Air Magazine - Empire Aviation - December'18

DECEMBER 2018

THE DEFINING DECADE OF CHRISTIAN DIOR

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Contents DECEMBER 2018 : ISSUE 91

EDITORIAL Editorial Director

John Thatcher Managing Editor

Faye Bartle Editor

Chris Ujma christopher@hotmediapublishing.com

ART Art Director

Kerri Bennett Senior Designer

Hiral Kapadia Illustration

Leona Beth

COMMERCIAL Managing Director

Victoria Thatcher Group Commercial Director

David Wade

AIR

david@hotmediapublishing.com Commercial Director

Rawan Chehab

rawan@hotmediapublishing.com

PRODUCTION Production Manager

Muthu Kumar

Fifty

Fifty Eight

Sixty Four

Talented Saoirse Ronan is assured a place in film history; and her latest role is a blast from the past

In one glorious decade, Christian Dior laid the foundations for a fashion empire (and saved couture)

Martin Schoeller’s stark portraits dethrone the famous to ask ‘What can you tell from looking at a face?’

By Royal Appointment

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New Look, New Era

No Place to Hide

Elegance is an attitude Simon Baker

Record collection

Contents

AIR

DECEMBER 2018 : ISSUE 91

Twenty Two

Seventy

Style photographer Rankin is anything but Unfashionable – though a tongue-in-cheek book title begs to differ

A fascinating trove of autos are placed against similarly intriguing architecture in Cars of the Emirates

From Thirty Four

Eighty Six

Vacheron Constantin asserts itself as ‘one of not many’; Blancpain charts new depths in its Villeret collection

Riding a decade-long wave of Michelin success in New York, Marea surges into Dubai’s fine dining scene

Thirty Eight

Seventy Eight

How gemstone symphonies have assured Anna Hu a rightful place among the high jewellery elite

Tradition meets the contemporary at Capella Singapore – a luxury find on the pretty island of Sentosa

Radar

Timepieces

Jewellery

Motoring

Gastronomy

Travel

From Forty Two

Art & Design Tamara de Lempicka’s journey to becoming ‘The Baroness with the Brush’; Jane Hilton snaps modern America in a twinkly glow 14

Tel: 00971 4 364 2876 Fax: 00971 4 369 7494 Reproduction in whole or in part without written permission from HOT Media Publishing is strictly prohibited. HOT Media Publishing does not accept liability for omissions or errors in AIR.

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Empire Aviation Group DECEMBER 2018 : ISSUE 91

Welcome Onboard ISSUE NINETY ONE

Welcome to this issue of AIR, our private aviation lifestyle magazine for aircraft owners and charter clients. If you are reading this onboard an Empire flight, we wish you an enjoyable journey.

As we approach the end of the year, this is the perfect opportunity to reflect on some of the highlights of 2018 – another year of strong growth and development for Empire Aviation.

In 2018, we continued to build our global private aviation business, based on a unique aircraft asset management model, from our Dubai headquarters. Empire Aviation now manages a global operation covering the Middle East, India, Africa, Europe, Hong Kong and the US, with Air Operator’s Certificates (or equivalent) in the UAE, San Marino, and India. With more than 20 business jets under management, Empire has the largest managed fleet of business jets in the region and a team of more than 120 staff worldwide.

During 2018, the group has continued to grow with the development of our operations in India, where our affiliate, Empire Aircraft Management Services Private Limited (EAMSPL), was awarded a Non-Scheduled Operator’s Permit (NSOP) by the Civil Aviation Department in India, enabling EAMSPL to provide a broader range of aircraft management, operations and charter services for private aircraft in India.

We have also launched Elan Air Charter in Dubai to meet customer needs for support with airport operations such as passenger charters, commercial cargo flights and air ambulance flights, as well as global concierge services.

Through the course of 2018, we have inducted new business jets into the managed fleet, managing the entire acquisition and delivery process for some of them.

Our sales pipeline continues to look very strong for 2019 and some of these aircraft will join our managed fleet, and will be offered to the charter market. The Legacy 650 is an especially popular business jet among owners and charter clients – we feature the aircraft in this issue and, as you will read, the reasons for its popularity are very clear.

We wish you a very enjoyable end of year season and look forward to an exciting 2019.

Steve Hartley

Paras P. Dhamecha

Cover: Model wearing black satin couture dress

by Christian Dior; Photo

by Erwin Blumenfeld/Condé Nast via Getty Images

Contact Details: info@empire.aero empireaviation.com 17

Empire Aviation Group DECEMBER 2018 : ISSUE 91

POETRY IN MOTION: PURE FLYING PLEASURE WITH THE EMBRAER LEGACY 650 SERIES The Embraer Legacy 600 series was launched in 2000 and it has proved to be one of the most popular mid-size business jets, ever since. The Legacy 650 is the latest in the model range and it is the backbone of Empire’s charter fleet of business jets, with four 650s currently available for charter. The Legacy is based on a commuter jet design and so it has a distinctive heritage which passengers and crew can feel on every mission.

It’s easy to see why this aircraft is so popular among aircraft owners, charter clients and crew.

With its seating capacity of up to 13 passengers, the three-zone Legacy 650 has one of the largestin-class baggage compartments, which is accessible in-flight.

It can comfortably carry a larger group (along with all the baggage) on

18

non-stop flights of five to six hours duration, putting many of the most popular international and regional business and leisure destinations within range from the Middle East.

According to Embraer, the 650 offers near-perfect dispatch reliability and a high utilisation rate alongside a 10-year/10,000-hour warranty, which is unique in the industry. The large cabin is not only comfortable but also offers broadband connectivity and worldwide phone service (as well as a large washroom, fully berthing premium leather seats, an extensive galley and low cabin noise).

When you consider the aircraft’s low operating costs and transcontinental range, it’s clear why Embraer calls it the ‘workhorse’ of executive aviation. We fully agree but the 650 is so much more than this.

Capt. Ravi Panwar – Empire Aviation

THE VIEW FROM THE COCKPIT What makes this aircraft such a pleasure to fly for pilots and crew?

In the words of Empire pilot Captain Ravi Panwar, who started flying the Embraer Legacy 600 in 2007, the aircraft has one of the widest cockpits in its class and this type of space makes a huge difference when you operate transatlantic or transcontinental flights.

Empire Aviation Group DECEMBER 2018 : ISSUE 91

All aircraft images courtesy of Embraer Executive Jets

According to Ravi, the aircraft achieves a perfect balance between automation and manual controllability. “As an ex-commuter airliner, Embraer has used the forward galley space in the 600 to its maximum. Every flight attendant I have flown with has agreed that it offers the perfect amount of space and with all the amenities you need - microwave, oven, ice box, fridge, espresso maker, plus loads of space to store catering.”

From the pilot’s perspective, when you consider all the factors involved in long-range flights, the two main qualities that stand out with the 650 are its fuel consumption and cockpit crew comfort. The 650 has a capacity of over 9,200kg of fuel available for dispatch, and the cockpit seats can be adjusted to 24 different positions for crew comfort.

The 650 can take you almost anywhere. Dubai is a global business hub and company owners typically have business interests worldwide. On the Legacy 650 our typical flights are 20

to Riyadh, Muscat, Moscow, London and the USA, perhaps once every two months, and with an average of seven passengers per flight – and the cabin still feels very spacious.

With its great takeoff and landing performance from short runways, the 650 can take you to most airports around the world.

Thanks to the capabilities of its Rolls Royce engines, the Legacy can perform in a temperature range of -40 to +49.5 degrees Celsius – for example, it can depart an airport at 25 Celsius with 24,300kg weight, using a runway length of only 1,828 metres.

The performance is impressive and the Embraer Legacy 650 is moving in an environmentally friendly direction, with its engines producing extra thrust with reduced fuel flow and lower noise levels.

Back in the cabin, passengers enjoy multiple mounted screens and individual TV screens allowing them to watch the movies of their choice. Plus, the WiFi network, satellite phone, XM radio, latest news ticker, and touch

screen cabin control panels all add to the high tech feel of the cabin and its amenities. With a cabin height of almost six feet, improved insulation around the airframe to reduce noise and no luggage overflowing into the cabin, these are some of the other reasons why owners and charters really enjoy the Legacy. Passenger safety, privacy and comfort are all addressed by Embraer on the Legacy 600 and further fine-tuned on the 650.

Of course, the ultimate accolade is when we receive positive feedback from clients for the 650. For example, on a trip we conducted in which we carried six passengers and 27 pieces of luggage, the lead guest was “extremely impressed with the aircraft being able to accommodate so much baggage for the size of aircraft.”

Ravi concludes: “In my opinion, the Embraer Legacy 600 is one of the most successful aircraft series and the 650 sets the benchmark for the sustainable future of private aviation.”

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INTRODU CING THE NE W

Radar

One would think that 30 years spent snapping Heidi Klum, Gisele Bündchen, Kate Moss and their star-studded ilk would put said photographer at the forefront of what is fashionable. Yet by his own lateral thinking, Rankin is Unfashionable – so goes the title of a Rizzoli tome which collates the career-defining cultural expressions of this British art legend. It’s a visual romp oozing with provocation and process, seen through the lens of a man with a self-confessed “outsider’s perspective” – hence his ‘unfashionable’ guise.

‘Rankin: Unfashionable by Rankin’ is published by Rizzoli New York

Photo © Rankin: Unfashionable by Rankin, Rizzoli New York, 2018

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DECEMBER 2018 : ISSUE 91

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Critique DECEMBER 2018 : ISSUE 91

Film Never Look Away Dir: Florian Henckel von Donnersmarck A sweeping romantic historical drama, loosely based on the life of admired visual artist Gerhard Richter AT BEST: “A historical drama on an expansive canvas that, even though it runs over three hours, is always engaging.”

Hollywood Reporter AT WORST: “For about two hours it is a frustrating experience... the last hour, imbued with a mystical quality, really works.”

