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“Ladies and gentlemen. This is your captain speaking. Today we will be landing at London City Airport. We’ll find heavy rain and low ceilings. Crosswind is 18 knots and moderate turbulence is reported. Of course, your Falcon 7X will handle these conditions with ease, so sit back and enjoy your flight. We’ll be on the runway shortly.”
With over 200 aircraft in service and more than 250,000 hours in the air, the 7X has demonstrated time and again it is the most versatile long-range business jet, ﬂying farther from challenging airports. Additional reasons to sit back, relax and enjoy the ﬂight.
CONTENTS / FEATURES
Managing Director Victoria Thatcher Editorial Director John Thatcher Group Commercial Director David Wade email@example.com Commercial Director Rawan Chehab firstname.lastname@example.org Editor Richard Jenkins email@example.com Features Editor Lara Brunt firstname.lastname@example.org Senior Designer Andy Knappett
A True Legend
Jurassic Pratt Chris Pratt came from nowhere to become Hollywoodâ€™s new hero.
On the 40th anniversary of Jaws, AIR celebrates the blockbuster.
Designer Emi Dixon
Master Director Alfred Hitchcock changed cinema history with Psycho.
Business Development Manager Rabih El Turk email@example.com Illustrator Andrew Thorpe Production Manager Chalitha Fernando -8-
CONTENTS / FEATURES Eighteen
Unseen photographs of Audrey Hepburn make up a new London exhibition.
Sothebyâ€™s gets set to auction Didier Ludotâ€™s haute couture gems.
H. Moser & Cie are bullish Jean-Georges Vongerichten in the face of adversity, chats to AIR about his and on the advance. Dubai debut.
Art & Design
Celebrating the work of Holz Hollywood and Eve Arnold.
Wartski celebrates 150 years, and Victoire de Castellane comes to Dubai.
Is it really possible to Ultra high-end wellness improve the Jaguar E-type retreats in New Zealand and and Porsche 911? beyond.
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. All prices mentioned are correct at time of press but may change. HOT Media Publishing does not accept liability for omissions or errors in AIR.
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A LEVEL ABOVE
Soaring high at 555 meters, At the Top, Burj Khalifa SKY is fittingly Dubaiâ€™s most iconic destination. You can now enjoy exclusive access to the redefined, highest outdoor observatory in the world, spread across levels 125 and 148 of the Burj Khalifa. With dedicated lounges, elevator access and complimentary refreshments, you will be personally escorted through stunning views and never seen before interactive experiences.
EMPIRE AVIATION GROUP
Issue Forty Nine
Welcome to this issue of AIR, Empire Aviation Group’s private aviation lifestyle magazine for aircraft owners and onboard guests. We all recognise that travelling by private jet is one of life’s great privileges but owning and operating a jet is also a demanding responsibility; so, to fully enjoy the ownership experience and all the rewards that come with it, professional aircraft management is a must for peace of mind and protection of the owner’s substantial investment. As we know from our personal experiences within the industry, successful aircraft owner-management relationships are built on transparency and trust. It is this mutual FRQ¿GHQFHWKDWPDNHVLWVRUHZDUGLQJ In this issue, we share some thoughts about the pleasures of ownership when working with aviation professionals, and also about the extension of our aircraft management services to cover the whole of India with a new senior appointment. (QMR\WKHUHDGDQG\RXUÀLJKW
Steve Hartley Executive Director
Contact details: firstname.lastname@example.org empireaviation.com - 13 -
Paras Dhamecha Executive Director
EMPIRE AVIATION NEWS
Reaching new heights of air travel luxury
ravelling by private jet is no doubt one of lifeâ€™s great luxuries. Offering freedom, privacy, and the ÂżQHVWDPHQLWLHVLW is hard to imagine private air travel could be improved upon. However, Empire Aviation Group has done just that, by taking the singular privilege of traveling by private jet, and putting the control in the ownersâ€™ hands. The company is a one-stop destination for the intrepid air traveller who wants to take aviation to the next level through private jet ownership. Purchasing and operating a private jet is no small undertaking, ÂżQDQFLDOO\RUORJLVWLFDOO\(PSLUH Aviation Groupâ€™s mission is to support all aspects of private RZQHUVKLSDWHDPRIKLJKO\TXDOLÂżHG and dedicated professionals, with years of experience, manage every step along the way and offer a complete and transparent partnership. What sets EAG apart is the longterm involvement of aviation experts dedicated to safety, service, and protecting the ownerâ€™s investment. It goes without saying that the entry cost to the world of private aviation LVVLJQLÂżFDQWÂąDIWHUDOODQDLUFUDIW is an extremely sophisticated piece of technology operating in a highly regulated and safety-conscious environment. Not only is the initial
