the world. in the UK. In response to continued imitation, the Damier canvas was created bearing a logo that read ‘marque L.Vuitton deposee’, which In 1854, Louis Vuitton opened his first shop on Rue Neuve des translates roughly as ‘L. Vuitton trademark’. This was the birth of the Capucines in Paris. An ornate sign above the door listed his name and famous LV monogram. next to it were the words Malletier a Paris – the boy from Jura had come very far indeed. In 1858, Monsieur Vuitton revolutionised luggage design In 1892, the great man passed away, leaving behind the foundations by introducing his flat-bottom trunk with trianon canvas, and achieved of an empire built through sheer undiluted talent and hard work. The the double triumph of creating a case that was both lightweight and management of the company passed on to his son, Georges Vuitton. airtight. The design was a runaway success, judging by the famous Georges began the campaign to build the company into a worldwide maxim: ‘talent borrows and genius steals’, as many other luggage corporation, by launching the now legendary monogram canvas. This makers began to imitate his style and design. In a reaction against this time, he judiciously made worldwide patents on it, which helped to wholesale theft, he changed the Trianon design to beige and brown stem the tide of counterfeits. The graphic symbols, including quatrefoils, stripes design in 1876, in order to distinguish his luggage from mere flowers and the LV monogram, were a fusion of delicate Japanese imitators. influence and late Victorian design.

113

“In 1987, Moet et Chandon and Hennessy, leading manufacturers in champagne and brandy, joined forces with Louis Vuitton to form a luxury goods conglomerate.”

He embarked on an international tour, visiting the United States, and selling Vuitton products in all the major cities, such as New York, Philadelphia and Chicago. The American influence galvanised his creativity and in 1901, he created the Steamer Bag, a signature piece.

actively supported Nazi Germany while it wielded influence in France. Insiders argue this was for the financial benefit of the company, and that the militaries wore Hugo Boss uniforms and drove tanks made by Porsche and Mercedes-Benz. The episode proved the commonly held notion that morality has no place in fashion.

By the time Georges Vuitton opened the Louis Vuitton building on the Champs Elysees in Paris, it was the largest travel goods brand in the world. Stores opened in such disparate locations as New York, Bombay, Washington, London, Alexandria and Buenos Aires, and all this before the outbreak of the First World War.

Post war, the brand exploded as the unique monogrammed leather was utilised in everything from small purses and wallets to larger pieces of luggage. The actress to epitomise all things chic, Audrey Hepburn, is seen carrying a Louis Vuitton bag in the film Charade (1963).

At the time of his death in 1936, control of the company passed from Georges into the hands of his son, Gaston-Louis Vuitton, and so began a dark period in the company’s history. In the run-up to the Second World War, during the Vichy regime, the Vuitton family

In 1987, Moet et Chandon and Hennessy, leading manufacturers in champagne and brandy, joined forces with Louis Vuitton to form a luxury goods conglomerate. Within one year, profits rose by almost fifty per cent and in 1989, Louis Vuitton had 130 stores worldwide.

114

In the last decade, Louis Vuitton has kept the brand fresh through a combination of forward thinking and a breath-taking sense of adventure. Mark Jacobs, the young designer who established himself as the Grunge king of the early 90s fashion scene was appointed Art Director in 1998. It was a gesture of confidence for an established high-end luxury brand to appoint a designer whose style was such a radical departure from the established status quo. Mark Jacob’s appointment injected some much needed life into the brand and the company’s first prêt-a-porter lines of clothing for men and woman were a runaway success. With endorsement from such gold-plated stars as Steffi Graf and Andre Agassi, Catherine Deneuve and Gisele Bundchen, Louis Vuitton sealed its reputation as the one designer label to marry class and style.

Richards strumming his guitar, in front of a monogrammed LV guitar case and a lamp draped with a skull print scarf. The choice of subject shows the company’s quietly revolutionary ethos, as other fashion labels and luxury houses fight over the hottest celebrity, model or actors to use in their campaigns. Louis Vuitton change the rules and make the point that a person’s place in the public eye is earned through achievement and talent. Both Richards and Gorbachev have contributed to our collective human experience, and deserve to be viewed and feted in the public forum.

The last 150 years at the forefront of the luxury goods market has proven that where LV lead, others will surely follow. Following founder Louis In a typically bold move, former USSR leader Mikhail Gorbachev and Vuitton’s example, it proves talent, not notoriety, is the quality to Rolling Stones legend Keith Richards are the most recent celebrities to aspire to, as it will outlast all other things. And that is the definition front a Louis Vuitton ad campaign. One Annie Leibovitz photo depicts of good taste.

115

Strengthen your style: Simple liquid lines and unconventional abstract angles form together to create a new-build of

strong structural shapes

Blue court shoe with black sculptured heels ÂŁ415 by Miu Miu

structurize 1

1: Mini Nougat yellow gold ring £1,500 by Dior Joaillerie. 2: Black and white wedge €680 by Louis Vuitton. 3: Silver cuff €500 by Louis Vuitton. 4: Sterling silver ‘MÖBIUS’ brooch £500 by Georg Jensen. 5: Jacqueline Rabun ring crafted in sterling silver with 18 carat yellow gold £1800 by Georg Jensen. 6: Constantin Wortmann candlestick crafted in stainless steel £40 by Georg Jensen. 7: Dark red kidney shape hard-case clutch (with chain) £1269 by Chanel. 8: 18-carat white gold and diamonds ‘Love’ paved cuff bracelet £poa by Cartier. 9: Red court shoe with sculptured heel £360 Miu Miu. 10:Silver earrings £poa by Louis Vuitton.

117

Ornamental and individual, each jewel tells a story of origin.

Colour and gold aplenty, these jewel-endowed adornments are

the treasure in a magpieâ&#x20AC;&#x2122;s dream, with shines and shimmers fit for a queen

Long gold necklace with hammered boxes & giant crystals ÂŁ351 by Mawi

BEJEWELLED 3

1: Victorian Earrings, Quartz and 18k Yellow Gold £4,200 by H Stern. 2: DVF power ring in yellow gold and rock crystal £3,400 by H Stern. 3: Black beret with jewel detail £280 by Chanel. 4: Double layer box chain gold ring with giant fuchsia crystal £203 by Mawi. 5: Sequin open toe platform with black wave heel £425 by Miu Miu. 6: Multi-colour cuff £2,800 by Swarovski. 7: Rainbow Collection ring with 9.8c citrine, 0.65c white diamonds and 5.20c pave fire opal and pink sapphires £7,950 by Avakian. 8: Diamond encrusted Jewellery Watch £108,040 by Chopard. 9: Dior Beam of Light clip earrings in silver finish metal, Swarovski crystal and glass cabochon £520 by Dior. 10: Celtic Dunes bracelet in noble gold and diamonds £10,730 by H Stern. 11: Allegra two row yellow gold semi precious stones; pearl and diamond earrings £4,290 by Bulgari

119

The circle: universal and most useful figure in the shape family.

Stylishly curvy, this style should be the only thing to orbit accessory-allowed areas

Necklace ÂŁ12,000 by Louis Vuitton

ORBITAL 3

1: Galaxy Collection ring with 11.72c fire opal, 2.27c pink sapphires and 2.53c white diamonds £14,300 by Avakian. 2: Jacqueline Rabun ring crafted in 18 carat gold with pavé set diamonds £7,700 by Georg Jensen. 3: Flirt pendant £165 by Swarovski. 4: Eclipse necklace £165 by Swarovski. 5: Long box chain gold necklace with circle pendant £270 by Mawi. 6: White bolster belt £865 by Christopher Kane. 7: Dior Style Gilded metal bracelet £265 by Dior. 8: Jacqueline Rabun earrings crafted in sterling silver with 18 carat gold £3175 by Georg Jensen 9: Double box chain gold brooch with giant black crystal £189 by Mawi. 10: Etoile headband £145 by Swarovski.