Film Companion Reviews

Ben Is Back AIR

Dir: Peter Hedges A mother’s undying love for her teen-in-trouble is tested when he unexpectedly returns to the family home on Christmas morning AT BEST: “This wow of a holiday film plays heavily on one of the most agonising family problems in America today.” Film Journal Int’l AT WORST: “While the script gets a bit too convoluted in the second half, I appreciated the direct storytelling that simply allows [the actors] to deliver.” RogerEbert.com

The House That Jack Built Dir: Lars von Trier A failed architect and arch-sociopath recounts the elaborately orchestrated murders that define his ‘career’ as a serial killer

AT WORST: “An empty provocation, it aims for profundity but achieves only mild queasiness.” Time Out

Creed II Dir: Steven Caple Jr. Adonis Creed goes back to basics to rediscover what made him a champion in the first place – with mentor Rocky Balboa by his side AT BEST: “Rocky audiences expect [the series] to be 95 percent predictable. So when they’re even 10 percent surprising – a generous estimate of this one’s novelty quotient – it feels like a win.” NPR AT WORST: “There was a great movie here, that peeked out every now and then beneath the suffocating blanket of clichés.” Salon 24

Images: Sony Pictures Classic; Roadside Attractions; IFC Films; MGM

AT BEST: “Delivers an impactful movie monster, with darting eyes and a toothy smile that makes Jack at once seem empathetic and bonkers.” indieWire

Critique DECEMBER 2018 : ISSUE 91

AIR

Theatre

“I

t’s hard to imagine Summer and Smoke in better shape,” enthuses Matt Trueman in Variety, of a play at Duke of York’s Theatre until 19 January. “Rebecca Frecknall’s spare staging takes a lesser Tennessee Williams play and reveals the great drama at its core – a devastating fable of half-requited love, missed moments and the ways we waste what little life we get... It’s agonising to watch.” Fiona Mountford has, “Long willed this mesmerising 1948 work to be considered in the premier league of that dramatist’s output,” she reveals, in the Evening Standard. “It certainly deserves the promotion and, with its intense focus on the emotional liberation of a repressed young woman, this seemed a ripe time for reassessment.

There are undoubtedly moments of transcendence here, but not quite the lift-off I had been anticipating.”

Dominic Maxwell writes for The Times, “It sounds, in outline, like one of the more fanciful West End transfers of recent years: an unstarry, barefoot cast performing one of 26

Summer and Smoke at Duke of York’s Theatre, London. Photo by Marc Brenner

Williams’ less celebrated plays... of unrequited love and squashed lust in smalltown Mississippi at the start of the 20 th century... Yet Frecknell’s production proves a revelation.”

Switzerland, at Ambassadors Theatre until 5 January, stars Downton Abbey star Phyllis Logan, “Beloved of millions [yet who is] unflinching in this disappointing would-be psychological thriller,” says Fiona Mountford in the Evening Standard. “This laborious twohander is a would-be psychological thriller, a cat-and-mouse game, but the audience is likely to smell a rat long before the 90 minutes is up.” Logan “Drips venom as a feted but vile author in a brutally good show”, writes Quentin Letts for Daily Mail. “I might have liked her to be slower in her nastiness at the start. Really rude people use silence in a threatening way. The dyspeptic wisecracks become a little predictable.” The production “Strives too hard to entertain and the evening wants to ascend to a summit of darkness without doing

the slog to get there,” says Dominic Cavendish in The Telegraph.

The title of Tom Stoppard’s new play, The Hard Problem, “Refers to the difficulty of accounting for human consciousness and morality, and the play’s main characters are cognitive scientists” explains Adam Feldman for Time Out New York, of a play that shows at Mitzi E. Newhouse Theater until early January. “Yet his approach to this question is rudimentary: an introlevel survey of the shades of gray matter... then strolling down welltrodden paths about religion, science, altruism and the nature-versusnurture debate.” Stoppard, “Has a reputation for intellectualism...

Ideally, I like to spend almost my whole evening at a Stoppard play having an invigorating mental workout, and then, in the last minute and a half, realise I’m weeping,” emotes Vulture’s Sara Holdren.

“That’s not quite what happened to me here, though the rangy curiosity, emotional wisdom, and under-thepatter humanity are still there.”

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Critique DECEMBER 2018 : ISSUE 91

Books

AIR

I

nsomnia, by Marina Benjamin, “Has a dreamlike quality, structured as a series of fragmented and sometimes unrelated thoughts and memories,” says Lucy Hunter Johnston, writing for Evening Standard. “Anyone who has suffered through the wide-eyed hell of a sleepless night will find something painfully recognisable in her searingly honest memoir about her years battling for rest.”

Kirkus Reviews call it a “Capacious, lyrical meditation on her elusive quest for sleep... She reflects on the long nights she lies awake, watching enviously as her husband (affectionately dubbed Zzz) sleeps contentedly beside her. Her mind is alive with worry, anxiety (‘anxiety is women’s work,’ she observes), ‘looping’ obsessions, and ‘gnawing thoughts.’ Her pursuit of sleep makes her feel energised, ‘invigorated by the chase,’ the opposite of the slow, quiet descent into unconsciousness that she desperately desires.... It’s a vivid portrayal of wakefulness that will strike a chord of recognition in many readers.” Fiona Capp writes in The Sydney Morning Herald, “Benjamin’s account of how the sleepless mind wanders, freeassociates, roams and transgresses is mimicked by the form of this book with its episodic fragments of reflection and trains of meandering thoughts on literature, poetry, philosophy and love.... Insomnia is not an island you’d want to be shipwrecked on but it’s definitely worth an armchair visit.”

The White Darkness by David Grann, “Is an elegantly packaged book designed to be read as a present on Christmas afternoon, when you are full turkey and the room is stuffy and the TV dull,” says a merry Julian Glover in the Evening Standard.

“Outside it is dark and cold but not as dark or as cold as the world described in this curious book, which will inspire some, just as it frightens others. It is the story of what addiction can do to you: addiction to a place, to suffering

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and to the heroic idea of what it once meant to be British.” A powerful true story of adventure and obsession in the Antarctic, the book is about Henry Worsley – a devoted husband and father and a decorated British special forces officer who believed in honour and sacrifice. “He was also a man obsessed. He spent his life idolising Ernest Shackleton, the 19 th-century polar explorer. Grann’s prose moves at a brisk pace… with a style that conveys the immensity of Antarctica and the difficulty of Worsley’s journeys,” critiques the Los Angeles Times. The Wall Street Journal thinks it “A handsome volume [which] ably conjures the rasp of sled runner on ice and the skin burn of minus-40°C.” The late David Hirst was an Australian journalist, documentary filmmaker, and author of Heroin in Australia, while a great love of the American West took him to California and ultimately to a life in the Eastern Mojave desert. His Low Life in the High Desert: A California Memoir is released this month by Scribe Publications and is “A lively account of adventures to relish,” estimates Sunday Territorian. “‘You are one crazy Australian’, Hirst was informed when he met the locals of Pioneertown for the first time. ‘When are you gonna move out here?’ The book recounts the adventures of an Australian journalist, his girlfriend, and their dog, who moved across the world to make the California High Desert their new home.” Says Kirkus Reviews,“Hirst doesn’t quite attain the hallucinatory heights that would suit the odd surroundings, but they’re psychedelic all on their own, as he and his girlfriend take residence in a weird Mad Max–ish house ‘at the very end of Coyote Road, which, as most readers will know, snakes south from Roadrunner Rut and Gamma Gulch.’ ... One eccentric blends into another, and his history is sometimes sketchy...

Overall, the narrative is grittier but less substantial than what Robert Hughes might have done with the place; it’s often funny but rarely penetrating, and

Critique DECEMBER 2018 : ISSUE 91

AIR

Art

Contrapposto Studies, I through VII by Bruce Nauman, part of Disappearing Acts at MoMA PS1

“I

nadvertently, MoMA reinforces Bruce Nauman’s ‘disappearing act’ by mounting the preponderance of the exhibit at MoMA PS1 in Queens, where fewer visitors venture,” quips Howard Halle quips in Time Out New York of Bruce Nauman: Disappearing Acts. “Nevertheless, [it] exposes Nauman for who he is: A titanic presence who, by absenting himself from his work, changed contemporary art.” Working “In immense spaces, from the former grocery store that functioned as his first studio out of school to the several hundred acres he currently works and resides on in rural New Mexico, he has been distorting images and objects, driving them to a disorienting state,” says Jennifer Piejko for Mousse Magazine.

The show “corrals a lifetime of creativity [from an artist who] has mixed sculpture, performance, drawing, photography, film, video and installation throughout his career,” says Richard B. Woodward for The Wall Street Journal. “Now, MoMA tries to find its through-line.” The show doesn’t vanish until 25 February.

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“It’s hard to say if art can make a difference in a divided society. Well, you can be a cynic about it, or you can be an optimist. German painter Jörg Immendorff was more the latter,” says Eddy Frankel, in his Time Out New York review of Jörg Immendorff: Questions from a Painter Who Reads, at Michael Werner Gallery until 25 January. “He seemed to think that art and artists could genuinely shape political discourse... The earliest works here are bold, simple images of protests. Features are thick, strong, broad – they’re works you could spot from miles away.”

The artist is “Known for an oeuvre that challenged both artistic and political establishments,” explains Artsy. “The title of this exhibition, taken from a 1980 painting, recalls a 1935 poem by Bertolt Brecht called Questions from a Worker Who Reads, which asks if ancient victories were the result of a single hero or a legion of unacknowledged supporters.”

“For anyone who’s spent time watching the news recently, the idea of an earthly utopia probably seems

pretty attractive (and entirely out of reach), A land of bucolic plenty, balmy weather, [and] harmonious relationships. And if you need a few pointers for what exactly a 21st century urban Arcadia would look like, artist Fiona Tan has come up with her own version,” writes Rosemary Waugh in Time Out London of Fiona Tan: Elsewhere – at Frith Street Gallery until 12 January. In The Guardian, Laura Cumming remarks, “The landscape of Los Angeles, as seen from high up in the hills, is the entire focus of Tan’s latest film installation.

To describe this view as captivating would be an understatement.” In Tan’s work, “Explorations of memory, time, history and the role of visual images are key. She often deals with notions of representation: how we represent ourselves and the mechanisms that determine how we interpret the representation of others,” outline Galleries Now, adding, “Her skilfully crafted, moving and intensely human works... explore both past and present and our place within them.”

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OB JECTS OF DESIRE

OBJECTS OF DESIRE

Master craftsmanship, effortless style and timeless appeal; this monthâ&#x20AC;&#x2122;s must-haves and collectibles

OB JECTS OF DESIRE

H A R RY W I N S T O N

O C E A N C O L L E C T I O N / 2 0 TH A N N I V E R S A RY

automation (developed in partnership with specialists Jaquet Droz). Design notes of this 2018 horology novelty evoke architectural features and decorative elements from Harry Winstonâ&#x20AC;&#x2122;s Houseâ&#x20AC;&#x2122;s flagship Fifth Avenue salon.

The 42mm Ocean 20th Anniversary Biretrograde Automatic 36mm is a stellar example of when fine jewellery meets fine watchmaking: where 18kt white gold, blue Paraiba tourmalines, brilliant diamonds and mother-of-pearl all harmonise with Swiss 1

OB JECTS OF DESIRE

T I F FA N Y & C O .