investment substantial but operating a private jet demands reliable and professional crew. EAGâ€™s private DYLDWLRQVSHFLDOLVWVÂżUVWKHOSFOLHQWV source and select the right private jet for their needs, then provide ongoing support in the operation and maintenance of the aircraft. Itâ€™s a full inventory of services necessary IRUSULYDWHMHWRZQHUVKLSÂąRULQ other words, peace of mind. :HPHDQHYHU\WKLQJIURPĂ€LJKW crew to accounting. Successful ownership requires continuous professional support to protect the aircraftâ€™s value, to deliver years of great service to its owner, and most of all, to ensure a safe, highquality travel experience on every mission. Amongst other things, this means a rigorous maintenance programme and meticulous attention to monitoring all aircraft data records. Financial transparency in private ownership is essential; poor recordkeeping alone can devalue a private jet surprisingly quickly. And of course, even the most opulent jet in the world isnâ€™t going anywhere ZLWKRXWDTXDOLÂżHGRSHUDWLRQVWHDP that can handle everything from JURXQGKDQGOLQJWRĂ€LJKWSODQQLQJ EAGâ€™s aircraft management service handles all of these functions, leaving the owner free to enjoy the - 14 -
luxury and convenience of private travel, whether for leisure or business. Empire Aviation Group believes that successful aircraft ownermanager relationships are built on trust, openness, and transparency. Owners generally take a keen interest in their aircraft, and EAG actively encourages these working partnerships with owners. EAG also offers a host of other complementary services as well,
including aircraft charter, VIP limousine and chauffeur services, Meet & Assist services, personal security, and a hotel booking service ÂąDOOGHVLJQHGWRRIIHUWKHWUDYHOOHU the utmost in safety and customer care, in the air and on the ground. Whatever your reasons for entering the world of private aviation, and however you choose to use a private jet, itâ€™s a world WKDW\RXFDQQDYLJDWHFRQÂżGHQWO\ with Empire Aviation Group as the trusted adviser by your side.
EMPIRE AVIATION AIRCRAFT FOR SALE
Empire Aviation Group is a one-stop shop for integrated executive aviation services, offering aircraft acquisition, aircraft management and private jet charters. Tel: +971 4 299 8444 | Enquiries: email@example.com | www.empireaviation.com - 15 -
EMPIRE AVIATION NEWS
New Head of Sales for Empire Aviation India
mpire Aviation India, the sister company to Empire Aviation Group (EAG), expands its India sales team with the appointment of a new Head of Sales for Northern India. The latest member joining the team will handle the development of new relationships with aircraft owners looking for comprehensive and professional aircraft management services. In 2013, Empire Aviation launched operations in India, the
PRYANK SHARMA Head of Sales Northern India
JURXSÂśVÂżUVWRYHUVHDVRSHUDWLRQ with a new branch in Bangalore designed to extend the companyâ€™s aircraft management and integrated aviation services to the subcontinent. Since opening the operations centre in Bangalore, Empire Aviation has already taken aircraft under management on behalf of owners. The 24/7 operations team provides discreet, Ă€H[LEOHDQGFRQÂżGHQWLDOSULYDWH aviation services to owners, as well as charter services to customers with a broad selection of aircraft to suit all requirements. - 16 -
Pryank Sharma has been appointed to the new role of - Head of Sales for Northern India at Empire Aviation and brings with him more than 14 yearsâ€™ successful experience and achievement in leadership roles in managing airline and general aviation sales. He was previously with Air Works India (partner of EAG) and has also held senior positions with major commercial airlines, leading large teams and building national businesses and substantial corporate accounts.