121

Black: the colour of mystery. Bring out the stars in the night-sky shade with flashes of

bright gold or

sparkling Swarovski

crystals

Dior Karenina bag ÂŁpoa by Dior

noir

compiled by Cleo Davis

1: Platform shoe booties in black crocodile leather and suede from £700 by Dior. 2: Full circle (£140) and semi-circle (£140) necklaces by ATELIER SWAROVSKI Christopher Kane Black Collection. 3: Black and gold cocktail ring £120 by CC Skye at Kabiri. 4: Black Mary-Jane shoe from £300 by Chanel. 5: Heart music note necklace £21 by Tatty Devine at Kabiri. 6: Black holdall with snakeskin handles €2500 Louis Vuitton 7: Double layer box chain gold ring with giant black crystal £203 by Mawi. 8:Crystal Chain £180 by Kenneth Jay Lane. 9: DVF black sutra diamond watch £6700 by H Stern. 10: Black patent court shoe with metallic gold heel from £300 by Chanel.

123

124

Paris Nocturne

photos: Paul de Luna and Zev Tambor

dress : SONIA RYKIEL Belt worn as bracelet : CHANEL

125

dress : SONIA RYKIEL Belt worn as bracelet : CHANEL 126

dress : JOSÉ CASTRO

127

blouse : EMANUEL UNGARO shorts : ERES 128

129

dress : J. MENDEL shoes: 130 CHRISTIAN DIOR

131

132

dress : JOSé CASTRO boots : EMANUEL UNGARO muslin: EMANUEL UNGARO

133

dress : JOSé CASTRO boots : EMANUEL UNGARO muslin: EMANUEL UNGARO

top : CHRISTIAN DIOR trousers : PAUL & JOE shoes : A.F. VANDEVORST bag: CHANEL

135

136

Styling : DaphnĂŠe Delamare Hair : Sandra Kieber Make-up : Eny Whitehead @ Sybille Kleber Production : Double-Barreled Productions Model : Katerina Semanova @ Next Paris dress : J. MENDEL shoes : SONIA RYKIEL

137

body con

cropped jacket: Aimee McWilliams mesh body: American Apparel bra: Agent Provocateur underwear: Wolford leather cuff: stylists 138own

139

white waistcoat: yves saint laurent body: madame v skirt: moschino cuffs: stylists own belt: GUCCI black leather socks: aimee mcwilliams 140

cropped jacket: AIMEE MCWILLIAMS mesh body: american apparel bra: Agent provocateur underwear: wolford leather cuff: stylists own black leather socks: aimee mcwilliams

141

142

THIS PAGE cape: KATE MOSS AT topshop black bra: MYLA trousers: WILLOW shoes (just seen): vivienne westwood OPPOSITE PAGE skirt worn as top: willow mesh underwear: La perla black label

143

144

THIS PAGE bra: topshop underwear: charnos OPPOSITE PAGE black silk jacket: YOHJI YAMAMOTO white silk dress: stylists own

145

146

Photography: Jonny Storey at Terri Manduca www.terrimanduca.co.uk Hair: Kenna at Era Management using Kiehls eramanagement.co.uk Make-up: Emma Day at Terrie Tanaka using Shu Uemura Stylist: Angela Smith angesmith@mac.com jumper: AIMEE MCWILLIAMS underwear: WOLFORD black leather socks: AIMEE MCWILLIAMS shoes: giuseppe zanotti 147

flying the Flag for

British fashion English model Claire Merry is, in one sense, a relic from the past: she is a lover of fashion, for fashion’s sake. In an exclusive photo-shoot and interview, she tells ANGLOMANIA about one enduring passion in her life. interview: Catherine Sevigny text: Paul Joseph

It feels like an age since Claire Merry caught the eye as “Nicole” in an advert for Renault Clio, famed for its ‘va va voom’ tagline and ‘he-who-shall-not-be-named’ ball-kicking protagonist. Years on and we still know relatively little about the Croydon-born 27-year-old, having avoided the glare of publicity lapped up by her erstwhile female counterparts – the harem collectively known as ‘WAGS’. In fact that memorable car commercial served as a template for the way she has dealt with the burst of public interest that followed its airing and then her subsequent marriage to the footballer Thierry Henry. In the advert, she cut a fleeting, ethereal figure – only in shot for a moment, and even then without a clear view of her face. In nurturing an image of Claire that combined girl-next-door wholesomeness and enigmatic sexuality, the ad’s creative team, led by Gerry Moira and Ira Joseph, pulled off an impressive feat. It is a perception that has endured to this day. How many are aware that she appeared in the Hollywood movie Fifth Element? Meanwhile commissioned photography of her remains scarce, and even the notorious ‘paps’ have found her elusive prey. Which only goes to show that the road to becoming tabloid fodder is a two-way street. Today she continues choosing her public outings with a level of discretion you would expect from a woman embroiled in an ongoing divorce case with a high-profile sportsman. It was therefore with great delicacy that ANGLOMANIA approached Claire about the possibility

148

of a photo-shoot. Indeed, it was only Claire’s long-standing friendship with our Editor-in-Chief, Mo Sow, and a genuine love for fashion that persuaded her to take part. ‘I love modelling, and it’s nice to do one-off shoots like this one,’ Claire said during a break in shooting at a Shepherd’s Bush studio in west London. ‘I love Mo and I love his magazine, so it’s great to do this. His images are so high fashion, but funky and accessible at the same time.’ That she has chosen to keep her council on other more sensitive issues is taken as read; but happily for us, she is more than candid when talking about her fashion tastes: ‘I like high and low fashion,’ she explained. ‘I read Grazia, Harper’s Bazaar and Vogue, and like every girl my age I grew up reading Just Seventeen. I think magazines play a huge role in helping women decide what’s hot, what things they might try out, the crazy outfit that might just look good – expanding fashion horizons I guess! ‘My designer favourites are Azzedine Allaia, PPQ and for accessories its YSL every time. I just love, love, love, those shoes and handbags. Marchese has perfected that kind of sexy, elegant dress, the kind that gives you curves when you haven’t got any, a bit like me! Balenciaga is amazing, sexy but with an edge.’ From Naomi Campbell, born in Peckham, to Kate Moss, fellow Croydon girl, south London has proved a fertile breeding ground for the fashion industry in recent times.

But Claire denies that her postcode has had a huge influence on her image: ‘I’ve always had my own style and wanted to dress differently from the pack. When I was a teenager, I spent my life in the charity shops, picking up dresses for a few quid. ‘Even now, my favourite shop in London is a place called Relic in west London, where they have the most amazing vintage, second hand clothes you have ever seen. I could spend days there. In fact, I bought a jumpsuit from there just the other day. It’s all black and so 80s it hurts – I love it.’ Despite a figure that a friend on the shoot describes as unchanged since her teenage years, Claire feels her modelling days are behind her: ‘I am a mum now, and my daughter requires all my time and energy.’ ‘I think the most important fashion tip a mum can give is “wear what you want to wear”’, she adds. ‘As long as she is happy, then I am too. Even if she totally hates fashion!’

150

Weighing in on the size zero debate, Claire gives us her pick of the new models: ‘Lily Cole is my favourite of the crop of new girls. She’s obviously pretty but there’s something really different about her and I like that. ‘The whole size zero thing is really difficult: I was a model for years and I met dozens of girls who were naturally just really thin. They could eat all day and never put on an ounce, but then there were also girls who were starving themselves. ‘Sometimes it was impossible to tell the difference.’ Posing in a St. George’s flag for our shoot seemed to come naturally to a woman who represents classic English beauty and elegance. Yet she sees the UK scene not just as a standard-bearer, but a mould-breaker. ‘British fashion is more edgy,’ she said. ‘It’s braver, it’s no holds barred. I think we’re the best at it, without a doubt.’ For a woman who treats fashion as a representation of her femininity, rather than a showcase for her celebrity, there’s nowhere she’d rather be.