BLU E BOOK HIGH JE WELLERY COLLEC TION

November is firmly circled on the calendar of the high jewellery connoisseur, for itâ&#x20AC;&#x2122;s the month in which Tiffany & Co. publishes its highly anticipated Blue Book. Since 1845, the catalogue has presented one of the most extensive and

exquisite collections of couture jewels in the world. Among the awe-inspiring inclusions for 2018 is this necklace, in platinum with mixed-cut sapphires, over 75 total carats, and custom-cut diamonds.

To gift or not to gift, that is the question...

2

OB JECTS OF DESIRE

J A E G E R- L E C O U LT R E

RE VERSO TRIBUTE / ALPHONSE MUCHA ‘SPRING’

The Reverso is a true icon of the horology world, and its concept lends to endless interpretations: a classic, rectangular finely guillochéd dial on one side, and on the turn side... well, anything imaginable.

In this instance the Reverso’s reverse

is a canvas for a miniature tribute (in enamel) to illustrious Czech painter Alphonse Mucha. The watch is part of ‘The Seasons’ collection; each a miniature wearable masterpiece that showcases the brand’s artisanal expertise.

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OB JECTS OF DESIRE

M O R G A N M O T O R C O M PA N Y

P L U S 8 / 5 0 TH A N N I V E R S A RY E D I T I O N

This is Morgan’s most popular model of the last half-century, and the marque is celebrating the Plus 8’s golden anniversary in style. Its vintage visage belies a memorable driving experience: harbouring a naturally aspirated V8

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engine from BMW, expect 0-99km/h in 4.5 seconds with a top speed of 249km/h.

The icon is available in green as a soft-top, or collectors can opt for the speedster style with an open cockpit, in blue – driving goggles presumably not included.

OB JECTS OF DESIRE

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OB JECTS OF DESIRE

CROCK ET T & JON E S

HARLECH

Long, but not too long. Round, but not too round. Thereâ&#x20AC;&#x2122;s a reason that Crockett & Jonesâ&#x20AC;&#x2122; Last No. 341 is a versatile staple for both business and casual. The last underpins the Harlech Whisky Cordovan, made in Northampton, England using

beautiful leather from the Horween tannery. A straight cap derby boot made with a classic double leather sole and Goodyear storm welt, the Harlech is back in a new shade just in time to adeptly shut out the freezing winter frost.

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OB JECTS OF DESIRE

M O Y N AT

LIMOUSINE

As a bastion of French craftsmanship, unseen touches of elegance are what make a Moynat masterpiece. The robust Limousine dates back to the turn of the century (and the advent of the automobile) and is perhaps its most splendid: a wooden frame

makes it instantly identifiable, while brass studs are among the distinctive details that help distinguish luggage from this historic maison. Add in rich textures such as grained leather, and youâ&#x20AC;&#x2122;ve a reliable travel companion that has stood the test of time.

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OB JECTS OF DESIRE

O S C A R D E L A R E N TA

M I N I A L I B I B A G / AT L A N T I C A L L I G AT O R

Expertly handcrafted in Italy by artisans, the limited edition versions of the Alibi in soft, alligator skin finish represent the height of exclusivity within the collection. The bag is quintessential De la Renta, right down to the interchangeable fish and turtle charms

â&#x20AC;&#x201C; a nod the late designerâ&#x20AC;&#x2122;s beloved tropical island homeland of the Dominican Republic. The Alibi may have been inspired by the traditional travel trunk but, standing at just 11cm tall, this is a mini, mighty social season tote.

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Timepieces DECEMBER 2018 : ISSUE 91

Champions League TARIQ MALIK

T

mechanical art. There are four discs that display the hours, minutes, day and date.

he annual Grand Prix d’Horlogerie de Genève (GPHG) is deemed the ‘Oscars of Watchmaking’ – and, if I had my say, the red carpet would belong to the watches themselves.

A salute to the excellence of horological production, the competition has 12 categories (including Innovation, Revival, Chronograph, Mechanical Exception, and Artistic Crafts). Six watches compete in each class, and winners are chosen by a panel of 31 members – with the highest honour being the ‘Aiguille D’or’ Grand Prix. Here are my highlights from the 2018 awards.

Voutilainen, 217QRS Category: Men’s

Six elegant men’s dress watches duelled in this category, with Akrivia Chronomètre Contemporain taking its due credit. But my vote was always for Kari Voutilainen – the likeable, dynamic, contemporary independent watchmaker. Voutilainen crafts all of his own watch movements, and this elegant men’s piece has a retrograde date mechanism. When a new month begins, you can see the date hand moving retrograde, sweeping in an even arch movement. Nice touch.

Van Cleef & Arpels Lady Arpels Planetarium Category: Ladies’ Complication

The celestial movements of Van Cleef and Arpels took away the prize, along with the breath: the harmony of the spheres, musica universalis, and in this case, the rhapsody of earth, moon, Venus and Mercury around the sun.

Each of the miniature heavenly bodies moves at the same rate around the dial as in real time. The orbit on the dial is 88 days for Mercury, 224 days for Venus and 365 days for Earth. Then there’s a marvellous addition – the Moon itself rotates around the Earth in 29.5 days, perfectly matching the lunar dance in the skies.

Bulgari, Octo Finissimo Tourbillon Automatic Category: Men’s Complication

Bulgari succumbed to stern competition from Laurent Ferrier (with its Galet Annual Calendar School Piece), but it entered with the world’s thinnest automatic timepiece; the tourbillon is 3.95mm thin.

It’s remarkable that the watch’s new movement, the calibre BVL 288, only

Bovet 1822, Récital 22 Grand Récital

measures 1.95mm and yet can still boast 52 hours of power reserve. For me, Bulgari deserves recognition.

Vacheron Constantin, Les Aérostiers Category: Artistic Crafts

Les Aérostiers calls to mind a French summer on a perfect day with clear skies, and the countryside spread like a tablecloth below. The craftwork is inspired by the dapper balloonists of the 1700s – or aérostiers, as they are known in French.

Master artists at Vacheron Constantin were not satisfied with just using a corner of the dial. No, the entire watch dial is the canvas for this piece.

There’s a difficulty, of course. Where do the hands go? The watchmakers created a mechanical solution with the movement (Caliber 2460 G4/1), so now the time is indicated via apertures on the outer rim of the dial – a work of

Aiguille d’Or Grand Prize Winner

This astronomical theatre was created

by Bovet. The watch (pictured opposite) comes in the form of a Tellerium-Orrery – an orrery is a mechanical model of the solar system, and tellurium means the Sun, Earth and Moon.

The sun is represented by a flying tourbillon (at 6 o’clock), and the carriage bridge radiates from the solar centre – mechanical artistry of the highest order. The 3D hemispherical earth rotates on its own axis and displays the hours. As an added complication, Bovet included a spherical moon which orbits the earth precisely in relation to the synodic period, 29.53 days. It is precision, art, and horology – and a deserved honour for Bovet on the night.

Dubai’s DIFC is home to Momentum, Tariq’s co-founded vintage watch boutique. momentum-dubai.com 33

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Timepieces DECEMBER 2018 : ISSUE 91

Hold Back the River In watchmaking waters ripe with rival currents, an identity of innovation and expertise keeps Vacheron Constantin a wavemaker of haute horology

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t’s impossible to be a devotee of all matters horology and not to have noticed Vacheron Constantin’s Fiftysix collection unveiling. Over recent months, the headline timepieces has enticed admirers to intimate venues in the world’s most prestigious cities.

These evening soirees have been a window into the latest developments from the Geneva-based manufacture such as the Fiftysix Tourbillon, the Complete Calendar in pink gold and the Day Date – contemporary additions that revisit an iconic model from 1956.

But the nights are about relationship-building, too: guests are invited to settle into a leather Chesterfield with a Cuban cigar, to bask in time honoured tales of this founding father of horology. For over 260 years, Vacheron Constantin has been among the ‘Holy Trinity of Watchmaking’.

“The watch industry represents over one billion watches per year, and barely 500,000 can lay claim to ‘Fine Watchmaking’ status,” details company CEO Louis Ferla.

“Within this context, we focus on limited and reasonable production volumes, as required to offer the highest level of quality, aesthetics and expertise. Within an already highly exclusive segment, our maison is committed to maintaining a unique and sophisticated character. In this respect we are resolutely ‘One of not many.’”

The company’s new approach is to reveal those inner workings, emphasising the beating heart of its expertise.

To do so, aside from the invitation-only evenings, it has also deployed metaphor: the watchmaker has aligned with talented artists whose personality and work reflect its constant quest for excellence.

Among them are photographer/Everest conqueror Cory Richards, poet Benjamin Clementine, and singer James Bay – regarded a music visionary ‘whose creativity is a formula that requires a fine balance of time, focus and emotion.’

Those chosen epitomise the concept of a connoisseur, and prove ideal allies for timepieces which Ferla proudly describes as being “born of rigorous discipline, humility and a desire for self-surpassing.”

Carefully cultivated connections capture the essence of Vacheron Constantin: the watchmaker is ‘One of not many’, and is sharing the fruits of its status with individuals who carry equal reputation in their own personal realm.

Our timepieces are born of rigorous discipline and a desire for self-surpassing

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Timepieces DECEMBER 2018 : ISSUE 91

Come Fly With Me

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The Tourbillon Volant Heure Sautante Minute Rétrograde

by Blancpain revisits a time honoured movement, adding another must-own to its stellar Villeret collection

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lancpain’s sporty, bold-bezeled Fifty Fathoms diver range is admittedly the company’s most recognised focal point and, throughout 2018, loyal Fifty Fathomers have lapped up fascinating interpretations of an icon that is still going strong, 55 years after its introduction.

Collectors have revelled in additions to the Fifty Fathoms legacy such as the retro-look Bathyscaphe collection (for which the brand was the toast of Baselworld) and an environmentallyconscious Ocean Commitment III release.

Yet under the radar, Blancpain has been having fun adding to its Villeret collection, too – and savants who gravitate to the understated, technically accomplished dress-watch collection have also had plenty to savour this past year.

The Villeret suite of watches, named in homage of the village which Blancpain once called home, is firmly anchored on the traditional side of its wrist offerings. These models, it says, ‘personify our roots and embody our prime aesthetic choices. The purity of their lines, the clarity of their dials and the slenderness of their 36

double stepped cases express essentials with timeless elegance.’

The Tourbillon Volant Heure Sautante Minute Rétrograde, pictured here, showcases this level of supreme craftsmanship.

It’s name translates as a Flying Tourbillon with Jump Hours and Retrograde Minutes, and this 42mm case houses an interpretation of Blancpain’s flying tourbillon, developed in-house.

This flying tourbillon – cantilevered and supported on just one side, instead of two – has been integral to the brand for three decades.