> 35 important photographs of Audrey Hepburn from the personal collection of her sons, Sean Hepburn Ferrer and Luca Dotti, are to go on a rare UK display in this summer’s National Portrait Gallery exhibition, Audrey Hepburn: Portraits of an Icon. The major display explores the life and career of one of cinema’s most enigmatic stars, and is the first to be organised with support from the Audrey Hepburn Estate. Audrey Hepburn: Portraits of an Icon runs at London’s National Portrait Gallery from July 2 - October 18, 2015
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Audrey Hepburn on location in Africa for The Nuns Story by Leo Fuchs, 1958. ÂŠ Leo Fuchs
Film Jurassic World
Dir: Colin Trevorrow 7KHGLQRVDXUIUDQFKLVHUHWXUQV DIWHUDGHFDGHDZD\ AT BEST: â€œ&DQZHDOOVWRSIRU DPRPHQWDQGWDONDERXWKRZ LQFUHGLEOH&KULV3UDWWLV"Â´ Cinemablend AT WORST: â€œ7KHUHÂśVQRWKLQJZRUVH WKDQZDWFKLQJDPRYLHDQGNQRZLQJ WKDWQRRQHLVLQDQ\UHDOGDQJHUÂ´ Cinemablend
Son of Saul
Dir: LĂĄszlĂł Nemes An excoriating debut about a prisoner in a World War II concentration camp. AT BEST: â€œ$Q\ÂżUVWIHDWXUHWKDW PDQDJHVWRODQGGLUHFWO\LQWKH FRPSHWLWLRQLQ&DQQHVKDVGRQH VRPHWKLQJULJKWÂ´ Hollywood Reporter AT WORST: Âł,WÂśVDOPRVWWRRUXWKOHVV DQDFKLHYHPHQWIRULWVRZQJRRGLQD ZD\Â´Telegraph
Dir: Pete Docter 3L[DUÂśVUHWXUQWRIRUPVHHVWKH FRQĂ€LFWLQJHPRWLRQVDWSOD\LQVLGHD OLWWOHJLUOZKRPRYHVVWDWH AT BEST: Âł,QWHUPVRILWVDPELWLRXV XQGHUO\LQJFRQFHSW,QVLGH2XW EORZVRWKHU3L[DUPRYLHVZD\Â´ Variety AT WORST: Âł,WKDVQÂśWDQ\WKLQJDV JHQXLQHO\HPRWLRQDOO\GHYDVWDWLQJDV 8SRUWKHVXEWOHW\RI0RQVWHUV,QFÂ´ Guardian
The Sea of Trees
Dir: Gus van Sant 0DWWKHZ0F&RQDXJKH\SOD\VD VXLFLGDOVFLHQWLVWZKRVHOLIHLV FKDQJHGLQWKH-DSDQHVHZRRGV AT BEST: Âł7KHÂżOPKDVDQDJUHHDEO\ GDUNJUHHQGRPLQDWHGORRNWKDWLV HDV\RQWKHH\HVÂ´Variety AT WORST: Âł7KH6HDRI7UHHVLVDQ H[DVSHUDWLQJO\VKDOORZÂżOPRQDQ LPSRUWDQWVXEMHFWÂ´Guardian - 21 -
Photo (c) ENO / Tristram Kenton
7KH0HUFKDQWRI9HQLFHKDVFOHDUO\ EHHQLQYRJXHZLWK/RQGRQ¶VWKHDWUH SURGXFHUVZLWKUHFHQWUHYLYDOV LQFOXGLQJ5XSHUW*RROG¶VYHUVLRQ VHWLQVWFHQWXU\/DV9HJDVDWWKH $OPHLGDDQG-RQDWKDQ0XQE\¶V VRPEHUSURGXFWLRQDW6KDNHVSHDUH¶V *OREH1RZLW¶VWKHWXUQRIWKH5R\DO 6KDNHVSHDUH&RPSDQ\LQ6WUDWIRUG XSRQ$YRQ'RHV3ROO\)LQGOD\¶V QHZSURGXFWLRQPDNHWKHJUDGH"1R DFFRUGLQJWRWKH*XDUGLDQ¶V0LFKDHO %LOOLQJWRQZKRVD\VWKHSURGXFWLRQ ³VHHPVWKLQO\FRQFHLYHGDQGYLVLEO\ XQGHUFDVW´-RKDQQHV6FKW]¶VVHW GHVLJQ³IDLOVWRDQFKRUWKHSOD\LQ DQ\VSHFL¿FORFDWLRQ´DQGWKDWODFN RIVRFLDOFRQWH[W³LQHYLWDEO\DIIHFWV WKHSHUIRUPDQFHV´'LVWLQJXLVKHG 3DOHVWLQLDQ,VUDHOLDFWRU0DNUDP -.KRXU\LVJLYHQ³QRFKDQFHWR UHJLVWHUHLWKHU6K\ORFN¶V¿QDQFLDO