House of Fun Super-skinny jeans, model mates and an asking-for-it attitude; sounds like a recipe for fashion fame. But Brit-IT designer Henry Holland started his label House of Holland on the premise that it would be a bit of fun and games. Cleo Davis joins in on the joke and reveals why the Lancashire born designer is London’s right now notable newcomer. A man of many words, Holland began his career as a fashion journalist. Securing his knowledge and opinions of fashion designers safely in his back pocket, the 24 year old decided to opt for the out-there approach to clothing and produced a collection of neon printed text-heavy T-shirts. But rather than a revolutionist of meaningful messages, Henry styled it out with the simplicity of ‘silly’ slogans referring to fellow fashion insiders including designers, celebrities and models. Crack-up comments such as ‘Do me in the park Marc’ and ‘Do me daily Christopher Bailey’ were paraded at London Fashion Week as his debut collection. Lapped up by luvvies, the Autumn/winter 07 collection quickly landed House of Holland firmly on the fashion pack map. Henry once described his style as ‘Hedi Slimane on acid with a strong Dolly Parton twist; his unpredictable collections are keeping fashion editors on the edge of their Purves & Purves plastic pews. From ‘talking’ Tees to patent leather hotpants to all-over tartan outfits, Holland knows how to woo the ways of the critics. Now established as Fashion Week must-have, Holland no longer has to rely on the support of Fashion Fringe to get House of Holland on the catwalk. Speaking of his fashion thoughts, “I think fashion should be one big dress-up party…you should

152

play around and have fun with what you wear, so it shouldn’t be taken too seriously.” You only need to visit his website (www.houseofholland.co.uk) to see how the cheeky chappy operates; quirky poems, off the cuff creative comments and enough neon to put the Blackpool lights to shame, this is just what the London fashion scene is all about right now. Henry’s mate-on-a-plate, old housemate and now rising model Agyness Deyn has been a true asset to the label from the start. She almost seems part of branding: fresh, new and lusted after by all of London’s fashion luvvies. Friends since sneaky fag days in hometown Ramsbottom, the pair have created an almost double-act whereby work almost certainly turns to nighttime playing. The t-shirt twins take to some of London’s plushest drinking hotspots; west-end members club Movida hosted the latest House of Holland homage party ‘Fash Bash.’ Guests were treated to a décor of wallpapered tartan throughout the club; the powerful print is the focus of his AW08/09 collection. Fans of the brand include the bold and beautiful music star Beth Ditto, who bravely dared the skin-tight crest-motif catsuit taken from the most recent AW08/09 collection. Holland was most honoured to have an icon such as Beth wearing his creation and proudly stated, “In terms of collaborating, I absolutely love Beth Ditto.” As a friend of fashion and fun, one can only wait in suspense for House of Holland’s SS09 collection of Lego block built creations.

153

Models

Model

154

Ty and friend

Jodie Harsh and Sophie Ellis-Bexter

Model

Agnes Deyn

Kelly Osbourne

Model

155

Henry Holland

Hilary Alexander

156

Kelly Osbourne

Backstage

Tallulah

Sophie Ellis-Bexter

Henry Holland

157

male grooming

Back to Nature: Protect and preen your skin for the colder months ahead. Let the newest natural products, specifically designed for male skin, do all the hard work.

1: Having a positive relationship with the environment has been an integral part of the MenScience philosophy as evidenced by the debut of another smart, eco-friendly product, the Advanced Face Tonic. Smoothing rough, weathered skin and clearing away dead skin cells, this gentle, fragrance and dye free product utilizes Glycolic Acid and Malic Acid to dissolve buildup and clean pores of impurities together with the soothing, antioxidant power of Green Tea, Allantoin and Witch Hazel. The new Advanced Face Tonic (£26 177ml) uses natural, eco-friendly ingredients, the Tonic’s recyclable container is devoid of superfluous packaging. 2: Gentlemen’s Tonic is a unique establishment in the heart of Mayfair that offers the modern man a traditional barbershop and a variety of lifestyle and grooming services. The recently launched product range, Gentlemen’s Tonic Babassu and Bergamot is ideal for those wanting Gentlemanlike grooming in the comfort of his home. From shampoo to hand cream, this pack consists of naturally based plant-derived materials from sustained and renewable resources that are specifically formulated for men’s skin and hair. Featured package £100. 3: Pure-formance Exfoliating Shampoo £16.50 for 200ml by Aveda Men. The newest edition to this well-established natural product brand; a weekly shampoo that exfoliates the scalp to remove dull, dead skin cells, excess oil, product build-up and other surface impurities. The Exfoliating Shampoo promotes a noticeably smoother, healthier looking and feeling scalp. Hero ingredients include100% naturally-derived exfoliants made of walnut shells and jojoba beads.

Chemical Reactions: Two new and very different seasonal scents 4: Available this October for two months only from Selfridges, Harvey Nichols and Harrods and a handful of select counters nationwide, Tom Ford for Men Extreme is a showcase for Ford’s distinct olfactory signature: it combines highly sophisticated, precious materials in an innovative new sequence, creating an unmistakably modern fragrance that is nonetheless rooted in the finest traditions of the perfume-maker’s art. £80 for 50ml 5: Synonymous with suave, a quintessentially English fragrance. Introduced in 1954, No 89 takes its name from the number of the flagship Floris shop, 89 Jermyn Street. No.89 Fragrance for Men. A lively blend of zesty citrus with warm base notes for an exhilarating fragrance experience £46.50 100ml by Floris.

158

159

fragrence

photos RYO KAIKURA

of the month

Calvin Klein Euphoria Blossom Eau de Toilette ÂŁ53 per 100ml

160

Euphoria: (n) groundless and exaggerated elation; a pirated feeling of well-being. And so Calvin teaches us to be well, with a scent lathered in tempting notes of persimmon and pomegranate, washed in the exotic floral highlights of lotus blossom and black orchid, and dried by the earthy tones of amber and mahogany. Or a warm blanket of raspberry cream.

Masque: (n) a dramatic composition. YSL ‘Lisse Expert’ peeling masque provides a spectacular cosmetic resurfacing effect. Formulated with glycolic acid, this skin-renewal masque balances strong resurfacing efficacy and optimum skin tolerance: The perfect amount of glycolic acid, combined with the mechanical action of exfoliating micro-spheres, safely and effectively minimizes the appearance of flaws on the skin’s surface: dull complexion, open pores, skin irregularities. Re-texturize. Rejuvenate.

YSL ‘Lisse Expert’ Line Eraser Kit £89

product

photos GEORGE BAMFORD

of the month

161

RMK Photographer Profile: MICHAEL THOMPSON

Beauty by Romiko for RMK

162

Born in 1962 in Washington, U.S.A. Influenced by his father who owned a photo studio in the town where they lived, Thompson took an interest in photography from an early age. He then studied at the Brooks Institute of Photography and after graduation, went to New York to work under Irving Penn. He became an independent photographer after being selected to work on “allure” magazine’s premier issue (1991). He has dealt with photo shoots focusing on fashion and beauty for many magazines and recently is also active in the field of TV commercials.

163

164

165

Brighten up the colder months as make-up gets

fresh and fruitY

in raspberry and

reds

pink grapefruits.

166

VERy BERRY

compiled by Cleo Davis

1: Pop Gloss crystal Romantic Dandy (No.441) and Fatal Dandy (No.442) lip colours £14.50 each by Givenchy. 2: ‘Bard’ pink with toffee twist lip cream £9 by B Never Too Busy To Be Beautiful. 3: Palm-free pink Godmother soap £2.25 for 100g by Lush. 4:Cherry tint lip tint with SPF15 £11 by Bobbi Brown. 5:High Impact lip colour with SPF 15 £12.50 by Clinique. 6:Raspberry Dazzle Glass £12.50 by MAC. 7: Hot pink palette blush £16 by Bobbi Brown 8: Cheek Color Cream in candy apple £17 by Paula Dorf. 9: Non-sharpen ‘Intriguing Elegance’ lip crayons, £16 each by Shiseido. 10: Fruity Fantastic nail varnish £14.50 by Chanel. 11: ‘Bungee’ lipstick in pale pink shimmer £10 by B Never Too Busy To Be Beautiful

167

Subtle hints of

shine and shimmer turn an ordinary look into a

168

sparkling splendour.