In the design of this timepiece, Blancpain has replaced the lower bridge with a sapphire disc, allowing an unobstructed view of a majestic regulator that appears to float on air.

The special news here is that the Flying Tourbillon piece is paired with two firsts for a Blancpain wristwatch – the inclusion of jump hours and retrograde minutes, which perfectly coordinate the time complication.

The hand-decorated dial is further evidence of its prestige; the grande feu enamel is crafted in Le Brassus

Métiers d’Art studio, while the finishing is exquisite all round (details like diamond-polished gold rings around the hours window and the tourbillon porthole, for instance, and bridges adorned with a hand-guilloché pattern).

The watch represents another ‘win’ for Blancpain, and upholds the hallmarks of the Villeret collection wherein many of the pieces are equipped with a flying tourbillon.

Blancpain did recently discover the difference a day can make, though. It introduced the tourbillonless Grande Date Jour Retrograde and, by adding the swish of a retrograde day of the week indication and a large date window to the signature Villeret look, proved that the merest modification to its minimalist aesthetic can birth a new masterpiece.

With the Villeret, Blancpain has honed a lineage that is graceful on the exterior, and just plain showingoff with mechanical prowess.

Still, it’s unfathomable how the manufacture continues to reenergise the classic look without ever overstepping the mark. Right now, this is a Swiss watchmaker that is truly soaring.

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Jewellery

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DECEMBER 2018 : ISSUE 91

Elixir of Youth

Just a decade into creating her melodic masterpieces, Anna Hu has asserted her presence among the high jewellery elite WORDS: CHRIS UJMA

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t was seemingly in Anna Hu’s destiny that her life would pulse with symphony – though at first it was expected to arise through musical notes, not notable gemstones.

“When I was little, I always dreamt of becoming a solo cellist. I had a solid background in classical music training, specialising in cello. It had always been my dream to be able to perform on stage by myself and be the best, so when I was little I practiced very hard every day,” explains the Taiwanese jeweller. “That was the only focus in my life. However, at the age of 20, I hurt my shoulder from over practice. Doctors broke the news that I would no longer be able to be a soloist; my most precious passion in life had been taken away.”

Hu’s father – a gemstone & diamond dealer – encouraged her to take a different path in life. “Being raised in a jewellery family – in which I would help my father sort out stones from a young age – he told me that I have an inherent imagination when it comes to gemstones and colours.”

She finished her studies at GIA (the prestigious Graduate Gemologist Program), Parsons School of Design, FIT and Columbia, obtaining several degrees in five years before then gaining experience under the wing of high jewellery powerhouses. Hu soaked-up lessons at Van Cleef & Arpels,

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My sense of harmony for colours is innate – and the fact that I like to be bold helps even more Christie’s and Harry Winston, before departing to found her namesake brand – Anna Hu Haute Joaillerie.

The upper echelons of high jewellery operate with respect, grace and genteel – and at seemingly every conversational turn, Hu is swift to acknowledge the established houses or an esteemed industry expert who helped her to soar.

She is standing on the shoulders of giants.

Maurice Galli, for instance – Hu’s mentor at Harry Winston. “He told me to go out and pave my own path and chase my own dream given that, in my hand, I had all the cards required to start a jewellery business. He’s the one who saw my talent in design, and the one who encouraged my imagination to run wild in order to make great creations.”

An experience in those formative days of the brand – seeing Claude Monet’s paintings up close, on a visit to his garden at Giverny – lit the touch paper, and represents how Hu draws inspiration from all around her.

For this reason she cites the resulting Monet Water Lilies Necklace, her hallmark piece, as the design with which she feels the most emotional connection. “It not only means so much to me, but also symbolises the start of my journey.”

Overall, Hu’s design panache is a fusion between East and West, combining art, history and nature.

Music inevitably plays its part in the rhythm (her first book, published in 2012, was even titled Symphony of Jewels: Opus 1).

But she does not play it safe, or rely on tired industry tropes – far from it. Her signature approach is eclectic elegance, and her kaleidoscopic use of different gems could easily result in chaos, but each of her one-of-a-kind creations exudes class.

The jeweller attributes this to both innate knowledge, and a trained eye. “Instead of using the actual pigment, I use gemstones as my palette to complete a work of art. My sense of harmony for 40

colours is innate – and the fact that I like to be bold helps even more.”

Each of her creations has an association with a score of music or a piece of art that she “sees, hears and feels, and then I create – that’s how I translate my inspiration into design.”

Born into a rich cultural background that is over 5,000 years old, Hu continuously turns to her roots for inspiration. “I wish to bring together cultures. For example, the frequent use of plum blossoms in my designs comes from the Chinese art-inspired tale of The Four Noble Ones, in which the plum blossom symbolises perseverance and determination to overcome any obstacle.”

The crane, meanwhile, “Is the symbol of longevity in Chinese culture, hence I put this in my designs to bring luck to the wearer. Eastern elements like this trigger my imagination because behind each of them there’s always a story to tell.”

Resilience is a trait that ensured Hu saw her elaborate ideas through to fruition. The creative process for the Water Lilies Necklace, for instance, was extensive.

“Starting from design, stone selection, stone layout, back-and-forth discussion with the workshop on how to make the piece flow organically on the human body when worn, on how to design every setting link of the piece to make it soft, to actually making it happen.” The process took her an intense two years.

“I revel in being the ‘Jewellery Fairy’ for my dear clients and friends of mine,” she says with a smile. “It has always been my belief that jewellery, while fulfilling aesthetic intents, should always be wearable and comfortable on its wearers, and it will always be my lifelong mission to create jewellery pieces for every client, regardless of their age.”

A decade into building her empire, Hu has even achieved her dream, of sorts. Now a soloist of high jewellery, her repertoire of style symphonies can be considered among the classics.

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AIR This page: The Young Girls, 1928 by Tamara de Lempicka. © Tamara Art Heritage / ADAGP, Paris/ VEGAP, Madrid, 2018 42

Art & Design DECEMBER 2018 : ISSUE 91

The Queen of Art Deco The liberated portraits of Tamara de Lempicka gained power between the World Wars – making her a pioneer of geometric motifs, bright colours and forthright forms of 1920s’ aesthetic

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live life in the margins of society, and the rules of normal society don’t apply to those who live on the fringe,” roared Twenties’ art rebel Tamara de Lempicka.

So quite what the late artist would have made of her Google homepage dedication earlier this year is anyone’s guess; it certainly took her name from the fringe to being the focal point of a billion search screens. For a day in May, Google changed the logo on its search page to a doodle displaying cubist- and neoclassical-inspired artwork, in honour of Lempicka’s 120 year-anniversary.

Well, roughly. “Tamara Rosalia Gurwik-Gorska’s exact date and place of birth are unknown,” says Gioia Mori, “but we do know that she was born into an upper-class family sometime between 1895 and 1898, in either Warsaw, Moscow or Saint Petersburg, depending on differing accounts.”

Nevertheless, Google’s intentions were pure, and Lempicka’s works are enjoying a deserved reemergence: the opening of a showcase at Madrid-based Palacio de Gaviria, for example, of which Mori is the curator.

It is an exhibition that dubs De Lempicka ‘Reina Del Art Deco’ – the Queen of Art Deco – and while little

is known about her exact origins, her raucous ascension is stuffed to the brim with detail.

“Lempicka entered all areas of modern life and left her mark everywhere,” Mori enthuses of the artist’s kaleidoscopic world. Hers was “A creative frenzy that responded to ceaseless stimuli. She took from cinema, and also contributed to cinema. She took from photography, but she also stood in front of the camera.

She took from fashion, but also created fashion. She took from architecture, but also turned the architecture of her home into a publicity vehicle which appeared in magazines around the world. She took from the ‘bible’ of the history of art, but also made art history, becoming the international icon of the happy and mad years, of the Jazz Age; one of the first artists to understand carefully prepared press campaigns to establish her name and her art.”

Her most celebrated art works portray the wealthy bourgeoisie of the time and the progressive decline of the aristocracy – and the Madrid museum has assembled a selection of around 200 works from over 40 private collections, museums and lenders.

The curator calls her “a woman with an iron will and uncompromising

tenacity”, and she has dissected the artist’s career into 10 sections, with the paintings placed in Mise en scène that are decorated with recognisable Art Deco objects, in order for her paintings to be seen alongside furniture, screens, lamps, vases, stained glass, photographs and prints from the period.

The context is much required, as hers was a totally different era to fathom. “Her time was the 1920s: a period of transition, an era in which functionalism merged with fantasy and formal social structures lurched into the frenetic,” The Guardian art critic Fiona MacCarthy penned. “Her milieu was the glittery and scintillating Paris of the years between the wars, a place of high style and lascivious behaviour.”

After the First World War, following the collapse of the great European empires, Paris became the epicentre for artists and intellectuals from all over the world, and “Went through a period of unsurpassed creative energy and exhilaration that came to be known as the Années Folles – The Crazy Years,” Mori explains. “The major event for culture and the arts in this period was the International Exhibition of Modern Decorative and Industrial Arts in 1925, which championed Art 43

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This page: Two Friends, 1928. ©Tamara Art Heritage / ADAGP, Paris/VEGAP, Madrid, 2018 Opposite: The Russian Dancer, 1924-25. ©Tamara Art Heritage /ADAGP, Paris/ VEGAP, Madrid, 2018

Her art, replete with references to fashion and glamour, is seen as an emblematic of that decade Deco, a movement with a mission to foster modernism, decorativism and internationalism. Lempicka found herself in the thick of this new generation attracted to Paris by its exciting creativity, in many cases fleeing from the Bolshevik revolution.”

In 1922 she exhibited for the first time in at the Salón d´Automne, after which she quickly ascended to international fame. “Her art, replete with references to fashion and glamour, is now seen as emblematic of that decade,” summarises the Palacio de Gaviria curator.

The ‘Baroness with a Brush’ selfassessed, “I was the first woman to paint cleanly, and that was the basis of my success. From a hundred pictures, 44

mine will always stand out. And so the galleries began to hang my work in their best rooms, always in the middle, because my painting was attractive. It was precise. It was ‘finished.’”

Spain is apt for a retrospective, as Lempicka travelled extensively throughout the country in the summer of 1932, taking-in Malaga, Seville, Cordoba, Toledo and Madrid.

“Her work had a huge impact on the art scene in Spain at the time and the journey was documented in many enthusiastic articles penned

by Spanish critics of the period,” Mori explains.“She was treated like a diva, admired for her clean-cut and refined artistic language, she was

described as a paragon of beauty and elegance.”

