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issue 6.

Editor-in-Chief: Editor: Creative Director: Deputy Editor: Photographic Editor: Editorial Assisitant: Research Assistants:

Rosalind Okusanya Marius Kamara Chris Jones Yelena Perlin Kevin Persyn Joanne Taylor Katie Bruce Sam Sakakini Dayna Smith Holly Elston

Managing Director: Director of Finance:

Naji Haddad Ayman Haddad

Masquerade Magazine would like to thank the following people for their contribution: The Writers: Faye Cheeseman. Yelena Perlin. Katie Bruce. Michael Knight. Teodora Gaydarova. Ruth Clifford. Kevin Persyn. Syed Ahsan Abbas. Dayna Smith. Photographers: Yoshiaki Sekine. Shiraz Ansari. Dom Smith. Kevin Amato. Stefani Pappas. Johnathon Owen Black. Lara Jade. DeAndre DaCosta. Additional thanks to: Ruth M Shepherd - Proof Reader. Egle Cereskaite. Laura Hebrard. Gaspard Lukali. Hecabe Dufraisse. Oscar Garnica. Samuel Zakuto. Katie Grocott.


Reproduction in Blogs/Press Reproduction of the magazine is only granted to online blogs, websites and the press, where there is an express link back to and where photography, illustration, or other graphic elements have associated credits included. Credits & Copyright All due care has been taken to ensure credits are accurate and complete at the time of publication. All appropriate permissions have been requested, at the time of publication – any issues will be resolved by the offending items removal from the publication or remain if subsequent permission is granted. Any errors will be corrected as they are reported. Reproduction of any part of this publication is strictly prohibited without prior permission from the publishers, including all logos, titles and graphic elements. Permission is automatically granted as described in the reproduction section above only when the conditions have been met in the context of News, or in the promotion of Masquerade Magazine. If unsure always seek permission first. The views expressed in Masquerade Magazine are those of the respective contributors and are not necessarily shared by the magazine or its staff. All rights reserved. Copyright 2010 by Masquerade Magazine Ltd.

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CHOPARD Imperiale

A watch of royal elegance


EDITORS NOTE Initially this journey was aimed to touch the minds in my inner-city, Primal intent fuelled by the core's passions - our drive you could never pity Our choice to evolve into an unfamiliar dimension, Has been recognised globally - now its our first celebration Unyielding times forces the creative soul to soar The elements of intrigue - bouncing from chic unique to just plain beautiful raw Masquerade demeanour and our 'alternative view' - I will always say Has filled our hearts with gusto - so 'Happy Birthday!' What a memorable mission! Here is to another sucessful year with Masquerade Magazine - going to print in 2011. I would like to personally thank Chris (amazing job), Yelena, Marius and Kevin for your support over the last two months. My Missy 'I love you'. ‘THE CELEBRATION ISSUE’ Enjoy!

I would love our readers to feel free to make any comments regarding any articles within this Issue to:


Written by Ruth Clifford Holi is a unique festival celebrated by Hindus in India and by a variety of religious communities all over the world. Although predominantly a Hindu festival, many religious groups join in the fun and spirit of the party. One of the most renowned parts of the celebration is the throwing of brightly coloured dyes onto one another and even smothering these dyes all over each other’s bodies in a great display and celebration of colour. >>> 09


Being one of India’s many historic festivals, Holika, as it was originally known, was celebrated by India’s ancient civilization - the Aryans, several centuries before the birth of Christ. The festival is widely known to have an abundance of origins and legends attached to it, and it has been described in many Hindu sacred texts including the immensely studied ‘Vedas’. The most significant and commonly known legend is that of Prahlad and Hiranyakashyap. Hiranyakashyap was a devil and powerful king who considered himself a god, and wanted everybody in his kingdom to worship only him. But to his great anguish, his son Prahlad became a devotee of someone else, of a certain Lord Naarayana. Hiranyakashyap, in a frenzy of jealousy, commanded his sister Holika to enter a blazing fire with Prahlad in her lap. Holika had been given a magic power by the gods that made her immune to fire. However, she was not aware that the power worked only when she entered a fire alone. As a result, she paid the ultimate price for her sinister desires, while Prahlad was saved by the grace of the god for his great devotion.