VWDWXVRUUHOLJLRXVLQWHQVLW\´DQGWKH SURGXFWLRQ³QHYHUEHJLQVWRH[SORUH WKHWHQVLRQEHWZHHQ6K\ORFN¶V UROHDVVRFLDOYLFWLPDQGGRPHVWLF W\UDQW´VD\V%LOOLQJWRQ1RWKLQJ PXFKHOVHLQWKLVSURGXFWLRQ DGGVXSHLWKHUKHVD\V³7KHUHLV QRFOHDUVRFLDORUSV\FKRORJLFDO GH¿QLWLRQRIWKHFKDUDFWHUVWKH YHUVHLVGUDEO\VSRNHQDQGRQO\ 0DUF7ULWVFKOHU¶VFKRUDOPXVLF ZLWKLWV5HQDLVVDQFHHFKRHVJLYHV DQ\KLQWWKHSOD\LVWDNLQJSODFHLQ 9HQLFHUDWKHUWKDQ9ODGLYRVWRNRU 9HQH]XHOD´KHVD\V7KH7HOHJUDSK¶V 'RPLQLF&DYHQGLVKDJUHHV$IWHU GHVFULELQJ-RQDWKDQ3U\FH¶VWXUQ DVWKHUHYLOHGPRQH\OHQGHULQWKH *OREHSURGXFWLRQDV³RDNVROLG´ KHEHOLHYHV.KRXU\LVPHUHO\ ³VXI¿FLHQW´³7REHEOXQWKH¶VQRWD SDWFKRQ3U\FHDQGWKHUH¶VWRRPXFK - 22 -
JDEEOLQJ´ZKLOHWKH56&UHYLYDO LV³E\WXUQVDEVRUELQJLUULWDWLQJ LQYHQWLYHDQGVFUDSS\´+HDWKHU 1HLOOIURP7KH6WDJHDOVRFRQFXUV WKDWWKH56&RXWLQJLVLQIHULRUWRLWV SUHGHFHVVRUV³$IWHU5XSHUW*RROG¶V H[XEHUDQW/DV9HJDV0HUFKDQW DOEHLWZLWKRXWDURPDQWLFHQGLQJ DQG-RQDWKDQ0XQE\¶VEROGKDQGOLQJ RIDQWL6HPLWLVPDWWKH*OREHWKLVLV DQLQWHOOLJHQWEXWGRZQEHDWUHDGLQJ´ VKHVD\VUntil September 2. 3LTXLQJWKHLQWHUHVWRIRSHUD IDQVPHDQZKLOHLV0LNH/HLJK¶V QHZSURGXFWLRQRI*LOEHUWDQG 6XOOLYDQ¶V7KH3LUDWHVRI3HQ]DQFH IRUWKH(QJOLVK1DWLRQDO2SHUDDW WKH&ROLVHXPLQ/RQGRQ:KLOH WKH¿OPGLUHFWRUVZRUHKHZRXOG QHYHUGLUHFWDQRSHUDKHLVD NQRZOHGJHDEOHDQGGHYRWHG*LOEHUW DQG6XOOLYDQIDQ$FFRUGLQJWRWKH ,QGHSHQGHQW¶V0LFKDHO&KXUFK /HLJK¶VRSHUDWLFGHEXWLVD³YHU\ HQMR\DEOH´SURGXFWLRQKRZHYHU³LWV WDVWHIXOHI¿FLHQF\PDGHPHQRVWDOJLF IRUWKHFRQYLYLDOVODSVWLFNRIWKH GHDUROG'¶2\O\&DUWHFRPSDQ\ ZKLFKFRXOGEHVRPXFKIXQQLHU´ 7KH)7¶V5LFKDUG)DLUPDQIHHOV WKHSURGXFWLRQ³RIIHUVDUHWXUQWR WKHVDIHW\RIWUDGLWLRQ´IRUWKRVH DXGLHQFHVZKRPD\KDYHEHHQ DOLHQDWHGE\WKH(12¶VFRPPLWPHQW WRFXWWLQJHGJHWKHDWUHGHFODULQJLW WKH³YHU\PRGHORIDQXQPRGHUQ´ *LOEHUWDQG6XOOLYDQUHYLYDO³7KH trendily minimalist set designs by $OLVRQ&KLWW\VXJJHVWZHDUHORRNLQJ WKURXJKDQRQVKRUHWHOHVFRSHDWWKH SLUDWHV¶VKLS2WKHUZLVHWKHVWDJLQJ ¿WVWKHSHULRG´KHVD\V7KHVDWLUH ³IHHOVTXDLQWUDWKHUÀDWFRPIRUWDEO\ (QJOLVK´UDLVLQJRQO\WKH ³RFFDVLRQDOKDOIKHDUWHGVPLOH´IRU WKHFULWLF:KLOH)DLUPDQTXHVWLRQHG ZK\JURZQPHQDQGZRPHQLQWKH VWFHQWXU\ZRXOGZDQWWR¿QGWLPH IRUDSLHFH³DVLQVLSLGDQGPXVW\ DVWKLVIHHOVKHUH´LWVHHPVQRW HYHU\RQHVKDUHGKLVYLHZ³$URXQG PHWKHDXGLHQFHODXJKHGFKRUWOHG FKHHUHG´Until July 4.