In 1978, nomadic Lempicka was on the move one final time – to Mexico, “Where she bought a house in Cuernavaca called Tres Bambús, and spent the final years of her life,” Mori says. “She died in her sleep on 18 March 1980 and, following her wishes, her ashes were scattered over the crater of Popocatepetl volcano.”

There’s something quite poetic about Lempicka’s chosen ceremony, given her seismic role as an exponent in the eruption of Art Deco.

‘Tamara de Lempicka, The Queen of Art Deco’ shows at The Gaviria Palace in Madrid until 24 February 2019

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Light Hearted Jane Hilton is a photographer dedicated to capturing the very essence of the USA. All Lit Up – her latest project –profiles the people, places and objects at America’s soul. Oh, and they’re illuminated

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WORDS: CARÛ SANDERS

These pages: Dog; Cocktail waitress.

Both images by Jane Hilton, from her All Lit Up series 46

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J

ane Hilton is a London-based photographer whose metier is documenting the American dream. After working as an assistant for various fashion photographers, in 1998 she travelled to Arizona where she became enraptured with US culture.

For Christmas 2018, to mark her three decades as a photographer, Jane has added new work to her All Lit Up series. Hilton’s lifelong obsession and career-defining decision to photograph Americana has been brought beautifully to life in her this series, an ongoing project of people, places and objects that have been illuminated in America.

Over the last three decades, she has produced a number of books and exhibitions in the UK and US, documenting 21 st century cowboys in the American West and gun culture in Los Angeles.

She’s photographed Vegas legends of burlesque – some of whom hung out with the Rat Pack and dated triple A-list movie stars – bull-riders in Las Vegas, US election night and more, all while turning-in the odd award-winning documentary for the BBC. Her 2010 book and exhibition Dead Eagle Trail, a study of today’s cowboy was a critical smash and sold out on both sides of the Atlantic, after finding its way onto the covers of the Telegraph Magazine and Time.

In 2006, she was commissioned to photograph a 17 year-old cowboy who had travelled 6,500km on horseback from his native Alaska to Mexico, breaking in horses along the way. Jane set off on her own four year pilgrimage along desert roads, criss-crossing the cowboy states of Nevada, Arizona, Utah, Texas, New Mexico and Wyoming to capture America’s 21 st century cowboys.

From the desert trails and capturing septuagenarian striptease stars), America is an all-consuming obsession. Nevada and Forever Starts Now are two books in the pipeline for 2019 and the last two years have been spent filming a series on the last lion tamers of the Chipperfield Circus, following the family’s fight to save their lifestyle as the government intends to ban all wild animals performing in circus.

As the temperatures are decidedly brrrr and the government is in freefall, Hilton quips that it’s nice to present a little light relief. As someone who takes great pleasure in the festive season – every 48

year she throws her annual “Cowboy Christmas” bash, complete with ponies for ‘little cowboys and cowgirls’ to ride and pet – she’s fun.

As part of the series, Hilton has added to the original work ,which started from a commission from NOVA Magazine in the 90s. “I have always had a passion for lights and in general anything illuminated, neon, fairy lights, circus signs,” says Hilton by way of explanation.

“My grandmother gave me this little white plastic tree about one and a half feet tall. It was my little tree that I could have in my bedroom window.”

She adds, “I think this is where it came from, my obsession with light. I was only two years old when my grandmother gave me a white electric tree with a red bakelite base that used to light up.

It sat in my window every year for 25 years after that until it finally broke. It was one of the things I looked forward to most, getting my tree out of the attic every year. So it is no surprise really that on my travels around America I was drawn to the most amazing houses that were lit up at festive time.”

In some places it was an art form, she says.

“Austin, Texas was one of those places where they had gone to so much trouble before December to create unique ways to light up their houses, gardens, cars and anything that was left outside their property at Christmas time.

So the project began. Texas proved a great state for sheer volume of lights, with bigger properties in places like Dallas. Carson City on the other hand and remote places out in the desert felt even more magical. “Maybe this explained why I liked Las Vegas so much?”, she muses.

After photographing different houses over the years, Jane was offered a commission by NOVA Magazine to do an ‘All Lit Up’ story in any way she wanted.

“So, I decided to go back to Las Vegas and light people/things up! Where else would you do this but Las Vegas of course? So I went with an amazing set designer called Charlotte Lawton and for one week we lit a gnome up in the desert, a wedding couple outside a chapel, a reverend and his dog, a cocktail waitress, a cowboy, a bull rider.

Jane was in heaven. “I am still adding to this project, as I enjoy finding more and more interesting things that light up each year.”

Below: Volkswagen, part of the All Lit Up series

by Jane Hilton

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DRAMA

The indie queen Rooney Mara on breaking taboos, equal pay

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UEEN Everyone wants a piece of down-to-earth Saoirse Ronan, the media darling of the moment. It’s akin to the attention once sought from Mary Queen of Scots – her latest historic portrayal INTERVIEW BY FABIÁN W. WAINTAL ADDITIONAL WORDS: CHRIS UJMA

being y and being normal normal

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The more I got to know about her, the more I became fascinated by the pressure that was put on her, and how she was able to defy all odds

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t’s normal to hear an actor talk of being ‘committed’ to a role, immersing themselves into the idiosyncrasies of their character. For star-on-the-rise Saoirse Ronan, regarding her upcoming role in Mary Queen of Scots, the phrase is quite literal.

“I signed up the project when I was 18 years old, so I’ve been attached to this for six years,” she reveals. “As I was leaving my teens and coming into myself, Mary has always been in the back of my mind. She’s always been someone who’s stayed with me.

While we waited to see when we would actually make the film, I was always contemplating when we were going to do it, how we were going to do it and eventually it all came together.”

What initially drew Ronan to playing a role that is full of Oscar material was, “Initially, I loved the idea of playing a Scottish queen. I love Scottish history. There’s this constant struggle for power and culture. At the same time, there have been things that I could really relate to with her.

Then, the more I got to know about her, the more I became fascinated by the pressure that was put on her, and how she was able to defy all odds.”

Based on her Irish accent you’d think Saoirse (pronounced Ser-sha) was born there, but she actually hails from The Bronx in New York; her parents were both from Dublin, and she resides full time in County Wicklow.

She adeptly masks the lilt, though – most notably with a Californian accent in her award-nominated turn as as Lady Bird McPherson in Greta Gerwig’s Lady Bird.

“The Sacramento accent honestly was so much harder, because the Scottish accent is different than the Irish accent, but they’re very melodic and very muscular. Whereas a Sacramento accent is – sorry – sort of lazy, whereas we’re so used to making everything 52

sound like a song, and it’s much flatter.

Beautiful, but flat,” she laughs.

From more niche roles, playing flame-haired high school senior McPherson and a young Florence Ponting in On Chesil Beach, Ronan’s current phase is to sink her teeth into more renowned characters – her role after Mary Queen of Scots will be as Jo March in Little Women, next year.

She is recognised as ‘Lady Bird’, but expects audiences to see a ‘different side to Saoirse’ after this period drama. “I hope they don’t see any Saoirse in my movies. I hope they just see Mary. I think it’s really important to be as different as I can in everything that I do. “ This is something her current co-star Margot Robbie can relate to. Robbie is Queen Elizabeth I in the upcoming, Josie Rourkedirected film, has played DC Comics’ psychotic siren Harley Quinn, and her portrayal of figure skater Tonya Harding continues to resonate.

Both Ronan and Robbie were nominated for the same Best Actress Oscar (for Lady Bird and I, Tonya, respectively, that was won by Frances McDormand) and the two were already working together back when the awards season descended.

“We probably spent more time together when we were doing the awards circle than we did when we were actually shooting together,” Ronan confesses.

“It was very important for me, when we were shooting, to not see Margot at all. So there were a few days where I would have to go in and do a few bits and parts while she was doing hers, and I really didn’t want to see her until we actually acted together because the history said they [Mary Stuart and Queen Elizabeth I] probably never met. They had this really intelligent relationship. There was rivalry in it, but there was also this sisterhood and

there was this need to be close to one another, because there was nobody else who was in the same position as they were. For both of them, I think they really desperately wanted to connect. “ Robbie did her part of the film shoot first, “Then I did mine. And we both said to each other that we were always in the back of each other’s minds. You’re always aware of this ghost of this person.”

So a period of time without Ronan and Robbie texting one another on the phone?

“Right? Can you imagine? I know Margot read it. There’s a read receipt, so she definitely read it. But yes, it means that there’s this incredibly intense relationship that’s built up between them without actually meeting. It was a fantastic thing to play for her and I,” Ronan says.

Away from character, the two did share a kinship. “There’s an incredible support that we both have for each other because we made this film together. It was new territory for both of us, and something that made us feel quite vulnerable in a great way. We were really being challenged by the story, Josie, and all the other actors that we had, the take on these two very fierce women, and then just getting to do all of the crazy things that made history.”

Ronan defines the upcoming movie as “a sort of thriller, a lot of love, a lot of rivalry, a lot of people coming together and then separating.

Basically, a lot of human relationships clashing and then seeing them fall apart, making a country stronger.”

Does she think the modern female audience could relate to that story today? “That is the reason why I believe it’s such a relatable story,” Ronan mulls.

“I think women are finding a voice and coming together when they weren’t encouraged to as much before. So, it’s always nice to see someone who

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Saoirse Ronan interview by Fabián W. Waintal © Copyright 2018

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It was really important for me to digest all of that information from history that was given to me, to put all of that together in a movie is strong on screen, but we’re also watching someone who is vulnerable as well and who really has a heart and who is trying to balance that and that humanity with this great responsibility.

That’s something everyone has come across in some stage in their life.”

The movie packs a historic punch, and Ronan totally committed to veracity.

Of Robbie’s Elizabeth, for example, she speaks of the English queen’s mindset at the time as “Terrified because she knew how great Mary was when it came to people, and she knew how she was when connecting with one human to the next, and that wasn’t really an ability that she had. I think that terrified her, about someone she never met.”

Channelling that real world tension “was great to just have that motivation all the way through,” she admits.

“I mean, there is so much going on with Mary in this, Elizabeth is a massive priority there, also. So, producing an heir, being the right ruler for the country, stepping into these shoes when she was never really supposed to. She was never supposed to be the ruler of Scotland or of France, so there was a lot resting on her shoulders from a very early age. You’re watching someone who is holding on to their humanity, and her identity results from trying to become this ruler everyone seems to want her to be.”

It may be set in the 1500s, but within the narrative’s layers Ronan believes

audiences can find points to relate to: “They’re watching Mary and Elizabeth in these two impossible positions, where they had so much responsibility, yet at the same time, were ruling two countries in a man’s world and were being advised in a way that didn’t necessarily serve them or the country that they were ruling. They really needed to have a good head on their shoulders and rely on the people closest to them. It is about who they can trust – and that’s a universal story; something that will never go out of fashion.”