HEAVY metaL 6

1: ‘Intriguing Elegance’ silky eyeshadow quads £26 each by Shiseido. 2: ‘Bogart’ pressed eyeshadow pinky purple grape £8 by B Never Too Busy To Be Beautiful. 3: Binky tinted moisturiser with organic avocado oil and rose water £18 by B Never Too Busy To Be Beautiful. 4: Shimmer eyes precious shimmer eyeshadow (No.44) £27.50 by Givenchy. 5: Colour Addict eyedust in sugar love £9.95 by Vita Liberata 6: Metallic Eye Shadow in Cognac £14 by Bobbi Brown. 7: Neo Sci-Fi Shadow £10 by MAC. 8: Amber light lip colour £17.50 by Chanel. 9: Gold Fever Joues £29 by Chanel. 10: Gold Fiction nail polish £17 by Chanel.

169

Restore the

suppleness to your skin with daytime moisture treatments and

night-time nourishments. 170

double CREAM

1: Time Defiance Night Recovery Crème £29.20 for 50g by Artistry. 2: Maximum Moisture Day Cream £40 for 50ml and Maximum Moisture Night Cream £35 for 50ml by Elemis. 3: Organics Hydrating Body Lotion with 87% organic ingredients £26 for 200ml by Origins. 4: Regenerating Day Cream £49 for 30ml by Dr.Hauschka. 5: Moisture White Night Treatment Cream £ by The Body Shop. 6: Rest and Rejuvenate Collagen Night Cream £32.50 by Vita Liberata 7: Overnight Cream £38 by Bobbi Brown. 8: Tourmaline Charged Hydrating Creme £30 for 50ml by Aveda 9: Nourishing Night & Day Cream £51 for 50ml by Stella McCartney. 10: Good In Bed skin restoring night moisturiser £39 by Prescriptives.

171

miasma

photos: Uzo Oleh

172

173

174

Hair and makeup by Amanda Redgrave for Chanel Cosmetics and Vidal Sassoon Haircare Photography by Uzo Oleh 175

the

Big,

Bold

the and the

BouclĂŠ Caress your curls into a candyfloss coif as volume makes a big comeback

176

177

178

Photography: Jonny Storey at Terri Manduca www.terrimanduca.co.uk Hair: Richard Scorer at Haringtons using Lâ&#x20AC;&#x2122;Oreal Make-up: Peita Gregory at Balcony Jump Model: Chloe Hayward at Select models

179

180

LIFESTYLE ZAHA HADID ROBERT MAPPLETHORPE THE VIVIENNE WESTWOOD OPUS THE ROLLING STONES ASTON MARTIN WELCOME TO MIAMI ROME-A LIVING MONUMENT ANGLOMANIA LAUNCH PARTY

181

MovingArt

The form of the Chanel Pavilion is a celebration of the iconic work of Chanel, unmistakable for its smooth layering of exquisite details that together create an elegant, cohesive whole. The resulting structure is very much tied to that original inspiration – elegant, functional, and versatile both in its overall structure and detail. The architectural structure of the Pavilion is a series of continuous arch-shaped elements, with a courtyard in its central space. The glazed ceiling adjusts to allow for control of the interior temperature in response to the particular climate conditions of each venue city. Natural light descending from seven elements on the ceiling, meets artificial light pushed up from a gap between the walls and raised floor to emphasize the “arched” structure, and assists in the creation of a new artificial landscape for art installations. Six of these elements are roof lights for artworks; another large opening dramatically floods the entrance in daylight to blur the relationship between interior and exterior. In addition to the lighting and colour effects, the spatial rhythm created by the seams of each segment gives strong perspective views throughout the interior. In light of the extensive shipping between cities, each structural segment will be a maximum of 2.25 wide. The 65sqm central courtyard has large transparent openings to the sky above and is designed to host events

182

as well as provide an area for reflection after visiting the exhibition. The courtyard serves as an intermediate space between the exhibition and a public area of the Pavilion. The steel structure can be built in less than one week, which is essential for an ephemeral pavilion. With a direct visual connection to the courtyard, the 128sqm terrace continues this dialogue between the Pavilion’s exterior and interior. During an event, the two spaces could be linked to become one large event zone. Reflective materials allow the exterior skin to be illuminated with varying colours, which can be tailored to the differing programmes of special events in each city. The dichotomy between the powerful sculptural mass of the Chanel Pavilion’s structure and the lightness of its envelope create a bold and enigmatic element. The Pavilion’s exterior develops into a rich variety of interior spaces that maximize the potential to reuse and rethink space due to the innate flexibility of its plan. The total fluidity of the Chanel Pavilion’s curvilinear geometrics is an obvious continuation of Hadid’s 30 years of exploration and research into systems of continuous transformations and smooth transitions. With this repertoire of morphology, Zaha Hadid is able to translate the ephemeral typology of a pavilion into the sensual forms required for this celebration of Chanel’s cultural importance.

The total fluidity of the Chanel Pavilionâ&#x20AC;&#x2122;s curvilinear geometrics is an obvious continuation of Hadidâ&#x20AC;&#x2122;s 30 years of exploration and research into systems of continuous transformations and smooth transitions.

183

Aquatechture For Zaha Hadid, when London beat New York in the bid to host the 2012 Olympics, one door closed and other opened. The Iraqi-born architect had drawn up designs for the provisional Olympic Village in New York, but when London secured the Games instead, an opportunity arose to design on home turf. The result will be the Aquatics Centre, the ‘Gateway to the Games’, located in Statford, east London. Construction will began at the site this summer, and looking at early renderings of the wave-like structure, the symbolism is clear. “The architectural concept is inspired by the fluid geometry of water in motion, creating spaces and a surrounding environment in sympathy with the river landscape,” Hadid says. The centre will host swimming, diving, synchronised swimming, water polo finals and part of a modern pentathlon. Once the Games are over, it will be rendered a 2,500 capacity swimming venue that can increase to include 3,500 seats.

184

185

M IS FOR EROTIC HOW MAPPLETHORPE OVER TURNS THE SOVEREIGNTY OF THE FEMALE FORM

text: Ashley Luna

KEN, LYDIA, AND TYLER (1985) by Robert Mapplethorpe

The intense dialogue that Robert Mapplethorpe’s work had with the classical tradition is both surprising and natural. Indeed, the sublimation of much of his work in the public sphere, especially his sado-masochistic photographs, was reliant on borrowing from classical themes and poses. One’s first reaction is to assume that Mapplethorpe is rejecting the classical tradition and replacing it with his own countercultural aesthetic. But what arises from his work instead is complicated and reverent re-working of these formal elements into and entirely new and taboo photographic landscape of leather, bullwhips, and half-erect penises. As shocking as these images are even today, there is an underlying familiarity to the images and poses that is easily recognizable to anyone who has seen the sculptures of Michelangelo, Canova, or Rodin. Or, as the recent Guggenheim Las Vegas exhibition Mapplethorpe and the Classical Tradition parallels in great detail, the work of any number of Flemish mannerist artists. However, these subversive photographs represent only a proportion of his overall work. A continued survey of his art leads to series after series of perfect bodies photographed

186

in keeping with the idealism set forth by Johann Winkelmann in his seminal 1784 work Art in Ancient History, which more than any other work established the enlightenment ideal that art should aspire only to beauty. Two centuries later, modernism will have antiquated this idea. But as Alex Potts reminds us, it is not so easy to shuffle off such a popular narrative. It is in this way that Mapplethorpe was able to project his documentation of gay culture onto the art scene throughout the 1970s. But doing so through the vehicle of classicism was not entirely original. Classical imagery had been used in the physique magazines and films of previous decades as a way of ‘keeping in the closet’ the eroticism and pornography of these endeavours. When legitimate gay pornography began to arise, it was only natural that these motifs perpetuated beyond their rhetorical necessity into a more common homosexual language of desire. Germano Celant, head curator of the Guggenheim in New York, describes Mapplethorpe as: ‘the first one to escape the underground

THOMAS (1987)