The legend of Lord Krishna is also associated with colour, as the Lord started the tradition by applying colour on his beloved Radha, being jealous of her fairer complexion. Gradually, the play gained popularity with the people and became a tradition. This ‘Festival of Colour’ is particularly celebrated in north India, but in the south of the country people follow the tradition of worshipping Kaamadeva, the love god of Indian mythology. Legend speaks of the great sacrifice by Kaamadeva when he shot his love arrow at Lord Shiva in order to break his meditation and encourage his interest in worldly affairs. This legend, along with others, depicts triumph of good over evil; the main theme of the festival. The tropical and magical setting of Hampi in Karnataka, provides the ideal backdrop to display the colourful celebrations in all their glory. The first signs of the festival come the night before, with the sound of drums echoing off the hillside and light and smoke filling the night sky. The burning of the fire is an important event during Holi, and usually happens on the eve of the festival to mark the story of Holika and Prahlad. Devotees spend the night circling the fire; an action that is believed to cleanse the body and air of evil spirits and bacteria. The following morning, on the day of Holi itself, no time is wasted in the display of colour being unleashed. The entire population of the region is armed with gulal and abeer; the brilliantly colourful dyes in a selection of pinks, yellows, greens and blues. Walking down the street in a casual manner is not possible on a day like this, as passersby of all ages release the dyes in a war of colour. Humans become unrecognisable, and all the people merge into one vibrant exhibition of colour. It is said that the beauty of Holi is that all distinctions between caste and status are forgotten, as it becomes impossible to tell one’s creed beneath the multiple layers of colour. For one day only it is no longer of importance as to where you are from or how much money you have; it is a perfect way to unite the nation. In the midst of shouts of Holi Hai - Happy Holi - and clouds of colour, this atmosphere is unlike any other you’re likely to experience at a traditional festival. By late afternoon exhaustion is bound to set in, and there is no better way to relax and wash off than by wandering up to the river, past peaceful banana plantations and clambering over magnificent boulders to the clear pools nestling amongst the smooth rocks. Washing the dye away is no easy feat, as the colour becomes etched into your skin. This acts as a constant reminder of the significance of the Festival; colour is of no importance. Locales become unrecognisable as gashes of colour stain walls, vehicles, animals and people. The strength of the chemical dyes means that the weeks to follow are spent walking around in a haze of pinks and purples, forever delighting onlookers who shout out Holi as you walk by. Like the dyes themselves, this crazy and colourful festival will, without doubt, form a lasting memory that will never wash away.

Images - Main: Roba. Second: Roba, Overleaf: Laughinglizard, Left from top: Roba, Jayamahesh, Alschim @



TAG Heuer 150th Anniversary

Grand CARRERA Calibre 17 RS2 Chronograph and MERIDIIST Limited Edition 1860-2010. Two avant-garde instruments inside a handcrafted luxury box

Photography by Yoshiaki Sekine

Photography by Yoshiaki Sekine Model: Yuri Pleskun @ ReQuest Stylist: Kate Erwin

All clothing by NWS - Nike Sports Wear All hats by Lola Hats

Photography by Dom Smith

Overleaf: Lace top by Christopher Kane. Shearling jacket by Prada. Sweater by Gucci.

Black Turtleneck by Azzedine Alaia, Gold charm necklace by YSL.

Tuxedo by Givenchy. Lace top by Christopher Kane. Pumps by Christian Louboutin. Lace and Satin gown by Stella McCartney.

Blouse, belt, skirt by YSL. Coat by Burberry Prorsum. Ring by Balenciaga. Gold bangle by Aurelie Bidermann.

Black patent trench, the "Chyc" bag, Gold charm necklace by YSL. Black Turtleneck by Azzedine Alaia. Gold bangle by Aurelie Bidermann. *Earrings worn throughout stylist own

Photographer: Dom Smith Models: Anna C @ Ford Chrishelle Stubbs @ Supreme Stylist: Jahleel Weaver Hair: Allison Lawsen MakeUp: Tim Wallis

Sweater by Gucci. Leopard scarf by Lanvin. Sunglasses by Balenciaga.



In the month when John Galliano celebrates his fiftieth birthday, Faye Cheeseman looks back at his career and some of his most recent collections. >>>



How do you imagine Galliano? Wearing his diamond-encrusted crown set askew on flowing blonde curls? Heavy-browed and sharp-suited in pin stripes, complete with trilby? Perhaps you prefer to see him as Galliano the pirate, the beekeeper or the matador. However you imagine him, everything about Galliano tends to the dramatic. His career in fashion, his collections, his own eclectic, transformative look, even his full name – Juan Carlos Antonio Galliano Guillén – all ooze theatricality. Galliano’s most abiding ethos is the ‘fantasy’ of fashion but even his most elaborate creations somehow engineer a certain accessibility. If you can’t walk away with one of his pieces – or even, in the case of his more ostentatious couture, walk in them at all – you can be inspired and impassioned by the enthusiasm with which he works and presents. Galliano was launched into the world of fashion in 1984 on his graduation from Central St Martins College of Art and Design. His inaugural collection was his graduate showpiece. Entitled ‘Les Incroyables’ and inspired by the French Revolution, Galliano lit a fire in the industry. Joan Burstein of Brown’s bought the collection in its entirety and it proved to be a sell-out. Despite this, and the award for British Designer of the Year in 1987, Galliano’s attempts to launch himself under his own name proved challenging. More than one financial backer pulled out on him and there were seasons when he couldn’t afford to show. It was in Paris that Galliano found his footing once more, growing in strength and catching the eye of Bernard Arnault, chairman of the luxury corporation LVMH. In 1995, Arnault gave him the reins at Givenchy and it was this stepping stone, appointed as chief