The film also contains a scene that Ronan calls, to shoot, “one of the most amazing experiences I’ve ever had on set.”

She elaborates, “We do see the two women come together in this film – it’s something that I hope the audience, certainly, all of the characters in it are very aware of the history. This is a meeting a lot of people tried to prevent, and Mary in particular. I think Elizabeth wanted it, but Mary in particular desperately wanted to meet for a very long time because one of her greatest strengths was connection and being able to connect with another person and understand them and communicate with them. That was something that was quite terrifying for the English court, so they kept them private for a very long time.”

When preparing, she chose not to view other theatrical depictions of

Mary, “Because I didn’t want to be influenced by anything else. Yes, there’s been a lot of telling of Mary that hasn’t been really true to who she actually was, her character. What we’re trying to show is that she was a well-rounded quirky person who had a great deal for humanity and was also a great ruler.

She was also under a lot of pressure and was able to perform under that pressure incredibly well for a long period of time. She was somebody who genuinely wanted to just bring peace to her land and watch someone also try to hold on to that feeling as long as possible while also trying to define the people who are in it for themselves.”

Ronan burrowed to the root of her character, to the point where she would like to change truths that people believe about Mary.

Such as, “The truth that doesn’t paint her like someone who just follows her heart, who’s a bit airy fairy. She wasn’t.

She’s intelligent, astute. And it was really important for me to digest all of that information from history that was given to me, to put all of that together in a movie. It’s a story that not an awful lot of people know about, especially from Mary’s point of view.”

It forces you “to stand up right”, says Ronan, of seeing herself as a Queen for the first time. And does Ronan believe she would make a good queen? “I think I’d be a good queen. Yeah, I think I’d be very fair.”

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B E ST O F LU C K Van Cleef & Arpelsâ&#x20AC;&#x2122; dazzling diamond and gold creations light up the charming Alhambra collection

ART DIRECTOR: KERRI BENNETT PHOTOGRAPHER: GREG ADAMSKI, MMG ARTIST

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Page 1 Earrings: Magic Alhambra, 3 motifs, pink gold, diamond Dress: 3.1 Phillip Lim at Harvey Nichols Page 2 Earrings: Vintage Alhambra, guilloché yellow gold Necklace: Vintage Alhambra, 10 motifs, guilloché yellow gold Bracelet: Vintage Alhambra, 5 motifs, guilloché yellow gold Dress: Osman Page 3 Earrings: Vintage Alhambra, white gold, diamond Necklace: Magic Alhambra, 6 motifs, white gold, diamond Ring: Magic Alhambra ‘Between the Finger’, white gold, diamond Dress: Sachin & Babi Page 4-5 Earrings: Magic Alhambra, 3 motifs, white gold, diamond Timepiece: Alhambra, medium model, white gold, diamond, quartz movement Dress: Suncoo at Harvey Nichols Pages 6 Ring: Magic Alhambra ‘Between the Finger’, pink gold, diamond Timepiece: Sweet Alhambra Dress: Fendi Page 7 Earrings: Vintage Alhambra, white gold, diamond Necklace: Vintage Alhambra, 20 motifs, long, white gold, onyx, diamond Bracelet: Vintage Alhambra, 5 motifs, white gold, onyx, diamond Ring: Vintage Alhambra, white gold, diamond Dress: Vatanika at Harvey Nichols Page 8 Earrings: Magic Alhambra, white gold, diamond Pendant: Magic Alhambra, white gold, diamond Ring: Magic Alhambra, white gold, diamond Dress: Cinq à Sept at theoutnet.com Model Andjela MMG Models Stylist Chee Smith MMG Artist Hair and Make-up Sarah Damichi MMG Artist Location DRIFT, One&Only Royal Mirage, Dubai

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How Christian Dior built his fashion house in a prolific ten-year spell â&#x20AC;&#x201C; and rescued Parisian haute couture in the process WORDS: CHRIS UJMA

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t’s almost impossible to contemplate but at one point in history, Parisian haute couture was on its knees.

Back in the mid-1940s, Christian Dior – then in his 40s and merely a man, not yet the founder of a fashion maison – was surveying a decimated global landscape. The Second World War had not long finished, and nearly every country in Europe was in the process of rebuilding.

Mainstream style was similarly forlorn. Women’s fashion had changed little since the war, and was dominated by garments with large shoulders and padding, rectangular, large, heavy masculine shapes. In war-era style magazines, suits mimicked uniforms.

It had all been so different. 19th century pre-war Europe – Paris especially – was proud of the art it created, which was mimicked all over the world. America replicated the beautiful mansions fashioned on the continent, and women travelled across to lap up the new fashion styles.

Parisian couture reigned supreme, and fine taste was dictated by Europe.

The business of French haute couture after the war, however, was problematic. During the conflict, buyers from North and South America – then its influential markets – stopped attending the fashion shows in Paris.

“The houses were surviving from the wives of the Germans and those who were able to make money during war,” details Florence Müller, Denver Art Museum’s Avenir Foundation Curator of Textile Art and Fashion.

“Americans developed an autonomy during the war, and with their own designers and department stores creating collections, they were no longer following the trends of Paris,” she adds.

“This self reliance saved on expenses and they’d no need to go to France.”

When documenting the organisation of his house in the book Dior by Dior, “He politely says something terrible,” interprets Müller.“Fashion was dead during the war, and all elegance was gone.”

Dior, then an art gallery owner, settled on a dream to reinvigorate couture – “Bringing back delight, abundance and positive notions,” Müller beams. Dior himself explained it as “The return to an ideal of civilised happiness”.

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Dior dreamt of a ‘return to an ideal of civilised happiness’ back a traditional femininity that existed throughout the history of literature, poetry and art – “The moments in time, then lost, where women had a defined silhouette, a notion of seduction,” explains Müller. “He was evoking the idea that the woman has the elegance of a flower – with the skirt petalled out like the corolla, or sitting narrow on the hips like the pistil.”

First, Dior had to build a fashion house. In that same year, he met Marcel Boussac – the ‘King of Cotton’ – who invited Christian Dior to become the artistic director of the fashion house Philippe et Gaston, and revamp it.

“Dior was unsure,” details Müller.

“The idea was to blow the dust from the house, but he was not interested in the venture. That moment in history, he determined, was when women were waiting for something to happen in fashion, and a new house needed to

come along and break down the doors with fresh ideas. That was Dior.”

He explained the vision to Boussac, who understood that Dior was not only an artist but a businessman; and could start with a small house based on a fashion style that would seduce millions. Boussac put money at Dior’s disposal.

In 1947 Dior burst into couture with his ‘New Look’ for fashion that would send elegant ripples throughout the world, laying the foundations of a fashion empire.

Yet given the prominence of a house that is now over 70 years strong, it defies belief that its inspirational founder was at the helm for only a decade – and, to add further incredulity, that Christian Dior emerged from obscurity.

“It’s very rare in the history of fashion and couture that the first collection of an unknown designer can have such a profound change

Opening pages: Christian Dior draping fabric over model Sylvie, in 1948. Photo courtesy of Christian Dior Opposite: Celestial blue taffeta gala dress from Dior’s FW53 Vivante line. ©Laziz Hamani Below: Models wearing ‘Vert gazon,’ ‘Gavroche,’ and ‘Flirt’ ensembles (SS61) ©2013 Mark Shaw

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Right: The façade of 30 Avenue Montaigne, circa 1947.

Photograph by Willy Maywald, courtesy of Christian Dior.

on the trends of an entire industry,” expresses Müller. “What Dior set in motion was a conscious change that he carefully managed. It was deliberate and astute, not accidental.”

In February of 1947, he showed his inaugural collection to a Parisian crowd mainly comprised of friends from the art world. Buyer’s from the department stores were notably absent: “Many of them went back to the US because they thought it was new designer, so ‘who cares?’” explains Müller.

Carmel Snow, then editor-in chief of Harper’s Bazaar and wielding considerable clout – had stayed. She lauded the collection, saying how amazing it was. (It was Snow who coined the phrase ‘It’s such a new look!)’. Her influence urged them to come back to Paris and buy Dior, “Because there was nothing like this in existence,” says Müller. “The crowds flooded back, and couture was resurrected – with them not only buying from Dior, but at the other couture houses.”

Paris still had a fight on its hands – 1951 marked the first fashion week in Italy (in Florence), while in New York it was the beginning of the 1950s. But the dominant imagery in the fashion magazines and the trends were from Paris, and Dior was the king of it.

By the mid 1950s, Christian Dior had become the most powerful haute couture company in the world, “And accounted for half of the luxury exports from France to the world,” the curator says. “You could not have built this without a lot of money to begin with – one can thanks Boussac for that – but the return on the investment was gigantic, thanks to the business nous of Dior.”

For example, while planning his first show, Dior already had his first perfume, Miss Dior, to match his inaugural collection. “There’s no other example in the history of fashion of a couturier having a perfume ready in their first year,” Müller emphasises.

“It takes years to build a house strong enough and tough enough to deal with creating a perfume, because it is very costly – even to have all of the components in place just to produce the fragrance.”

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The house has a reputation for constant success, and being at the top of its game Dior also embraced the notion of licensing, putting his name on all sorts of products – scarves, underwear, hosiery, and soon after, in 1948, he opened the company in New York and then in London, and in 1943 in Caracas, with many contracts following with the likes of the Holt Renfrew department store in Canada. He was the pioneer of worldwide expansion.

Dior embarked on a triumphant tour of the US, and in the big cities held gala events, while also hosting lectures to impart his vision.

His style cascaded through society to “All the women in the world, even the poor,” impresses Müller. “They were all following the New Look even by meagre means, improvised using old fabrics and attempting to copy the lines and the silhouettes of the collection.

Last year, the house of Dior celebrated its 70th anniversary, and it still holds the mantle of being often imitated, never outdone. In the work

of the seven creative directors who followed Dior, one can see that each “Each has a strong personality – they were appointed carefully and with consideration and every appointment has been a reaction to what is happening at the time,” Müller enthuses.

She believes the Dior brand is so powerful because it is one of the only houses that has been continuously active. “From the beginning through to today, there are no gaps in its history. Success has been constant, and it has a reputation for being at the top of its game.”

Christian Dior’s 10-year tenure set in motion a haute couture empire with a philosophy deeply rooted in the things that pulse through the history of civilisation: art, beauty, craftsmanship and the way of fine living.

They’re ideals which resonate to this day, and which will be forever Dior.