Curated by Rinaldo Rossi and Corinna Turati, Order and Disorder is a new exhibition of Italian conceptual artist Alighiero Boettiâ€™s works. Running at Londonâ€™s Mazzoleni Gallery from June 5 to July 31, the show offers a chance to see works from some of the most important stages of the artistâ€™s life. Boetti died in 1994, and his work has become steadily more popular DQGLQĂ€XHQWLDOLQWKHWZRGHFDGHV since. The exhibition presents an in-depth examination on the work of Boetti as well as the codes and mechanisms used in his work. It also presents a rare opportunity to view works from several important stages in the artistâ€™s life, including iconic works such as embroideries, ballpoint pen drawings and further works on paper. Highlights include Mappa, 1979; the three panels Smettere in Moto, 1978-79; a large 7XWWRDQGDUHÂżQHG selection of works on paper. The Guardian writes of the artist: â€œBoetti could not be pinned down. In his comparatively short life he sent back such a variety of work from so many different places â€“ Ethiopia, Japan, Pakistan, Guatemala â€“ that he was rumoured to be not one man but two: Alighiero and Boetti, just as his (self-adapted) name implies.â€? What is the measure of a man? The Pompidou Centre in Paris asks the question in their exhibition Le Corbusier: The Measures of Man, which runs until August 2. Time Out writes: â€œThe show also puts architecture at the centre of a larger artistic philosophy â€“ as well as the pure beauty of Corbuâ€™s building designs, models and theoretical discourses (he was devoted to addressing issues of inner city KRXVLQJDQGKXJHO\LQĂ€XHQWLDO on urban planning), we are also shown his striking paintings, which move from elegant geometric LPDJHVWRDPRUHÂżJXUDWLYHVW\OH that recalls Fernand LĂŠger. As with his buildings and prototypes, the
Alighiero Boetti Accanto al Pantheon, 1988, eembroidery on fabric, Courtesy Mazzoleni London
SLHFHVEULQJKRPHWKHLQĂ€XHQFHWKDW the great man has over our living environments even today. â€œSadly, the search for a pertinent angle obscures some of the more uncomfortable elements of &RUEXVLHUÂśVOHJDF\KLVÂľUDEELWFDJHÂś designs for an Indian city and his fascist connections, which imbue his obsession with cleanliness, modernity and order. Theyâ€™re more than mere biographical detail, so itâ€™s a shame to miss out on a full picture of Corbusierâ€™s worldview.â€? New Yorkâ€™s Metropolitan Museum of Art explores Maurice Prendergast: Boston Public Garden Watercolours from June 1 to September 7, capturing incidental pastimes in one of Americaâ€™s most famous urban parks. Prendergast has been called the poet laureate of the picnic, the artistâ€™s lightLQĂ€HFWHGVKHHWVFKURQLFOHWKH leisurely life of a bygone era. The Boston Globe says, â€œLike all good - 24 -
retrospectives, it poses questions. 7KHÂżUVWÂ˛Âľ+RZJRRGUHDOO\ ZDV0DXULFH3UHQGHUJDVW"ÂśÂ˛LV unavoidable. Whatâ€™s curious is that no one has ever quite known how to answer it. Thatâ€™s partly because this most consistent of artists was in reality a slowly moving target. If Prendergast kept painting the same VXEMHFWÂ˛UHYHOHUVE\WKHZDWHUÂ˛E\ the second half of his career he was using that subject to articulate a very different vision.â€? The New York Times writes: â€œPrendergast comes across as an American original, an artist who eagerly absorbed the latest in French painting without losing his head. This is rare for turn-of-the-century American art, when so many American painters produced belated reprises of French Impressionism. And it is all the more impressive considering that he was a man of limited education who supported himself as a commercial artist until he was 32 years old.â€?