designer, which enabled Galliano to become the first British designer to lead a French haute couture house and, less than two years later, led him to his current position at Christian Dior. These new positions were not without controversy. Not everyone believed in Galliano. But he rode out the storm; let the clothes speak for him. Galliano now divides his time between the House of Dior and the line that carries his own name. He works hard for his success, producing six collections of ready-to-wear and couture for Dior each year, as well as six collections for his own line. So what did Galliano bring us in the year of his half-century? 2010 was a kaleidoscopic mash-up of wide-ranging influences from equestrian to the silent movie star via Mongolia and the South Pacific. Some might argue that the performance of couture is his natural home and in the height of summer we saw a hot and humid Dior Couture show, inspired by tropical blooms. The models were a collection of just-cut flowers, fresh from the hothouse and artfully tied in contrasting colourways with a handful of gardener’s twine. Galliano made good use of chiffon and tulle with tight clusters of ruffles trembling alongside flouncing petal-like underlays and tulip-shaped skirts. The collection was a physical representation of the smell of jasmine and frangipani on a warm breeze, although the model’s shrink-wrapped heads occasionally felt slightly too reminiscent of a cellophane-wrapped supermarket bouquet.

Left: Monica Feudi /


At Christian Dior again, October saw the Spring/Summer 2010-11 Ready-ToWear collection. “I’m here to make people dream, it’s part of my job.” said Galliano, and the audience will have gone to their beds that night with visions of Hollywood-inspired nautical glamour and the words of Bettie Page ringing in their ears, whose famous quote “I was never the girl next door” opened the show . This was the fun and flirty side of old-style Hollywood, all glossy red lips and stiff, rolled, shiny bangs. The palette was that rich Technicolor peculiar to films in the early days of cinema. The styling was an almost cartoon-like mix of practical seafarer, in the starched white parkas and fitted cotton jackets, and the romanticised ‘high seas’ of South Pacific. Days later, Galliano showed his own line R e a d y - To - W e a r collection. The feline prowl of the models as they stalked to and fro on the runway spoke eloquently of the absence of the linear in his offering. They walked smoothly, deliberately, dramatically and purposefully, pausing regularly and at length to pose, circling round each other in a way that was sometimes affectionate and sometimes predatory, reminiscent of elegant cats on the prowl in the twilight hour. Airy clouds of nude, blush and pastel blue chiffon offset with strong accents of orange, teal, cerise and black, slowly gave way to brighter, richer ensembles with a more form-fitting, sexy-sheer appeal.


The emphasis was volume, volume, volume; in the model’s gossamer-like hair, in the loose-fitting blouses, the voluminous harem-style trousers and in the train-like sweeps of chiffon trailing over arms and hats. It was volume that spoke of lightness and space, but not bulk. The dark intensity of the catwalk and its immediate surrounds gave the impression that the models floated before the crowd; the illusion, that it wasn’t the body but the air that held the clothes in place. Finally, the collection gave way to a glittering, diaphanous procession of ethereal white and silver gowns; the haunting ghosts of brides from the 1920s revisiting their greatest triumph. A fade to black, then Galliano himself emerged from the darkness into a growing ball of amber light – flaming orange dry ice in true Galliano style – and a glitter-storm of golden paper. He prowled, he hunched, he leered at the crowd over the collar of his jacket and then he faded back into the darkness. 2010 sees Galliano as dramatic and playful as ever. But the greatest party of the year will surely be in honour of his fiftieth birthday on the 28th November. Oh, for an invitation! At least those who don’t make the guest list can be assured that any cravings for excitement, suspense and performance will be richly satisfied on the catwalk.

Overleaf/Left: Francois Guillot/AFP Getty Images. Above: Pascal Le Segretain/Getty Images


after par Photography by Kevin Amato


Photography by Kevin Amato. Models: Elisa, Mikhael & Guido @ ReQuest

Taking influence from an unusual and eclectic mix of styles for her recent graduate collection, London-based Menswear designer Astrid Andersen’s fearless designs curiously combine both American Hip Hop and Spanish Matador cultures. >>>