Dior: From Paris to the World shows at Denver Art Museum until 3 March

Clockwise from top: Bar suit from SS47. ©LazizHamani; Elizabeth Taylor wearing Soirée à Rio in 1961. ©Mark Shaw/mptvimages.com; Palmyre from FW52. ©Laziz Hamani; Beyond Christian Dior: Robe Hellébore designed by the late Gianfranco Ferré, stylistic director from 1989-96. ©Paolo Roversi/ Art + Commerce 63

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The Equaliser Martin Schoeller takes portrait photos the exact same way – irrespective of the subject’s level of fame or fortune. Stripped of status and possessions, who exactly is sitting in front of the lens?

WORDS: CHRIS UJMA

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ou’re one of the most famous people in the world.

A photographer – albeit one with a stellar reputation – requests to take a hyper-detailed close-up portrait photo of you; imagine stark white lighting with the camera hugged up tight, in a situation deprived of comforting couture or a sense of direction.

Even for a celebrity whose life is spliced up for consumption from every angle, this bold concept feels a step too far; a little too exposed, leaving the subject with such little place hide.

It’s reasonable to assume, then, such a controversial approach never making it off the ground, and it doesn’t feel particularly ill mannered to justify why.

The modern day celebrity carries a stereotype of stage-managing their self-image to the nth degree – what with airbrushing, filters and diva-like actions (such as imploring Google to erase all trace of an unflattering snap on its search engine).

Well a new book proves that doubters owe the world’s most powerful figures a grovelling apology. Close, published

by Steidl, collates 30 years’ worth of such photos from the lens of Germanborn photographer Martin Schoeller.

To scratch the surface, Barack Obama, Jack Nicholson, Brad Pitt, Taylor Swift, Donald Trump, Prince, Clint Eastwood, George Clooney and Dontella Versace are a few of the names

involved. Simply put, the stark-portrait side to his career portfolio essentially reads as a ‘who’s who’ of entertainment, pop culture, business and politics.

His minimalist idea first materialised in a time of elaborate setups; David LaChapelle was at the peak of his powers in the 1990s, Photoshop was becoming more popular and images were becoming more perfected.

“Everything was so polished, and what interested me was to pare the process down and distil the essence of what a portrait is really about – the face,” he says. “I wanted to take the focus off the environment and remove that social status and the grand setting.”

Still, the genesis of the idea began about as far away from Hollywood as one could imagine. Schoeller’s inspiration came, rather obscurely, from… water towers. “The biggest influence on my approach was German art photographer couple Bernd and Hilla Becher,” he explains.

“The Bechers set about detailing industrial structures and spent three decades documenting industrial water towers from the exact same angle. When I first saw their work I didn’t really understand what was so special about it – until I found myself not being able to pass a water tower without looking at it. Their project changed my perception of an everyday thing that you don’t study in detail. I was struck by the idea of

creating a collection of images that invite comparison, and challenge you to see things in a different light.”

The first people Schoeller photographed were close friends, and he’s the first to admit that it didn’t exactly open the floodgates to acclaim. “I didn’t have any success,” he recalls. “I was rollerblading between appointments, dropping off my work to magazine editors who didn’t even have the time to meet me face to face.”

After two or three years of toil, his first breakthrough came on a job for Time Out magazine. “The photo editor said he liked my close ups, so gave me a 10-minute press junket in a hotel room with Vanessa Redgrave.” Schoeller went from having the odd wedding or still-life project in 1998 to being commissioned for 127 jobs in 1999. “It was like a bomb had landed,” he laughs.

But why has such a glittering array of notable figures happily obliged his up-close observations? “I think for the longest time, most of them were not aware how revealing these pictures were going to be – it took a couple of years for protective publicists to take note,” he says with a chuckle.

“In honesty, famous people are more worried about conceptual photographs where you ask them to do something that they think they may later regret.

In comparison, my approach seemed harmless to them – ‘Oh it’s just a simple straight-on portrait.’”

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In a world where images are retouched and manipulated and journalistic truth is opaque, people find it refreshing to see a classic, simple portrait

In general, he finds that the more successful a person, the more selfassured they are in front of the camera.

“The upper echelons such as Meryl Streep and Robert de Niro are less fussed, whereas the younger stars who have just ‘arrived’ are more worried about their image.”

It’s important to remember that the close-ups are always one of many setups that he does – “Not all of which are as intimate, and that helps.”

Sometimes he’ll start with a more fashion-orientated photo, and then the famous person “Looks over my shoulder at the image and the lighting looks great, so it establishes a level of trust.”

It took time – “years and years” – for the prints to rise to prominence, but their popularity snowballed when famed restaurant owner Wolfgang Puck purchased around 20 of the prints and put them in his steakhouse in New York. “Suddenly you had patrons in the restaurant noticing ‘This is what Martin Schoeller does’, with my name and my work right next to them.”

It is this kind of scrutiny that evokes a fight/flight response in Schoeller, and brings out his best work.

“As a photographer, the more stressful jobs are the more high profile ones – like when I went to The White House to photograph a sitting president. It’s intense; you have 30 minutes and you know everyone will see it, and judge your ability; they could have sent a Richard Avedon to take the picture, but they chose me. The most memorable moments are the times you feel your entire career is on the line.”

The public is certainly studying the results, with these individuals from their respective fields treated as icons, and put upon a pedestal.

They are faces the public have pored over hundreds of times, so what 68

new details are observers searching for within Schoeller’s portraits?

“In a world where images are retouched and manipulated and journalistic truth is opaque, people find it refreshing to see a classic, simple portrait,” he muses. “The images offer something different, and they put the focus back on the person – not on the process of modifying the image. I almost want to somewhat dethrone these famous people, and as such, they become more relatable.”

In conversation with Schoeller it emerges that he is not in the least bit star struck by the famous people themselves – and his reasons are unearthed soul deep.

“I grew up in Germany in the mid-80s, so at the time I was in high school, talk was all about the nation’s terrible past; everything was about the crimes of our forefathers, and it kind of robbed you of any idea of heroes,” he explains, plainly.

“I have no heroes, because humans are capable of anything imaginable, and to embrace a person for the achievement of being in a movie did not warrant admiration. People we admired were Gandhi, Nelson Mandela et al, but in the entertainment industry I didn’t have any heroes – and it means I’m never intimidated. I can instruct the celebrities what to do without quaking in my boots about the magnitude of who they are.”

So, rather than prompting simplistic stargazing, Schoeller asks an important question: What can you really tell about a person from looking at their face?

He ponders, “Can you really say anything about a person’s inner workings just by looking at a close-up portrait? I have a lot of non-famous people in my books, too. We all share the same vulnerabilities and

fears; I think we are all much more similar than we want to admit.”

Some have called him a soul catcher, but he balks at the idea that a picture can capture somebody’s soul: “We’re so multifaceted, and I just hope that in the realm of photography my work is more honest on that ‘sliding scale’ of truth.

My pictures are more vulnerable, and I hope that stands the test of time.”

They are too vulnerable, perhaps – and there’s partial vindication for that earlier theory of celebrity reluctance.

“It has become a little bit harder now, and unfortunately the idea is being shot down more frequently” he sighs. “Now I’ll get a job and the person will say ‘Martin’s okay, I’d love to work with him on this assignment – but no close-up portraits please.’”

As part of a world tour, Martin Schoeller’s works shows at OstLicht Gallery, Vienna until 22 December

Above: Close by Martin Schoeller is published by Steidl Opening pages: Bono, pictured for Forbes Previous pages: Rihanna; Bill Gates Opposite: Karlie Kloss

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Motoring DECEMBER 2018 : ISSUE 91

The Fast & the Curious

An idea to juxtapose supercars with backdrops of architecture and culture has taken Jonathan and Zarina Taylor around the globe – and their latest series parks the photography concept on Dubai’s doorstep

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WORDS: CHRIS UJMA

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he unassuming surrounds of Café Rider make for an apt setting to meet supercar photographer Jonathan Taylor and his wife Zarina. It’s not only that this urban hotspot is a mechanical homage – dedicated to matters of motorcycles and custom bike projects (and organic coffee). It’s that being perched at a glass table in a swanky five-star hotel would make little sense.

The biker bistro is located in the down-to-earth Al Quoz district of Dubai that – along with neighbouring arts hub Alserkal Avenue – harbours the kind of quirky architectural characteristics that the couple are intent on revealing.

There’s a “been there, done that” notion to snapping a beautiful supercar at the entrance of an opulent Dubai hotel, Jonathan believes, and of far more interest to him on his personal

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project is the opportunity to unify unique vehicles with lesser-spotted backdrops (which Jonathan uses his expert architectural eye to pick out).

Buildings are where the journey started for this couple. UK-based Cloud 9 Architectural Photography is their bread and butter business, and has fuelled three decades of capturing astounding designs on camera for high profile clients such as Jimmy Choo.

The motoring element snuck into frame on a holiday to Cuba in 2013, where cars were “Bodged together just to keep them running,” laughs Zarina, “because the parts weren’t available.”

Jonathan chose to snap them against Havana’s colourful architecture.

Similar fascination was sparked in Scandinavia and led to Cars of Iceland, featuring Jeeps and old Cadillacs kept running in the Arctic

circle. A talk Jonathan gave about his Iceland experience to a photographer’s convention in the UAE led to a connection with organisers of the Gulf Concours, and he soon had enough requests to spark a third series (albeit documenting a finer calibre of vehicle).

The chosen café is a regular haunt for the Taylors when they jaunt over to the UAE. “It’s where the car people hang out”, and these conversations have resulted in an array of collaborations – enough to fill a coffee table tome titled Cars of the Emirates, compiling two years’ worth of dream machines captured in 100 stunning megapixels.

Be they a supercar tuner, classic car showroom, Sheikh or high society collector, a smorgasbord of sources have proffered their dream machines for Jonathan to photograph; SBH Royal Auto Gallery – Sheikh Al Nahyan’s

Opening pages: A Mercedes-Benz SLR McLaren sitting pretty by Dubai Creek Opposite: A classic 1970s Ferrari Daytona, in front of zany wall art in Alserkal Avenue Below: This vintage Austin-Healy 3000 contrasts a sight of pure modernity – Dubai’s soaring ski slope

private car collection, located at his compound in Abu Dhabi – is one such contributor, as are the car geeks at Kanzen Motorsports and the avid members of JDM UAE club.

“Dubai car owners are passionate about their limited edition, milliondollar motors, and there’s a younger generation here with the income to play with a supercar as a pastime,” Jonathan observes. “While there are the purists, there are also owners here with the wealth to take design risks.”