Books With historical detective stories enjoying something of a renaissance at the moment, MJ Carterâ€™s second outing for her Victorian sleuths, Blake and Avery, should go down well with audiences. Set in the slums of London in 1841, The ,QÂżGHO6WDLQVHHV-HUHPLDK%ODNH and William Avery, returned from their adventures in India (detailed LQKHUÂżUVWQRYHO7KH6WUDQJOHU Vine), struggling to adapt to life in England. Moreover, time and distance have weakened the close bond between them. Then a shocking series of murders in the world of Londonâ€™s gutter press forces them back together. With the police mysteriously unwilling to investigate, Blake and Avery must UDFHDJDLQVWWLPHWRÂżQGWKHFXOSULW before he kills again. The Guardianâ€™s 6WHSKDQLH0HUULWWVD\V7KH,QÂżGHO Stain is â€œa richly detailed and VPDUWO\SORWWHGQRYHOÂ´WKDWÂżUPO\ establishes Carter as â€œan authentic voice in the world of historical crime.â€? While the relationship between the odd-couple sleuths â€œgrows deeper and more nuanced in this book, even if it is transparently
a Holmes and Watson dynamic, itâ€™s no less enjoyable for that, perhaps because itâ€™s so reassuringly familiar.â€? The Telegraphâ€™s Jake Kerridge, meanwhile, believes the sequel â€œhas lost a little of the sparkle of Carterâ€™s debut novelâ€?, due to its change of setting from India to London and its more conventional plot. â€œBut it is still an entertaining stew of blackmail, murder, cross-dressing and incomprehensible slang,â€? he adds. The Independentâ€™s Amanda Craig disagrees, believing the London setting works perfectly, as the previous novel â€œoccasionally became bogged down in the complexities of imperial India.â€? She also hopes the detective series will make it to the small screen, declaring if it were not ERXJKWIRUÂżOPÂłLWZRXOGEHDQRWKHU mark of the corporate stupidity that lost the BBC Ripper Street. It is, however, far more pleasurable and impressive to read.â€? Another historical novel, this time set in WWII Estonia, is also garnering praise. Acclaimed )LQQLVK(VWRQLDQDXWKRU6RÂż Oksanenâ€™s fourth novel, When the Doves Disappeared, explores the small Baltic Sea stateâ€™s terrible wartime history of mass human displacement, occupation and collaboration. (In 1940, Estonia was invaded by Stalin, and the following year by Hitler. Then, in 1944, the Soviets returned, and stayed for half a century.) The Independentâ€™s Rosie Goldsmith says When the Doves Disappeared is â€œa thrilling pageturner but it is equally a shattering family drama and an unsparing deconstruction of history.â€? Oksanen is also a playwright and this shows - 25 -
in â€œher tight control of the shifting timelines and viewpointsâ€?, while the writing is â€œsensual and visceral with great descriptive rangeâ€?. :KDWDWÂżUVWVHHPVDFKDRWLF mix of dates, names and events â€œsettles into a multi-layered novel where everyone and everything is ZHLJKWHGZLWKVLJQLÂżFDQFH,WLV a rich and sometimes heavy feast ÂąWHQVHGHQVHDQGLQWHQVH6RÂż Oksanen is a serious novelist in all ways,â€? concludes Goldsmith. The Telegraphâ€™s Ian Thomson is also impressed with Oksanenâ€™s â€œsuperbâ€? fourth outing, declaring it equally as good as her last book, Purge, a thriller also set in Estonia that won her numerous international awards. â€œOver it hangs a Graham Greene-like atmosphere of human wretchedness and compromised political faith,â€? Thomson says. â€œHumiliated and GHÂżOHGE\+LWOHUDQG6WDOLQDIWHU the war Estonia virtually fell off the map of Europe. Oksanen, a great post-Russian-Empire writer, has helped to return Estonia to the consciousness of the West.â€?
ART & DESIGN
- 26 -
LLY O WOOD H FOR OVER 30 YEARS, GEORGE HOLZ HAS PHOTOGRAPHED TINSELTOWN’S BIGGEST AND BRIGHTEST STARS
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- 28 -
Nicolas Cage © 1999 George Holz. Kevin Spacey © 1999 George Holz. Morgan Freeman by George Holz. © 2000 Paramount Pictures. Used with permission.
ART & DESIGN
hen George Holz, a protĂŠgĂŠ of Helmut Newton, got a call from a friend at Warner Bros. Records in 1983 asking if heâ€™d be interested in photographing an up-and-coming young singer named Madonna, his curiosity was piqued. â€œI had already heard some buzz about her, loved KHUQDPHDQGÂżJXUHGVKHFRXOGEH intriguing to shoot,â€? he recalls. While the shoot in a small basement studio near Sunset Boulevard, Los Angeles, was basic â€“ Madonna wore her own clothes and Holz drafted in his friend, makeup artist Barbara Farman, to help on set â€“ the resulting images were anything but. â€œThis unassuming young woman was simply amazing in front of the camera: sexual, charismatic, full of energy, and incredibly photogenic,â€? he says. The photos were used for the 1985 re-release of Madonnaâ€™s debut DOEXPKHOSLQJWRGHÂżQHWKHIXWXUH Queen of Popâ€™s bad-girl image.