Written by Holly Woodcock





The Danish-born designer recently graduated from the Royal College of Art and, whilst there, won the Brioni Creativity and Innovation Award in 2009 - with which she spent a week in Italy at their tailoring academy and factory - as well as receiving River Island’s MA Student Bursary Award in the same year. On winning the latter, Andersen was asked to create three looks including hats, caps and sneakers as well as full outfits for the popular high street chain which were then launched across the country this past spring. Andersen says “It was a huge learning process for me as I did all of the communication with factories in the Far East and the sample fittings as well as the designing, so I really got to see the whole side of a commercial business”. Her unique style makes strong reference to street wear and luxe sportswear, and her Death in the Afternoon graduate collection encompasses pink sheepskin, leopard prints, gold chain embroidery and hot pink velveteen puffa jackets. Andersen continues “Death in the Afternoon is a Hemmingway novel on bullfighting, and the book and its title, I think, capture the raw power that I love about both cultures. I love the attitude and rudeness of American Hip Hop culture and the elegant kill of the matador”.


In her designs, she aims to question the way men traditionally dress and provoke thought over conventions men typically follow. “I love exploring areas of menswear that are borderline feminine and a bit wrong, and turning them into something powerful through attitude” - another reason why this 26 year old makes telling use of chiffon, gold and fur. Growing up in Denmark, Andersen first studied fashion at Scandinavia’s largest design and business academy TEKO, describing it as a very technical college and traditional in its craftsmanship. From there she moved to London, taking a place on the Royal College of Arts Fashion degree course. Andersen acknowledges studying in Denmark for providing her with the skills to create well-made garments and the ability to translate her creativity into something more tangible and commercial. She also thanks the RCA for opening her mind and helping her discover her own true design identity. With a penchant for bright colours, garish prints and technical fabrics such as polyamide, fur and nylon, there was every chance Andersen was going to stand out from her peers at the RCA graduate show. “It was very blurred, it happened so fast. I had been working non-stop and somehow it just happened and I was watching the first show and felt a bit sick. I couldn’t watch people’s reaction because the collection had become so personal to me” she describes. Satisfied with her achievements so far, Andersen looks to Italian designer Ricardo Tisci and Givenchy’s menswear collections as inspiration for their sophistication, and to Bernhard Willhelm and the eccentric Belgian designer, Walter Van Beirendonck, for their relaxed and humorous approach to fashion. She pictures confident men wearing her own bold designs and says it’s all in the attitude. Amongst these confident men is no other than musician Seal. “He just bought one of my jackets stocked in the menswear store The Library, West London. I love him in my clothes”, she says. Lady Gaga has also recently purchased a pair of Andersen’s shorts from the collection, fitting the confidence mould perfectly. With a clientele list kick-started by two of the world’s fiercest musicians, who knows what’s next for the Astrid Andersen brand. “At the moment there are no average days” states Andersen. “At this stage, I’m trying to fulfill every role involved in running a label. I do my own PR, arrange shoots with stylists and liaise with shops about delivery times, prices etc.” Also in the process of setting up shop with her own boutique at online clothing store ASOS, Andersen spends what little time she has left to plan and create the next collection which will be ready for February 2011. Regarding long term goals, she hopes to maintain the creative core to her designs whilst making her living from the label, and one day hopes to collaborate with other big brands.


MINI Scooter E concept

Concept design for a new electric powered scooter by Mini, includes iphone docking interface.

watch video click here



Photography by Lara Jade

Photography & Retouching: Lara Jade Model: Hil A @ Elite NY Make Up: Anthea King Hair: Eve Whittington Styling: Deborah Ferguson

WOOF! tyson | Photography - Curtis Eberhardt @ Makeup and Hair - Ingeborg @ Workgroup LTD, using Mac cosmetics. Model - Melina @ Trump Models.


Backes & Strauss Berkeley 40 with one row of ideal cut diamonds retailing at £75,083.00 and Berkeley 29 with two rows of ideal cut diamonds retailing at £14,041.00 are hand set in 18kt white gold.

Stockists and information Tel: +44 (0)207 839 8709

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uplifting collections, and embraced the luxe ideals of the Seventies. Marc Jacobs borrowed from decade-defining icons – including Bianca Jagger – silks and satins rendered in opulent plum and terracotta shades, whilst Rodarte looked to stylized wood veneer and table-cloth checks, a nostalgic snapshot of Seventies living. Celine’s influential new minimalism crossed the Atlantic, as pared-down looks appeared in the form of butterscotch leathers and sculptured white silks at Cushnie et Ochs, and layered separates with subtle sportswear inflections at 3.1 Phillip Lim. Calvin Klein led a Nineties revival – luxurious fabrications updated with barely there details, whilst Alexander Wang’s workwear inspiration came with metallic accents that recalled duct tape. Subtle Japanese influences blended seamlessly with Western ideals, inspiring print and silhouette. Proenza Schouler used traditional shibori hand-dye techniques; Ohne Titel paid homage to woodblock artist Utagawa Kuniyoshi with stark graphic prints, applied across kimono curve jackets.