BY ROBERT MAPPLETHORPE

and to present these motifs as art in cultural context. He was coming Mapplethorpe was never far from his own work, through the medium of out, not only as a person, but as an artist, as well-taking a risk and using self-portraiture, he often turned the camera on himself and as a means this language in the very conservative art world of the 1970s.’ of mythologizing himself as an artist. As a rock star, a devil, and a crossdresser, Mapplethorpe was constantly sketching himself in different In an interview with Owen Keehnan, Jack Fritscher, Mapplethorpe’s devious personas; these self-portraits are telling documents of how he one time lover and eventual biographer in Mapplethorpe: Assault with desired others to see him. As Fritscher identifies, it is in the subjects a Deadly Camera, paints a similar picture of the artist in need of the and themes of his photos where his true personality reveals itself. materials, not only to create the kind of erotic art he desired, but also Mapplethorpe himself even stated that, ‘I never photograph anything that to propel himself onto the art scene. ‘He had the perfect form under has nothing to do with myself.’ His work is always autobiographical in at control. He knew how to take the great photograph, what he needed least some small way. Fritscher speaks of his obsessive need to eroticize was diversity of content. The leather scene, bodybuilding, and blacks life, and to create plastic icons, frozen images of his ideals of perfection. had not been seen very much through photography on this level. So he brought black men forward, so to speak. He did have an erotic attraction In this way, his aesthetic is entirely subjective, and is transparently informed for black men and he eroticized them for himself, but he also eroticized by his homosexuality. His females are at least of his eroticized female bodybuilder Lisa Lyon. He eroticized the leather scene too. His images, and as showcased in his series of Lisa Lyon, he highlights obsessive personality eroticized life and his passion made his subjects her strength of pose and physicality. She stands powerfully before icons because of his Catholic background. The leather scene reflected the camera, more sublime than beautiful, her face covered to hide his Catholic background with martyrs suffering and strung up and flayed her femininity, and presenting to the audience an opaque, unattainable distance. To Mapplethorpe’s heterosexual audience, this is hardly the male and things.’

187

THE GRACES (16 CENTURY) by Jacob Matham

Mapplethorpe’s photographs of Derrick Cross are charged with eroticism. The lightening on his body exaggerates the deep crevices in his muscles; his sexual organ is often just visible in a shadow or turn of the hip. The eye without resistance can hold his body, be controlled by the viewer and made infinitely tactile. This is the Pygmalion of Mapplethorpe’s erotic desire. However, to border Mapplethorpe’s aesthetic purely within his sexual orientation is one of the traps into which the artist seemingly invites his audience to stumble. To do this is to disregard the numerous portraits he took of friends and other artists, as well as numerous of purely classical poses, such as Ken, Lydia, and Tyler as three graces, or Thomas, set inside a circle looking as if he is about to throw a discus. It is the same pitfall that must be observed when studying Winkelmann, whose own sexuality cannot be overlooked as a factor in his assignment of the ideal to the male body, but also cannot be given sole ownership over that assignment. What is clear in both their approaches is an active rebellion against the imbalanced

188

FROM THE FOUR DISGRACES (16 CENTURY) BY Hendrick Goltzius

investment of beauty within the female form. The result of this rebalancing beauty is the same with both men. The pendulum swings to the other side, and the female, as exemplified in Lisa Lyon (Athena for Winklemann)* takes on a sublime beauty, a non-eroticized beauty, while the male figure is overcharged with erotic power. The after-effects of this momentum shift can be seen all over the cultural landscape, but most obviously in the forum of advertisement. It has become a standard in the fashion industry to advertise the male figure just aggressively as the female counterpart. Eros lies in a position of repose on a giant billboard overlooking Times Square wearing nothing but his underwear. Adonis readies himself to walk down the runway in nothing but shorts and boots. And yet it is not only the eroticized male body that appears in these media, but also the fetishist devices that Mapplethorpe captured as well: the leather and whips and muscles and interracial co-mingling. While advertising has domesticated many of these motifs, the vitality of much of Mapplethorpe’s work has yet to run its course. Its staying in large part due to its connection with the classical tradition, which despite our deconstructive efforts, has yet to run its course.

189

BiG Books The proliferation of giant-sized tomes in recent years may have slipped under the radar of conventional book lovers, but a couple of recent releases may just force people to sit up and take notice.

First up is The Vivienne Westwood Opus by Kraken, an epic publication celebrating the legendary British fashion designer. The book showcases a selection of 97 original photographs, taken by the world’s largest Polaroid camera, each measuring 50cm x 60cm. The Vivienne Westwood Opus is limited to 900 copies, with each book signed by the great woman herself, and retails at £1,400. Extravagant coffee table books were once considered glorified picture books, but that view may have to be revisited with the arrival of New York, published by Gloria, which combines beautiful images with brilliant journalism focusing on the history, architecture and cultural life of “the world’s greatest city”. The roll-call of photographers featured in the book is unparalleled, and includes the work of David Bailey, Bruce Gilden, Patrick Demarchelier and Diane Arbus, amongst others. The journalism also comes from New York’s greatest literary figures, including John Updike, Don DeLillo, Gay Talese, Colson Whitehead and David Remnick The book is also given an added twist by its unique packaging, possibly a first in publishing history, which sees it stand upright in a crystal-like Lucite tower case, giving it the look of that classic New York landmark – the skyscraper. New York is limited to 1,000 units and has a basic edition at £1,200, a “Liberty” edition, with two archival prints, at £2,300 and a premium “Columbus” edition – limited to 100 units – for £7,600.

190

191

shine a LIGHT Any attempt to transfer the rock gig experience to the silver screen is always going to be a challenge. When that band is the Rolling Stones, it becomes even more daunting. Catherine Sevigny gives her verdict. No one has ever managed to commit the sense of unadulterated anticipation to film. Or the smell of thousands of people, mingling together for one common purpose. Or nailed the surge of excitement that courses through you when the first chords of your favourite song in the whole world are played live by a band you have worshipped for most of your life. Concerts are a sensual experience: a truly amazing performance will generate an almost Dionysian sense of release, as people from all classes, professions and cultures unite in mutual abandon, whipped into a communal frenzy by the hard, pounding rhythms of their favourite band. Shine A Light is Martin Scorsese’s attempt to get under the skin of the Rolling Stones. The Stones are unique as they have a legend and mythology all of their own, as all great bands do, but in stark contrast to many of the casualties of rock and roll. Unlike John Lennon, Janis Joplin, Kurt Cobain et al, they have not been a victim of their own success. With relentless touring of sold out arenas, quite a feat when you consider the fact that it is a quartet of sexagenarians we are talking about, they are for all intents and purposes, a working band. The film is an interesting balance between the challenges of filming, with some comic mileage in the director’s attempt to mobilise his army of cameras and persuade the Stones to release a set list, even minutes before the concert is set to start. There is a tension between the expectations of the venerable director and the legendary band: it is clear that both are used to getting their own way, so the power struggle is tangible as Martin tries to

192

direct the mercurial Stones. The main thrust of the criticism is that however interesting the footage, detailing the ageless energy that permeates the backstage atmosphere – Ronnie Wood in particular, looks like a wrinklier version of any number of young men frequenting Hoxton’s finer drinking holes – the concert footage seems quite heavy and leaden compared to the electrifying experience of watching the show live. Scorsese contrasts old footage from the band’s early years, where we witness an impossibly young Mick Jagger in a series of increasingly mundane interviews. But my goodness, the sensuality of those lips! It is easy to appreciate his iconic status as 20th century sex symbol, his diffident charm contrasting with a mischievous, knowing streak. One of the funnier moments in the film comes when he answers a po-faced interviewer’s question about how long he expects the band to last. With all the selfdoubt of your average 20-year-old he says: ‘I think we may have a year or so left in us…’. The truth about the film, however honourable its intentions, is that something’s lost in translation. Not even Mick Jagger’s “Jumpin’ Jack Flash” stage persona and rapid fire movement can mask the fact that sitting in a cinema and looking up at a screen to watch a concert is just not the same. As the saying goes: ‘Imitations, though sometimes necessary, are never as good as the real thing’ – I would save the cost of a cinema ticket and put the money towards seeing them live next time they are in town.