â€œLittle did I know that these photos would become so iconic,â€? he says. Kevin Spacey is another memorable subject. Holz photographed the actor in 1999 for New York magazine, as Spaceyâ€™s new ÂżOP$PHULFDQ%HDXW\ZDVZRZLQJ critics and audiences alike. While shooting atop an open-air tour bus in Times Square, Spacey picked up the microphone and performed an impromptu stand-up comedy routine that was â€œwickedly funny,â€? recalls Holz. â€œIt was the one time in my life when I became so wrapped up in my subjectâ€™s performance I forgot I was a photographer.â€? These are just two anecdotes from the many shoots featured in a new book celebrating the snapperâ€™s three decades of celebrity portraiture. Published by Daab, Holz Hollywood: 30 Years of Portraits is a virtual whoâ€˜s who of popular culture, including Nicolas Cage, Morgan Freeman, Dennis Hopper, Jack Nicholson, Salma Hayek and Will Smith, among others. According to photography commentator Renate Gruber, who wrote the foreword to the book, Holzâ€™s images have an â€œunexplainable eleganceâ€? that convey his â€œintense admiration of and respect forâ€? his subjects. Singer Mariah Carey agrees. â€œGeorge is always focused on making me look the way he sees me when the camera isnâ€™t rolling â€“ capturing the essence of the real person, not just a persona,â€œ the diva once remarked. Tennesseeborn Holz got his big break in 1979 when he met - 29 -
Helmut Newton while studying at the Art Center College of Design in Pasadena, California. Together with fellow students Mark Arbeit and Just Loomis â€“ now successful photographers in their own right â€“ Holz was one of only three assistants to the legendary Vogue contributor, who died in 2004. â€œYou learned by osmosis,â€? Holz told the Los Angelesâ€™ Times in 2012. â€œThere is a little of that Helmut DNA ingrained in all of us. For him, there was no difference between KLVFRPPHUFLDOZRUNDQGKLVÂżQH art work. He approached every photograph the same.â€? At Newtonâ€™s encouragement, the young photographer travelled to Europe and spent several years working in Milan and Paris, where he shot fashion editorials for
â€˜Holzâ€™s images convey his intense admiration of his subjectsâ€™ magazines such as Italian Vogue and French Elle. In the mid-1980s he moved to Manhattan, travelling frequently to Los Angeles and Europe to shoot fashion, advertising and portraiture for top magazines DQGOX[XU\EUDQGV+RO]ÂśVÂżQH art nudes, meanwhile, have been exhibited in galleries around the world. After moving to a farm in the rustic Catskill Mountains of New York a few years ago, Holz says the focus of his personal work has changed. â€œI turned from engaging supermodels in exotic locations to photographing the-girl-next-door in a natural setting. And thus, location itself became a character in each piece of work,â€? he says. â€œLooking to the future, I will be drawn to work in colour, a consequence perhaps of living... in an environment saturated by continually changing colors, light, shadows, texture.â€? Holz Hollywood: 30 Years of Portraits is available now from Daab, daab-media.com
ART & DESIGN
SOMETHING FOR THE WEEKEND Art aficionados will decamp to London’s Mayfair in July, where its most iconic hotel will host the second annual Brown’s London Art Weekend - 30 -