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Jaana Jatyri, CEO

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Photography by DeAndre DaCosta. Model: Brandi Quinones @ ReQuest.

Hair: Dante Blandshaw. Makeup: Sir John Barnett. Stylist: Jason Rembert. Asst: Ashley Acevedo. Manicurist: Aya Fukuda. Clockwise from top left: 1, Lipstick: YSL. 3, Bodysuit: Dolce and Gabbana. Necklace: Miriam Haskell. 5, Dress: Dolce and Gabbana. 6, Corset: Dolce and Gabanna. Fur: Adrienne Landau. Necklace: Ben Amun. Belt:Stylists own. 8/9, Bra: Laperla. Necklace and earrings: Kara Ross. 11/12, Bodysuit: Dolce and Gabbana. Necklace: Miriam Haskell.

Masquerade presents a selected range of wonderfully crafted special edition books, celebrating the work of some of the most exciting artists in the world today and honouring the finest creatives in fashion, art and architecture. With quality and flair these renowned publishers have produced original and graphic concepts. A fine selection of pictorial biographies and visual histories of the most iconic figures of our time. Enhance even the most select library in commemorative style. >>>

Written by Katie Bruce




THE CHANEL 3 BOOK SET, SPECIAL EDITION These ‘little black dresses’ of books have been produced exclusively for Assouline. The Parisian fashion house has eloquently formed this little piece of luxury encased in genuine, black, quilted leather and bejewelled with the Chanel logo. In celebration of the influence that Chanel has had over designs that have ultimately defined women’s fashion, the books collate the designer’s legacy, fashion, fine jewelry and perfume over three separate books in inspiring detail. The volumes graciously illustrate and bring to life the magical Chanel story with pure chic and elegance.






A gigantic, surrealist pop-offering from Taschen, celebrating LaChapelle’s truly extraordinary photographic works of art. This is a volume of photography packed full of fashionable individuals, models and celebrities. The book is limited to 2,500 copies, all of which are signed by LaChapelle himself. This grand figure is famed for his gaudy, exaggerated style that has lured celebrities such as Britney Spears, Madonna, Naomi Campbell and Paris Hilton into his mischievous, fantasy imagery. Clearly the “Fellini of photography".






PUCCI, VINTAGE ART EDITION Emilio Pucci's vision and legacy

Each of these charming limited edition art books is encased in genuine vintage fabric from the extensive Pucci collection, and exceptionally completed with four individual art design prints. The book explores the history and achievements of the Pucci family through a copious archive of images and essays from Vanessa Friedman, Fashion Editor for the Financial Times. This is the fundamental fashionista’s book made to sit vividly on display, intended to be a piece of art in its own right.

MAGRITTE BY PIERRE STERCKX Assouline books present a superb retrospective work by the Surrealist artist René Magritte. A colourful collection of witty and provoking images, beautifully bound in cloth and stamped with a reproduction Magritte print. Magritte was discovered in 1929 with his painting of a pipe and a caption that read “Ceci n’est pas une pipe” (This is not a pipe). This, along with a series of other related images developed a new style running parallel to a philosophy which began to contribute to modern movements such as Pop Art and Conceptual Art.



SHIGERU BAN, COMPLETE WORKS - ART EDITION Taschen have a limited 200 copies of this delightfully crafted art edition book, caged in a mesh hand made from African Samba wood by the architect himself. This extensive collection of images, prepared in collaboration with the artist, features every built work which illustrates his remarkable, innovative career. Celebrated for being, and best known as, the paper architect, his experimental building methods and exploitation of paper tubes has been used to construct instant housing for disaster victims. He has also ventured into designing living concepts by observing the nature of space and flow, resulting in a wall-less house.



Photography Stefani Pappas

Photography Stefani Pappas. Model - Isabelle @ Supreme.

TOURBOGRAPH “Pour le Mérite”