What’s hot

on the road

Aston Martin Vantage RS The blood-spitting new Vantage RS is the fastest and hardest Aston Martin to ever take to the road. Somehow, Aston’s go-faster engineers have shoehorned the company’s biggest engine – the snarling 6.0-litre V12 motor from its DBRS9 Le Mans racecar – into the engine bay of the dinky Vantage to create the company’s quickest car ever. And it’s quick with a very big q. That 600bhp powerplant will rocket the all-aluminium Aston to 60mph in four seconds dead and onto an effortless 200mph top speed. But this is no simple engine-swapping process. The RS has been painstakingly engineered from the ground up to handle all that muscle. It’s been on a diet to further hone its scalpel-sharp dynamics – the bonnet and boot lid are now made from carbonfibre, rather then aluminium, while the standard steel brake discs are replaced by lightweight carbon-ceramic stoppers. And to ensure the RS and the road stay firmly attached to each other, the Aston is fitted with an aggressive aero kit to enhance highspeed stability. There’s a new front splitter (made from carbonfibre, natch) a smooth undertray, a heavily revised rear diffuser and a rear spoiler that rises at speed to boost downforce over the rear axle. Aston claims the RS is still a concept, but don’t believe them – our insiders claim that the company is already working flat out to prepare a production ready model, due to arrive this time next year. Plenty of time to start saving for the coolest Aston yet… The Facts Engine: 6.0-litre V12 Max Power: 600bhp at 6250rpm Max Torque: 510lb ft at 5000rpm Transmission: Six-speed manual, rear wheel drive Weight: 11580kg 0-60mph: 4.0seconds Max Speed: 200mph Price: £150,000

194

195

GO GO GADGET compiled by zuki turner

Objects d’art or fully functional gadgets for home and office? Actually both. We bring you the sleekest and chicest devices around. Store it in style

The LaCie Golden Disk rides high on the new wave of inspiring luxurious design in professional office-ware. Its distinct, golden wave design created by world-renowned designer OraÏto, adds a daring uniqueness to the average work environment and brings a fresh, liquid motion look to typical digital life. The Golden Disk functions as beautifully as its aesthetic, simple to use and will instantly store all of your treasured files, music, photos and video in one central location. It’s plug & play, driver and fan-free for quiet operation and compatible with both PC and Mac. Lacie Gold Disk £119.90 www.lacie.com/uk

in profile

The Contura Platinum 10mm is an original and individual ring in the truest sense. Available in stainless steel, silver, white and yellow gold, each ring created is distinct and hugely different to the next, as each is ingeniously designed using the image of the profile of the face of the carrier or presenter. The result is a remarkably clear profile portrait (as pictured above), which is created after submitting a profile photograph along with ring size to American company FITZSU. This image is then sent to Germany to be modeled into a custom-made CONTURA ring. Surely there is hardly a ring on the market that is more personal or innovative than this conceptual creation. Perfect for a one-of a kind, offthe-wall wedding band, forget a battered photograph in your wallet, instead carry a unique profile of your loved one on your finger, everywhere you go. Contura Platinum 10mm Prices start at around £290 and vary based on material and size www.fitzsu.com

PROTECT YOUR HEART

The Citizen Ballistic Rose may look like a romantic gentleman’s corsage, but in actual fact, doubles up as a skillfully handcrafted bullet-proof badge. Perfect in this age of perceived threat, wear the Ballistic Rose close to your heart, or anywhere else you feel you need to protect. Designed by Tobias Wong, the piece is constructed from heavy duty Kevlar which when worn over the heart can protect from projectiles as well as potential break-ups. Citizen Ballistic Rose, £88 at www.fitzsu.com

196

CALCULATE

This 10-Key Calculator is designed by Ippei Matsumoto and is inspired by the number pad on a keyboard. The calculator has all the features and functions of a typical calculator and can be used individually or easily connected to a laptop or PC via a USB cable to add numberpad functionality. Not Mac compatible 10 key Calculator, £30, www.momastore.org

Lights On! Lights Off!

Changing the lighting in a room is now as easy as flicking the switch by remote. Control any light fixture or electrical device up to 100 feet away with this wireless switch, encased in its very own sleek Lucite box. Simply attach the remote component to the fixture and “flip the switch!” Another clever spin by Tobias Wong, whose work emphasizes the blurring between art and function with a bit of cheek thrown in. Available in Chrome or in the Limited Edition 14K Gold, of which only 500 were made.

THE PHONOFONE

Through passive amplification alone, this unique ceramic piece instantly transforms any personal music player into a sculptural audio console. Without the use of external power or batteries, the phonofone inventively exploits the virtues of horn acoustics to boost the audio output of standard earphones to up to 55 decibels. Upon connecting active earphones to the phonofone their trebly buzzing is instantly and profoundly transformed into a warm, rich and resonant sound.

Remote light, £60 www.uncommongoods.com

Zimmermann’s Phonofone £250 www.unicahome.com

THE HUB

Tired of forever unplugging and replugging your peripherals? Famed designer Ora-Ito offers an alterative, the Hub which is PC and Mac compatible. Its globe shape, glossy white polycarbonate finish and flexible array of cables gives it a distinctive, outof-this-world look. The hub provides you with seven USB ports, each of which is linked to a colourful LED that illuminates through the casing when plugged in. The Hub is also great for charging your iPod, camera, cell phone and other devices that charge from a USB port. Bundled with 8 flexible cables, an external power supply, a USB extension cable, and a flower petals kit, the LaCie USB 2.0 Hub comes fully equipped for making all of your connections. The LaCie USB 2.0 Hub £69.90 www.lacie.com/uk

Take it in your STRIDA

Twine-out

These are some of the most beautiful pieces of workout equipment you’ll ever hold, they might even be too pretty for actual use. Menu’s intertwined dumbells are crafted from polished stainless steel and each weigh 1KG. Pick them up and they immediately become a fitness aid and a natural element in your training program. useful for strengthening and toning the upper body and arm, Menu’s dumbbells, designed by Henriette Melchiorsen, are a ground-breaking and stylish amalgamation of sculpture and fitness. Menu Dumbells £100, www.unicahome.com

The 25-mile commute to London’s RCA and Imperial College inspired Mark Sanders to focus his 1985 master’s degree project on a folding bike that not only got him to school in an affordable and effortless way—but that looked appealing, too. Good looks and good engineering came into play in the innovative triangular construction. The powder-coated rustproof aluminum frame withstands 250 pounds of human, while the luggage rack holds up to 30 pounds of whatever. The Kevlar greaseless belt drive goes 50,000 miles. Single speed with cable-disc brakes, the Strida 5.0 Folding bicycle also boasts 16-inch rustproof alloy, a welded bottom bracket and comes in 8 fantastic colors. Oh, and the best part? It can be folded in five seconds and only weighs 19.4 lbs. Mark Sanders Strida Folding Bicycle, Price starting at £379, www.strida.nl/en/store