Among the visual bounty are the UAE-built Jannarelly on home turf, a

bolt-blue Lamborghini Murciélago with The Simpsons decal, a Toyota GT2000, a 1980s Aston Martin V8 Volante, and USD4.2 million of Ferrari F12 TRS. In marrying autos with architecture, the photos simultaneously document an ever-changing city: from grand designs (such as Zaha Hadid’s The Opus, the Dubai Metro stations and the Lamborghini showroom on Sheikh Zayed Road, built to resemble the shape of a Lamborghini engine) to more understated visages (worker’s compounds in Al Quoz, olde-worlde convenience shops and two-a-penny chandelier-stuffed lighting boutiques).

“By shooting the cars as a personal passion as opposed to it being commercial work, I can put the vehicles exactly where I want them,” Jonathan details.

The results stop a car-lover mid-scroll on their social media feed, and will soon be parked on prestigious owners’ walls. Jonathan uses a top-end Phase One camera, enabling the images to be made into “fine art prints at two-three metres, with the car life-sized”.

Taken in such staggeringly high detail, they enable new levels of appreciation – while also adeptly documenting the UAE’s famed car culture. So as the encroaching winter weather washes out many a weekend drive, the book is ideal for a cold, rainy day – heating coffee shop talks that centre on local supercar tastes, and frothing debate about which of these cars of the Emirates evokes the ultimate collector’s envy.

See Jonathan and Zarina Taylor’s @carsoftheworld.photos on Instagram

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Gastronomy DECEMBER 2018 : ISSUE 91

Rising Tide Michelin-starred Marea has made its way to DIFCâ&#x20AC;&#x2122;s fine dining scene, bringing the best dinner party in Manhattan to the financial heart of Dubai WORDS: CHRIS UJMA

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o many people are fascinated with my journey. They see it as a moment of madness; like conquering the north face of a mountain only to find a bigger mountain on the other side,” chuckles Ahmass Fakahany.

I’m guilty. My first question to him centres on just that: how he went from Wall Street heavyweight – president of wealth management powerhouse Merrill Lynch, overseeing 63,000 people in 45 countries – to building a hospitality company with a twoMichelin star hero in its portfolio.

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The group is Altamarea (Italian for high tide) and said eatery is New York’s famed Marea (meaning tide), which sits opposite Central Park South “In a nexus that is accessible to the moguls of Midtown, and where people interact with those in their constellation,” he explains. The concept washes up on Dubai’s shores this January, as the first international location of Marea in – where else? – Dubai International Finance Centre.

Fakahany was born in Cairo, raised in Geneva, and moved to London before eventually settling in the USA.

He contemplated leading Swiss hotel management school École hôtelière de Lausanne, but instead went to business school (to the relief of his father, he says), rising through the ranks at Merrill Lynch – but harbouring “a passion for hospitality that never died.”

It was fostered by eating at New York’s finest tables, among which was Fiamma in SoHo, where Chef Michael White worked. “The third floor was a private dining floor which could accommodate 60 people and which I frequently used for entertaining clients,” Fakahany recalls. “When I would

arrive early for a sound check he’d be up there, and we gelled; he’s a business junkie and I’m a food and beverage enthusiast, and we’d say ‘Hey, maybe one day we’ll hook up on a venture.’”

Time and tide waited for both men: Fakahany was then CFO at Merrill Lynch before being appointed as vice chairman and then president, while White was busy evolving his culinary style.

Then, at the age of 50, rather than migrating from house to house “as people tend to do in finance”, Fakahany leapt from the furnace and into the fire – and it was Chef White who he called.

White is the creative mastermind behind the group’s culinary concepts, which include Ai Fiori at The Langham on Fifth Avenue, and Vaucluse on Park Avenue. Next May marks the 10th anniversary of award-winning Marea, a crown jewel that Fakahany likes to call ”10 years young.” In the city that never sleeps, Marea has thrived in an ever-awake food scene.

“Our model was to not be that staid 30-year-old restaurant that your parents went to,” he says. “Some restaurants have VIP rooms and rope people off but at Marea, everyone sits besides one another. You find an eclectic mix on any given night; Beyoncé sitting here, Serena Williams sitting there, a couple enjoying a romantic evening or an old couple from Pennsylvania sat alongside a guy wearing a baseball cap and ripped jeans who happens to be one of the richest people in the city. Somehow it works. So yes, it is elevated dining but we become part of the community fabric.”

In New York, its patrons – who operate in affluent spheres – are drawn to a clean, uncomplicated menu with dishes that are not too heavy. The culinary offerings “Aren’t molecular, avant grade or crazy,” stresses Fakahany.

“More and more I’m talking to clients who are looking to recognise the food on their plate when they sit down. I believe in understated elegance, and I don’t believe in ‘opulence ++’. We serve beautifully prepared crudo, our pastas are quite light, and the fresh fish is beautifully cooked; these are culinary concepts that will outlast us all, and Chef White ensures they are interpreted in his signature way.”

The approach has garnered Marea annual Michelin praise,

though it was purely a byproduct of excellence, Fakahany urges.

“If you open a restaurant saying ‘We are doing this to get awards,’ it’s bringing something unnecessary upon yourself. If you have a mind to play at this level, let it happen.

You want to enjoy what you’re doing, but with preset goals the heartache and stress is astronomically high.

Michelin stars were never the target.”

Deliberate or not, it is success that the group is looking to replicate in Dubai – albeit with minor tweaks.

“Marea in Dubai will have a lounge and versatile dining areas, to achieve a different vibe for a relaxing evening as well as a light lunch, which we don’t do in New York – but it will still work,” he expresses. “We are not going to overhaul the menu to Arabian f lavours, but there’s no harm in having a couple of dishes that speak to that.”

Opting for DIFC as a location was easy, Fakahany admits. The locale is graced with finance, fashion, art, a great hotel, and – crucially – is one of the city’s key fine dining clusters.

“It touches the needs of our client base, and has that psychology of being close to a prestigious coterie of restaurants,” he says with selfassurance. “I don’t mind the

competition. If someone eats at Marea, then at Zuma the next day and La Petite Maison the day after, it’s okay.

It’s the same case for Marea in New York: Per Se by Thomas Keller is on the other corner and right next to it is Jean-Gorges. People migrate to where the fine dining braintrust tilts toward, and if you have that strength in quality – for both lunch and dinner – there’s enough there to live up to a high mark that is sustainable.”

Marea is a chic Italian lifestyle brand with a strong New York undercurrent. “It is inclusive, and it should appeal to all,” says its owner. “Our ethos is about sharing moments with those who matter, which neatly translates to this region; everything we do is convivial for people to be together, and to share great food and great times.”

On the topic of family, Fakahany pauses, and allows himself a poignant moment. “Despite how my name is spelled, I grew up outside of the Middle East; my brother lives in London, and my sister lives in New York, so it feels somewhat like closing the loop – coming back to this time zone with something that I have built, and that I believe will be thoroughly enjoyed.”

Marea is an chic Italian lifestyle brand with a strong New York undercurrent

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35 JOURNEYS BY JET

The Capella Resort

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Singapore

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Travel DECEMBER 2018 : ISSUE 91

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n matters of travel, the Southeast Asian postage stamp of Singapore packs plenty of experiential oomph. Its sheer diversity defies belief –with a chic riverside quay, historic landmarks, lush gardens, pristine beaches, and high class shopping indulgences poured into an island city that is half the size of compact Hong Kong (hardly a geographic giant itself).

Within this matryoshka doll of a destination nestles Sentosa – a State on the southern coast that harbours enough high-class recreation offerings to host a fulfilling escape in its own right – with golf courses, sheltered stretches of sand and adrenalinefuelled theme parks among its riches.

Focus in further, and a secluded 30-acre parcel of this coastal paradise belongs to Capella Singapore – a hotel that is smartly layered into the terrain and comprises a 6-star hotel, spacious villas, a centrepiece garden courtyard and a pair of showstopping bungalows which date back to the 1880s.

When conceived, the idea to weave together Asian and colonial accents with a modern twist was an admittedly ambitious architectural objective.

It is little surprise that the resulting high design was achieved by the standard-setting Norman Foster + Partners.

The pair of restored Tanah Merah bungalows at the heart of the hotel’s grounds were retained to honour history – the names representing the Malay definition for ‘red earth’, explaining the sun-scorched hue of the rooftops. The more contemporary Foster hallmarks come in the form of the main building’s sweeping, modern curve, and are also communicated with a batch of generously sized contemporary Manors – which blend into the natural surroundings with utmost harmony.

Each element of the property has been thoughtfully executed: the hotel’s three swimming pools cascade down the hillside, its tranquil gardens and grounds are deliberately framed by the South China Sea, and its three restaurants – along with the exceptional Auriga Spa – are among the opulent indulgences.

Set high in verdant forest on Sentosa Island, Capella is regarded as being a cut above in the luxury stakes, while graciously balancing the past and the present. It honours history while inspiring tomorrow; how quintessentially Singapore.

Charter into Singapore Changi International Airport from where the Capella concierge will arrange a chauffeur-drive south to Sentosa. capellahotels.com 79

What I Know Now

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DECEMBER 2018 : ISSUE 91

Anne-Lise Cremona CEO, HENRY JACQUES FRENCH HAUTE PARFUMERIE

I have always been a dreamer. As a child I would lose myself in books and elaborate stories, as beauty was a refuge against the harshness of life. I dedicated a life to cultivating beauty for others, as an antidote to life’s harshness. Luxury, then, exists not in the display of wealth, but by living in serenity, surrounded by utmost beauty.

My priority has always been to respect the codes of my father, Henry Jacques.

The foundations of the company are the result of a lot of outstanding work; as I often say, several lives were needed to accomplish such results. And as with all great works, it requires modesty to accept that we simply contribute to the masterpiece.

Nevertheless, I have my own codes, and they are apparent throughout the 80

brand. It was essential to communicate my own identity, ensuring the name remains remarkable and unique.

I came to appreciate that travel is essential. Each climate and each region offers unexpected essences that leave a profound mark on the memory, and the search for new and components is a crucial part of my work.

Mediterranean countries offer many scents that are dear to me. Lemon, pine trees, rose, perfumes of ‘guarrigues’…

They’re the smells of my youth, evoking the softness of summer, naked feet, and warm, dry climes.

I admire the scents of the orient, too, and Oman’s natural essences are very special scents for me – soft and comforting –while I also adore the delicate notes of top quality oud.

I’ve always believed in listening to your emotions, and olfactory memory is the most evocative we possess; we never know which emotion it will propel us toward discovering.

As such, the bespoke perfume journey is the essence of indulgence, because it is quality time spent on oneself. It is time spent listening to your inner self and understanding your well-being, to develop something that you cannot see, yet can experience.

The process must uses noble components and a complex formula, in a quest to find the ultimate balance – a little like life itself, you could say.

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