165 Years – Homage to F. A. Lange Collection

Written By Dayna Smith


A thousand years in the making






VIETNAM'S CAPITAL, HANOI, CELEBRATED 1,000 YEARS OF EXISTENCE THIS OCTOBER WITH AN EXTRAVAGANT CEREMONY INTENDED TO STOKE NATIONAL PRIDE, AND ONE WHICH WAS IN STARK CONTRAST TO THIS ONCE WAR-RAVAGED COUNTRY’S DARK HISTORY. More than 30,000 people marched in the nation’s largest ever parade that reflected both its military past and cultural present with soldiers, flamboyant dragon dancers and helicopters displaying Vietnamese and Communist Party flags. The celebrations marked the anniversary of the foundation of the capital, (once named, Thang Long), spreading over 10 days from the 1st October until the 10th October. As myth would have it, the first emperor of the Ly Dynasty decided to move the capital of the country to Dai La. This became capital of the first Vietnamese dynasty independent of Chinese rule some seven centuries prior, in 1010. When the Emperor and his convoy arrived in Dai La, a golden dragon rose beside the emperor’s boat, hence the reason behind the emperor changing the name to Thang Long; literally meaning ‘The Rising Dragon’. It was only in 1831 that Thang Long was renamed Hanoi. In the run-up to the ceremony, exactly 1,000 days beforehand, a countdown clock was erected in front of the Hoan Kiem Lake on January 13th 2008. One of the many activities that took place in this lead-up to the celebratory year was the time capsule project, where 1,000 objects were buried with a message for future generations to open in 1,000 years time. There were 63 items representative of the 63 provinces of Vietnam and another 937 items suggested by the people of Hanoi. All the objects will be kept in a container symbolising 1,000 years of Thang Long and buried within the site of the Hanoi museum. Images: Giora Pinhasi,




Greensound glass speakers

Photography by Shiraz Ansari

Photography By Shiraz Ansari

Fashion Editor: Shayne Oliver Models: Janis & Eric @ Request Post Production: Justin Dewalt Shot On Location @ Rye Beach, New York Clothing/accessories: Asher Levine. Hood By Air. Paradox Vested Relics. Telfar


Written by Teodora Gaydarova

In 1989 People Magazine voted Sean Connery, then 59 years old, the Sexiest Man Alive. Connery’s comment on learning about this was laconic: "Well there aren't many sexy dead men, are there." Sean Connery’s exceptional charisma is undeniable – the finely arched eyebrows, the stern but benevolent eyes, the proud expression, the deep melodious voice – all his features contribute to an almost aristocratic charisma, and create an aura of nobility that appears to be automatically transferred to all of his on-screen characters. And while most actors are either merely good- looking or artistically gifted, Connery combines both of these qualities and also transcends them. >>>


Sean Connery’s name is most often associated with the iconic James Bond, a role that skyrocketed his Hollywood career, beginning with Dr. No (1962), the first in a series of films about the glamorous spy. Real life, however, has not always been as glamorous for actor Sean as it was for his character James. Thomas Sean Connery was born on August 25th 1930 to a working class family in Fountain Bridge – a grimy industrial area of Edinburgh. Life was harsh from the start. His parents made him sleep in the bottom drawer of the wardrobe and only got him a real bed when he turned eight. Nevertheless, Sean grew up an intelligent, agile and athletic child. To help his family out, he started working at the early age of nine as a delivery boy. From this moment on, he was to study and work, even through the harsh years of the war. Sean served in the Royal Navy for two years before he was diagnosed with an ulcer and discharged with a pension. In the years following this mishap, his life took a lot of twists and turns, the most crucial of which was a course, and a subsequent job, as a polisher, which took him to the theatre to work on the sets. What began as a simple task started a lifelong infatuation, and opened his stage career in the early 50s. While holding down a number of jobs as a lorry driver, factory worker, lifeguard, etc, Connery also did a spot of modelling and took up bodybuilding; two activities that were to build the masculine image of a future Hollywood star. A lesser known fact about Sean is that at the same time he started to act, Sean was also noticed by Manchester United and offered a trial with their club. Luckily for him, and for all of his fans, he chose acting over football. Connery’s first movie role in Lilacs in the Spring (1954) was unaccredited. He starred in a dozen films over the next 8 years until he hit his lucky break as James Bond in the first dramatisation of Ian Fleming’s novel Dr. No (1962). From here, his acting career took a definitive direction to stardom. Dr. No was followed by another five 007 flicks in the following decade but, while James Bond became a legend, Sean Connery was not happy with being a typecast, and decided firmly to build a reputation of an actor capable of any transformation.



But how do you escape the image of a tough, charming man when it’s in your blood? The myriad of screen reincarnations he has gone through are the definitive proof of his talent and the versatility he shows in life marks his acting career too. Yet, all of his characters share certain similarities. Sean Connery has created an enduring image, a combination of all the traits of his roles, something that could be called the Connery character – an enigmatic man with a noble spirit. He comes from a past veiled in mystery and conspiracy; he challenges the status quo, eventually tearing the established order to pieces, only to disappear into the void without a trace or a prize, but always in a shower of fireworks. He is a natural born leader endowed with extreme courage, intelligence and nobility of spirit. He is often a father figure (Indiana Jones and the Last Crusade 1989), a wise man (The Name of the Rose 1986), a knight (Robin and Marian 1976), or a king (First Knight 1995) or in other words – a man at the very top of the social ladder. The Connery character is never simple. Even though intellectually superior, he often embodies some moral ambiguity and is usually destroyed by his own pride or even idealism. In The Untouchables (1987), Jim Malone has a desperate desire for justice, and in The Man Who Would Be King (1975) Danny is ruined by royal aspirations. Sean Connery easily fits into the skin of any character - the tough action hero or the soulful artist, a knight or a crook, a king or a thief. Even his criminal characters possess nobility. But eventually, every character he plays is the same character – an extraordinary intellectual and spiritual leader who pushes all of the boundaries. A good actor invests something of himself in a role, whereas Sean Connery seems to have taken roles that reveal deeper shades of himself, and what shades! Connery is the winner of an Academy Award, two BAFTAs and three Golden Globes and, in 2000, he was knighted by the Queen. His career is now at its zenith but, as we all know, a true artist never ages. Sir Sean Connery continues to inspire awe and respect, things that time cannot change. Images - Main: Cannes Film Festival 1999, Overleaf:


SOW HOUSE If you are passionate about architecture and design, then SAOTA (Stefan Antoni Olmesdahl Truen Architects) may have fashioned something of interest to you. SAOTA wanted to create a family home and office located on the Swiss banks of Lac Leman (Lake Geneva), and from this, Sow House was born. >>>

Written by Kevin Persyn 140



hat immediately hits you as you pass through the colossal stainless steel gates is the huge expanse of water before you, separating the main house from the annex . The central house is constructed of triangular slabs and rounded blocks of dark grey Alucobond that fit together to form an L-shaped living space. The main entrance echoes the access gates in beaten stainless steel, and the external wall is constructed of Chandore stone finished in Balau timber which weathers to a soft shade of silver, giving even the garage doors a regal presence. A continuing theme of space and light extends to the living area, where a large, curved glass wall looks out onto the lake. These ceiling-to-floor windows continue through to the kitchen and dining area, and from there up to the upper level rooms, which can all be accessed via a stunning glass lift.


The main building is linked to the annex via an underground passage-way and is home to a spa, swimming pool, an auditorium and a cinema, with space to park your car beneath the building too. The annex comprises a guest suite which has the luxuries of a 5 star hotel. Visually linking this building to the other, is the glazed panels and matching sliding doors in Balau timber adorn the entirety of the walls. One of the architects of this house, Greg Truen, describes the building as “an expression of an emerging African aesthetic in the sure way it plays with texture, materials and the way it connects to the exterior”. He explains the reasoning behind having glass walls as enabling humans to get closer to the outdoor world; “with a harsher environment, Europeans have distanced themselves from the outdoors and are used to living with more barriers between them and nature.”






Written by Syed Ahsan Abbas

INOUE BROTHERS TRAVEL BLANKET Fusing Japanese sensibilities with Scandinavian simplicity, the Copenhagen-raised Inoue Brothers have released this stunning super fine South American baby alpaca checkered blanket. The classic grey-checkered design means that it will easily stand the test of time. The baby alpaca is like running your hand across a cloud, a clichéd description to be sure, but it is just so incredibly soft! Whether you choose to snuggle up with someone under this at home, or use it as a travel blanket, it is perhaps one of the more luxurious, yet not bank-breaking, blankets you could buy.

BYREDO GYPSY WATER Stockholm-based perfumers Byredo describe Gypsy Water as a “scent of fresh soil, deep forests and campfires”, and it certainly does have a luxuriously warm and romantic feel to it. The fresh opening top notes of lemon, bergamot and juniper berry settle down cosily to the warm and sweet base notes of vanilla and woody amber. The overwhelming impression of the scent is quite literally one of warmth and comfort. In fact, judging from the reception this scent has received, your better half may just be tempted to borrow your sweaters and scarves just to keep the scent with them all day through!

NATIVE FITZSIMMONS BOOT Taking on the classic hiking boot silhouette is Native’s beautifully streamlined Fitzsimmons boot. Made using injection moulded EVA, these boots are lightweight, durable, antimicrobial and easy to clean – pretty much everything you need for a good Winter boot. The minimalist profile, featuring a classic d-ring lacing system, makes these boots perfect for wearing with a pair of raw denim jeans and chunky woollen knit on a fashionable weekend outdoors. Coming in a broad range of colours and an affordable price point, you may actually be tempted to pick up more than the one pair! 51 86 0

HIGHLAND PARK OLDEST EVER ISLAND SINGLE MALT Bottle designed by Maeve Gillies 275 bottles produced