197

WELCOME to MIAMI

FRom drinking by the pool to early am wake-up callS, ANGLOMANIA explores the scene of south beach and beyond... text: Matt Morley MIAMI MANDARIN ORIENTAL Staggering down to your hotel lobby at 4am with heavy jetlag is hardly something to look forward to, but if ever there was a moment to catch a hotel ‘off guard’, this is it. Miami’s Mandarin Oriental recently won major brownie points with the visiting ANGLOMANIA team, however, for turning a typically dire early morning experience into a remarkably pleasant one. The Mandarin’s considerately subdued main lobby area combines a sense of space and tranquility with impressive views out over Biscayne Bay and the Atlantic Ocean beyond. Throw in an almost imperceptible soundtrack plus the subtle infusion of incense into the pre-dawn air-con system and even a 4am visit becomes a bleary-eyed delight. For many, Miami is South Beach, so the hotel’s Downtown location on a 44-acre man-made island sets it well apart from the crowd. Which is exactly why so many choose to stay here. No matter how much privacy The Setai might claim to offer its big name guests, nobody genuinely checks in there hoping to avoid the paparazzi, despite what their publicists might say. So it is often to the Mandarin Oriental that they turn for refuge after a long day pool hopping on ‘SoBe’ (as South Beach is affectionately known). Miami’s other hat, aside from beaches, babes and bling is of course as ‘capital of the Americas’. Already a bona fide business hub, the city has pretensions to grow both in stature and importance over the next few years, and Downtown is being heavily developed in anticipation of the gold rush. Located neatly across the bay from all of this is the Mandarin, suddenly in rather a plum position for the future it seems, whether you are visiting for work or pleasure. This being Miami though, the trick is naturally to combine both; indeed a Blackberry and a poolside lounger appear all most people need to conduct their affairs around here. Just three years ago, the hotel built itself a private beach and packed it full of hammocks, white cushioned day beds and spa cabanas, making it the perfect location for, err, that deal-clinching phone call or business meeting all’aperto. For others though, even that is too obvious a way to spend an afternoon, which is why Jorge Gonzalez, the Mandarin’s GM has organised exclusive access for his guests to Casa Casuarina, the invitation-only members club built inside Gianni Versace’s former mansion on South Beach. Whether at the outdoor pool or one of the beachside cabanas, guests can rest easy knowing they have found the most private and secluded spot on the strip. Ask about the private yacht the Mandarin can arrange to transport you there too if you really want to arrive in style. Returning to Brickell Key, whether by land or sea, you’ll notice the curved, fan-like architecture of the Mandarin’s 20-story building and its freestanding, copper-clad restaurant pavilion. The latter houses the fine dining Azul on the 1st floor and the more informal Café Sambal on ground level, where hotel guests are served breakfast each morning. Restaurants come and go in trend-obsessed Miami, but Azul has been going strong for several years now and the accolades just keep on coming. Floor to ceiling windows and a Japanese-style open kitchen greet diners

as they enter, from where Head Chef Clay Conley conjures up his creative blend of Mediterranean and Asian flavors. Unsurprisingly, considering its location, Azul excels at seafood, but the creative presentation of dishes such as “A Study in Tuna” and the obligatory Florida Stone crab really take the dining experience to another level. After a meal, the Mandarin’s M Bar is ideal for a nightcap, but the balcony of an 18th floor suite is also recommended for that late night tipple en deux. Not only are the views of the bay impressive, but the contemporary design touches, top-spec entertainment systems and bamboo hardwood floors inside help complete the picture. Look out for the top floor Oriental Suite with its 8-seater dining room, internal fireplace and 80-inch video projection system in particular, or the Mandarin Suite with its spa serenity room, 2-person steam shower and a personal therapist on call 24 hours a day; both perfect antidotes to another gruelling day in Miami…

KARU&Y They don’t come much bigger or bolder than Karu&Y. Opened in 2006, US$25million was pumped into this 42,000 sq ft site that combines a fine dining restaurant, two bars, an indoor concert venue and an outdoor event space. Frankly though, there may even be more to discover at Karu&Y as well, if you can find it all. This would have been an ambitiously large development to undertake even in Miami Beach, but in 2006 the owners of Karu&Y bucked the trend and located themselves Downtown instead. A statement of intent if ever there was one, but if our experience was anything to go by, they are more than getting away with their gamble so far. Once past the various obligatory security controls, diners at Karu are invited to a welcome drink at the bar where they are served an unusual, taste-bud awakening mini-cocktail that sets the mood for the evening ahead. Moving through into the main dining room, it is impossible to miss the blue and white glass chandelier that dominates the eye-line, no matter where you are seated. Such focal points carry a message: this is intended to be a power dining venue par excellence. A bottom heavy wine list is always a good sign, and a hugely inventive alta cocina menu from Chef Alberto Cabrera keeps diners on their toes throughout. Size XL tables mean this is an ideal venue for large groups of six or more, especially as there is then the option of moving through into the late-licence Y bar afterwards, and what a bar it is. Here is where the designers’ more-is-more approach really shows through. One end wall of the bar is completely covered in LCD monitors while the other leads into a private dining room with a bespoke Venetian glass installation. In between lies a long, blue marble bar and an exit out onto yet another area, this time an outdoors bar/club space with live DJ every evening. Karu&Y has a deliberately confident, take me or leave me persona to it, rather like the clientele it attracts – it seems when you are this successful, in America at least, there is no reason not to show it…

199

SHORE CLUB It may not look it from outside, but the Shore Club is a sizeable 3-acre beachside resort with 307 rooms in 3 separate, interconnected buildings. It also has a Nobu outpost, various private bungalow accommodation options and an Art Deco lobby. But if you really want to know what the Shore Club is about, pack a pair of beach shorts or a bikini and head for the pool. Or rather ‘pools’ plural, as there is both a full-size main pool with floating recliners and another smaller lap pool with hot tub, bar and exit directly onto the beach. Hotel guests have priority access to the Moroccan-themed poolside daybeds during the day when it is all about kicking back in the sun with friends, listening to live DJ sets and working your way through a glamorous menu of fresh fruit cocktails, frozen grapes and innovative sandwich’n’salad combos.

200

Mixing alcohol and swimming is never recommended, but there appears to be much more of the former here during the day anyway, with only the occasional visitor looking for an aquatic escape from the midday sun. Reclining models hide behind over-sized sunglasses and their clam-shell cells, while the chaps flitter flirtatiously around the water’s edge organising their next dinner reservation, guest list and after-party invite. After 5pm, non-hotel guests are welcomed, the sun begins to set and the music levels rise. Due to the sheer size of the space (10,000 sq ft), the velvet rope policy is relatively egalitarian here, but this is still very much the home of the South Beach scenesters. Fittingly, there is an exclusive red VIP room that offers an alternative to the open-plan outdoors area for those looking for something a little more intimate, while the long, thin bar located between the nighttime entrance and Nobu’s dining area takes on catwalk-like qualities after midnight as new

DELANO After originally opening in 1995, the Delano has since been completely re-vamped to keep pace with Miami’s ever-evolving hip, young (and not so young) clientele. Entering through the lobby on a Friday night, it is hard to tell exactly what the Delano is about. Is it a vibey bar venue, a restaurant, hotel or design showroom? The answer is all of the above: pigeonholing is clearly not part of the local vernacular. Power your way through the main hallway therefore and you will pass a funky check-in desk, a Harry’s Bar-like lounge-stroke-brasserie concept, various faux-baroque furniture pieces and, finally, Blue Door restaurant. Whether eating indoors or outdoors here, the experience is one of sumptuous over-indulgence, particularly for those used to European-sized portions. Chef Claude Troisgros mixes modern French and Brazilian cuisine with, frankly, a little of whatever takes his mood that day. And to great

success. White leather seating on armchairs and baby-banquettes around a central, dramatic glass sculpture means there is plenty of table watching to be done, revealing this to be a notably more mature crowd than in the more informal dining areas elsewhere at the Delano. The Delano’s Blue Sea restaurant meanwhile, is an Asian Sea Bar featuring the next wave in inspired Asian-fusion cuisine. Again under the direction of Chef Claude Troisgros, it offers a complete Caviar and Oyster Bar, along with an extensive selection of sassy sushi and seafood creations. Be sure to have a wander around the resort’s orchard and landscaped gardens before leaving as well, the areas consists of hundreds of different flowers, vines and plants, as well as eighty 50-foot palm trees. Various Philippe Starck-designed surrealist sculptures are the surprise features, a reminder of the creative talent behind the entire Delano project.

201

ROME: A LIVING MONUMENT

Colosseum (a.k.a. Flavian Amphitheatre): Designed as an amphitheatre that held up to 50,000 spectators, the Colosseum – built in 72CE by Emperor Vespasian – showcased gladiatorial combat, wild beast hunts, mock naval battles and the execution of Christians to name but a few of its bloody attractions. The amphitheatre remained in use for 500 years and today is one of Rome’s most celebrated monuments and tourist attractions. On Good Friday the Pope leads a procession of torch-bearing followers to the colosseum to commemorate the Christian martyrs who died within its walls.

202

Basilica di San Pietro in Vaticano (Saint Peter’s Basilica):

Pantheon:

Originally constructed in 349CE by the emperor Constantine, St Peter’s is one of the greatest architectural feats in Roman history. The Basilica – which tradition holds was built on the site of St. Peter’s tomb – was finally completed in 1626 and was the world’s largest church for over 600 years. One of the most glorious vistas in Rome can be observed from Michelangelo’s magnificent dome, rising 138 meters into the sky.