Portraits photographed by Jonathan Black

Model: Ash Stymest @ Select


DAY OF THE DEAD Written by Michael Knight


The subject of death in modern society is something which is commonly shied away from. Our obsession with youth and beauty and trying to halt the advance of time is something which makes us intensely fearful of death. It is this which makes Mexico’s Dia de los Muertos or the Day of the Dead such a fascinating and unique festival. Combining elements of Hallowe’en, ancient indigenous traditions and the Catholic festivals of All Saints’ Day and All Souls’ Day, the Day of the Dead is a colourful festival in which Mexicans celebrate the lives of past loved ones and the subject of death itself. The origins of the festival are rooted in the indigenous, pre-Christian traditions of Mexico and Central America, dating as far back as 3,000 years ago. The pre-colonial beliefs of the indigenous peoples were that souls continued to live on in Mictlan, a specially designated place for souls to stay once their physical bodies had been shed. Thus, death became simply another part of the journey of life and, as such, was to be celebrated. The ancient pagan religions celebrated the lives and deaths of their ancestors and the visitation of their souls from Mictlan over the summer months. The festival is seen as an extremely important preservation of Mexican heritage and culture, and is a national holiday in Mexico. The festival in its present form began when the


original festivities were moved by the Spanish colonialists to the 1st and 2nd November to coincide with All Saints’ Day and All Souls’ Day, to try and force out native traditions. The result of this, however, saw Christian customs and symbolism blended with a very non-Christian tradition of exuberantly celebrating and rejoicing over the theme of death. The festivities are split over two days. November 1st is known as Dia De los Inocentes (Day of the Innocents) and is dedicated to the souls of dead children. November 2nd is the Dia de los Muertos, which is conversely dedicated to the souls of deceased adults. The intent of the celebration is to encourage the visitation of the souls of those who have passed on. These remembrances, rather than being sombre in tone, are often colourful and upbeat. Families and friends will build stunningly decorated shrines to commemorate loved ones, strewn with photos, favourite foods, flowers (Mexican Marigolds) and candles. The evenings will see family and friends making their way to cemeteries for graveside picnics, sharing anecdotes and funny stories, writing humorous poems known as calaveras (skulls), singing songs and taking part in ritual dances, all dedicated to their loved-one’s pasts. Newspapers commonly print calaveras of their own, dedicated to famous public figures, in keeping with the unique respect for death and the black humour of the festival.





One symbol it is impossible to miss during the festivities is that of the skull. Sugar and chocolate skulls are made for the occasion, and revellers will don skull masks with colourful costumes to add a light-hearted slant on a subject widely considered macabre and taboo. Another important aspect of the festival is the way in which individual towns and cities put their own stamp on the celebrations. The picturesque town of Patzcuaro, for example, celebrates the occasion with particular intensity, completely taking over the town with vigils and cultural events such as art exhibitions and satirical Day of the Dead poetry competitions.

The town of Ocotepec has a unique tradition in which houses that are marked with marigolds are open for visitors to view and admire the specially built altars inside. Visitors are offered food and drink, and in return are expected to light candles and leave flowers on the altar. The nights of October 31st and November 1st see mass processions to the town cemetery to sit beside the tombs and graves, with ofrenda (offerings) and food to eat. This is an emotional and beautiful occasion, making it well worth the effort to step away from the larger tourist spots and Mexico City itself, to explore some of Mexico’s smaller towns. You don’t have to be in Mexico itself to enjoy the

Day of the Dead festivities, however. Housing large Mexican communities across Texas, Arizona and California, these areas, too, see similar Day of the Dead celebrations to which these communities add their own influence. Garfield Park in San Francisco sees traditional Day of the Dead shrines along with various celebrations every year, at the same time that the celebrations take place in Mexico. Los Angeles’ Self Help Graphics & Art centre, dedicated to the Latin-American community, holds its very own Day of the Dead festivities, in which time-honoured aspects are blended with nontraditional elements such as shrines to American war victims. Celebrations are also held across Latin America in countries such as Brazil, Guatemala and Bolivia, once again combining imported Christian beliefs with ancient indigenous traditions. Day of the Dead celebrations seem to have transcended the Mexican and Latin American borders too, with celebrations taking place as far-flung as Prague, The Philippines and New Zealand. However, nothing comes quite close to the spectacle which takes place in Mexico itself, in which everybody contemplates the meaning and value of life, as well as the meaning of death, in such a colourful and spectacular fashion.

Images -, mickou: cfrausto:


Alila Villas Hadahaa is an exciting new vacation option in the Indian Ocean. Located on one of the widest and deepest natural atolls in the world, it is the first upscale hideaway in the Maldives to be designed and built to Green Globe specifications that really does full justice to the unblemished Maldivian seascape. The resort embraces ecological, intellectual, intimate, cultural, and luxury living concepts that translate into Journeys by Alila. All fifty villas are designed to enhance the Maldivian experience. The overwater Aqua Villas offer panoramic views of the tropical sky and sea. Rhythmic waves lap beneath the villas, lulling guests into a state of meditative euphoria. The Island Villas, in contrast, are gently nestled amongst the natural vegetation so that each is a private island enclave with its private deck and a enclosed garden with an outdoor shower and bath.



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