Constructed in 120CE as a pagan temple dedicated to the seven planets, the Pantheon – or ‘Temple of the Gods’ – has been a Christian church since the 7th century. It is the burial site of Raphael, and two of Italy’s 19th century kings but its most striking feature is its remarkable symmetry: the dome’s diameter is exactly equal to its height, giving the monument its timeless beauty and universal appeal.

203

Spanish Steps:

Fontana di Trevi (Trevi Fountain):

Situated in Piazza Di Spagna, the Scalinata (Italian for ‘staircase’) has attracted visitors since its creation in 1723 when nobility arrived in Rome for the Grand Tour as well as 19th century writers and poets searching for inspiration – Byron, Balzac and Stendhal – to name but a few. Today hoards of tourists and locals still crowd its 138 steps, an amazing sight seen from below and even more marvellous when looking out over Rome from the top.

Made famous by Anita Ekberg famously frolicking in its gushing waters in La Dolce Vita, the Trevi Fountain is one of Rome’s most exciting attractions. Located at the juncture of three roads, the fountain began life in 19BCE as an aqueduct, supplying water to ancient Rome. Completed as a fountain in 1762 at the height of the Rococo art movement, the fountain was cleaned in 2000. A decision, which washed away two centuries of golden patina in one night! Make certain to toss a coin into the fountain and you’re certain to return to Rome.

204

Cappella Sistina (Sistine Chapel):

Bocca Della Verita (Mouth of Truth):

The Sistine Chapel, built between 1475 and 1483, is most famous for its ceiling painted by Michelangelo in1508. Measuring some 10,000 square feet the ceiling frescos took four gruelling years to complete and depict scenes from the Old Testament such as the Creation, the Temptation of Eve, and the Great Flood. A highly controversial cleaning and restoration in the early 1990s revealed the original bright colours and clearly defined figures that Michelangelo had painted in order to make the images clearly visible from the floor below. Be sure to look for the artist’s own visage which he painted in the hand of Saint Bartholomew as depicted in the Last Judgement over the chapel’s alter.

An icon in every tourist’s guidebook, this mysterious 26,400-pound marble medallion, bearing a likeness of the sea god Triton, was thought to be an ancient Roman drain cover. Since 1632 the medallion has been situated in the portico of the Church of Santa Maria in Cosmedin. According to popular legend the sculpture is a lie detector whose mouth is believed to bite off the hands of liars – think Audrey Hepburn in Roman Holiday. Not to be missed…if you dare!

205

The Launch of ANGLOMANIA in conjunction with Flawless The English Premiership showed up at Movida on Sunday 11th of May, exclusively for the launch of ANGLOMANIA.

Jay Sean Jacob & Co

Collins John and Hameur Bouazza Mo and Didier Drogba

Aaron Lennon

Sei Moon and friends Bakary Sagna, friend and Alexander Hleb

206

Claude Makalele and friend

DJ Jasmin Valery, Mo and Diomansy K

Alicia and Zues

The Flawless Crew

Saif and Flemini

Alicia, Anara and friend Flemini, DJ Ricardo and William Gallas

Michael Essien

207

directory Acne Jeans - www.acnestudios.com

Emanuel Ungaro – +44 (0) 207 908 7777

Myla – +44 (0) 8707 455003

Adidas - www.adidas.com

Eres - www.eres.fr

Nike – www.nike.com

A.F. Vandevorst – www.afvandevorst.be

Floris – www.florislondon.com

NN07 - www.nn07.com

Agent Provocateur - www.agentprovocateur.com

Filippa K – www.filippa-k.com

Obesity and Speed - www.obesityandspeed.com

Aimee McWilliams – www.aimeemcwilliams.com

G-Star - Schuh +44 (0) 845 307 2484

Origins - +44(0) 800 7314 039

American Apparel - +44 (0) 207 734 4477

Gentlemen’s Tonic - www.gentlemenstonic.com

Paul & Joe - +44 (0) 207 824 8844

Artistry - +44 (0) 1908 629 466

Georg Jensen - +44 (0) 207 499 6541

Paul Dorf - +44 (0) 20 8997 8541

Atelier Swarovski Christopher Kane +44 (0) 207 016 6780

Giorgio Armani - +44 (0) 1423 520 303

Paul Smith - +44 (0) 207 379 7133

Giuseppe Zanotti - +44 (0) 207 838 9455

Polo Ralph Lauren - +44 (0) 207 535 4600

Givenchy - +44 (0) 1932 233 824

Prescriptives - 0870 034 2566

Gucci - +44 (0) 207 629 2716

Puma - +44 (0) 845 123 7862

Avakian – www.avakian.com Aveda - +44 (0) 870 034 2380 B Never Too Busy To Be Beautiful +44 (0)1202 493 789 Benefit - www.benefitcosmetics.co.uk

H Stern - +44 (0) 8000 859 921

Rag & Bone - www.rag-bone.com

Issey Miyake – +44 (0) 207 851 4620

Rogues Gallery - dandyrogue.com

Bobbi Brown - www.bobbibrown.co.uk

J.Lindeberg – +44 (0) 207 235 5000

Shiseido - 0207 313 4774

Buckler - +44 (0) 207 377 2767

J. Mendel - www.jmendel.com

Sonia Rykiel - +44 (0) 020 7493 5255

Bulgari - +44 (0) 20 782 9969

John Richmond – www.johnrichmond.com

Stella McCartney - 01444 255 700

Burton Snowboards – www.burton.com

John Varvatos for Converse – www.johnvarvatos.com

Swarovski - 020 7292 9766

Calvin Klein (fragrance) - www.coty.com Cartier - +44 (0) 208 080 0330 CC Skye (see Kabiri) Cesare Paciotti - +44 (0) 207 235 3393 Chanel - +44 (0) 207 493 5040 Charnos - +44 (0) 800 731 8959 Chopard - +44 (0) 207 409 3140 Christian Dior - www.dior.com Christopher Kane – www.harveynichols.com Clinique - +44 (0) 870 034 2566 Converse – Size? +44 (0) 207 287 4016 Diesel - www.diesel.com Dior - +44 (0) 207 172 0172 Dirk Bikkemberg - www.bikkembergs.com Dr Denim - www.urbanoutfitters.co.uk Dr Hauschka - +44 (0) 1386 79 2642 Elemis - +44 (0) 1278 727830

208

Josè Castro - www.castroestudio.com Kabiri- www.kabiri.co.uk Kenneth Jay Lane (see Kabiri) L’Oreal - www.loreal.co.uk Lacoste - www.lacoste.co.uk La Perla - +44 (0) 20 7291 0930 Lara Bohinc – www.larabohinc.com Lee - +44 (0) 845 600 8383 Louis Vuitton – + 44 (0) 207 3994 050 Lush - +44 (0) 1202 668 545 MAC - +44 (0) 870 034 2676 Madame V - www.madamev.co.uk Mawi - +44 (0) 207 9231 414 MenScience - www.spacenk.com Miu Miu – +44 (0) 207 4090 900 Montague - www.montague-uk.com Moschino – www.moschino.it

Tatty Devine (see Kabiri) TaylorMade-adidas Golf - www.taylormadegolf.com The Body Shop - www.thebodyshop.co.uk Tom Ford (fragrance) – www.esteelauder.co.uk Tommy Hilfiger – +44 (0) 207 235 2500 Topshop – www.topshop.com Vidal Sassoon Haircare - www.sassoon.com Vita Liberata - www.vitaliberata.com Vivienne Westwood - +44(0) 207 439 1109 Whyred – www.whyred.se Willow - +44 (0) 20 7351 3873 Wilson – www.wilson.com Wolford - +44 (0) 207 529 3000 Won Hundred – www.wonhundred.com Y3 Adidas - +44 (0) 870 837 7377 Yohji Yamamoto - www.yohjiyamamoto.co.jp Yves Saint Laurent - +44 (0) 207 493 1800 YSL Beaute – +44 (0) 1444 255700