ondonâ€™s ever charming district of Mayfair has long been the epicenter of a gravitational pull from the Middle East during the summer, as the well-heeled arrive to take up residence in its slew of iconic hotels. 3HUKDSVWKHÂżQHVWRIVXFKKRWHOVLV Brownâ€™s, which stands proud as the oldest hotel in London, one street back from New Bond Street. This year Brownâ€™s Hotel offers the additional enticement of its second Brownâ€™s London Art Weekend, taking place from July 3-5. Over the course of it, 100 galleries and auction houses will open up to the public, granting them a unique opportunity to explore Londonâ€™s greatest private galleries. For 150 years Mayfairâ€™s galleries and auction houses have welcomed the worldâ€™s greatest art collectors, and this event is the ultimate celebration of this London heartland. â€œThe idea for Brownâ€™s London Art Weekend grew from the success of the Brownâ€™s Hotel monthly Saturday art tours, hosted by the gallery owners, which continue to be very popular,â€? says Sophie Darley, director of communications at the hotel. â€œBrownâ€™s Hotel is championing a stronger community spirit amongst the Mayfair galleries and Brownâ€™s London Art Weekend, whilst a celebration of the art scene, also aims to highlight the diversity of the
art available in this cultural hub of London.â€? Such diversity includes offerings from the Middle East. Ayyam Gallery, which has branches in Dubai, will show the work of Samia Halaby, the Arab worldâ€™s foremost abstract painter. The exhibition will include rarely seen works from the ÂżUVWWZRGHFDGHVRIKHUFDUHHUD time when she taught at universities throughout the United States, and created a groundbreaking curriculum that was implemented LQWKHÂżQHDUWVSURJUDPPHVRI institutions such as the Yale School of Art. Over at Rossi & Rossi, Iranianborn, New York-based artist Samira
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Abbassy will debut her solo show, which features oil paintings on canvas or gesso panel, accompanied by works on paper. Brownâ€™s Hotel will host a programme of specialist art talks over the weekend, covering a range of topics including â€˜how to start your art collectionâ€™ and â€˜fashion and artâ€™. Meanwhile, celebrated chef Mark Hix has collaborated with artists whose work is displayed at his restaurant HIX Mayfair at Brownâ€™s Hotel to produce a dedicated and highly creative menu to accompany the event â€“ so thereâ€™s your excuse to stay on for lunch. â€œThere really is something for everyone, from old master paintings at Bonhams to modern sculpture at Gazelli Art House. That is what makes this event so excitingâ€?, enthuses Darley. â€œAll the galleries are close together so we recommend that guests to the area make a weekend of it, and take time to explore the wonder of this artistic heart of London. â€œ Each participating gallery will be open from 11am-5pm on Saturday 4 and Sunday 5 July, many of which will host talks. Those keen to hear them are advised to sign up at londonartweekend.co.uk. To book a room at Brownâ€™s Hotel, visit roccofortehotels.com.
ART & DESIGN
All about Eve As a new book celebrates the work of Eve Arnold, AIR looks at her journey from housewife to acclaimed Magnum photographer Words: LARA BRUNT
hen Eve Arnold Â¿UVWYLVLWHG 'XEDLLQ VKH VWUXFNXSD IULHQGVKLSWKDWZRXOGVHHKHUJDLQ XQSUHFHGHQWHGDFFHVVWRDGHÂ¿QLQJ PRPHQWLQWKHKLVWRU\RIWKHWKHQ VKHLNKGRP$VSDUWRIDQDPELWLRXV DVVLJQPHQWWRGRFXPHQWWKHZRPHQ RI$UDELDZKLFKEHJDQLQ DQGZRXOGFRQVXPHKHUIRUWKUHH \HDUV$UQROGJDLQHGSHUPLVVLRQ WRSKRWRJUDSKLQVLGHWKHKDUHPRI 6KHLNKD6DQD%LQW0DQD%LQ5DVKLG $O0DNWRXPWKHQLHFHRIWKH5XOHU RI'XEDL 7KHLUFORVHERQGUHVXOWHGLQ $UQROGÂ¶VDFFODLPHGLPDJHV RIWKHZHGGLQJFHOHEUDWLRQVRI 6KHLNKD6DQDÂ¶VGDXJKWHU6KHLNKD $OLDWRWKH&URZQ3ULQFHRI'XEDL +5+0DNWRXPELQ5DVKLG7KH SKRWRJUDSKVDQGVXEVHTXHQW GRFXPHQWDU\%HKLQGWKH9HLOÂ³LV SDUWRIRXUKHULWDJHÂ´VD\V6DHHG $O1DERXGDDFWLQJGLUHFWRURIWKH 'XEDL&XOWXUHDQG$UWV$XWKRULW\ Â³,WFHOHEUDWHVDQGSD\VWULEXWHWRWKH FXOWXUHRIRXUQDWLRQÂ´ 7KHLPDJHVDUHMXVWVRPHRI KXQGUHGVFRQWDLQHGLQDQHZERRN DERXWWKH$PHULFDQSKRWRJUDSKHU :ULWWHQE\-DQLQHGL*LRYDQQLWKH DZDUGZLQQLQJ0LGGOH(DVWHGLWRU RI1HZVZHHNDQGDFRQWULEXWLQJ HGLWRUWR9DQLW\)DLU(YH$UQROG 0DJQXP/HJDF\LVWKHÂ¿UVWYROXPH
LQDPDMRUQHZVHULHVRILOOXVWUDWHG ELRJUDSKLHVRIWKHOHJHQGDU\ 0DJQXPSKRWRJUDSKHUV )LOOHGZLWKERWKFRORXUDQG EODFNDQGZKLWHLPDJHVDVZHOODV SUHYLRXVO\XQVHHQDUFKLYDOLPDJHV WKHSDJHERRNLVWKHÂ¿UVWVWXG\ RI$UQROGÂ¶VZRUNWKDWUHOLHVRQKHU PHWLFXORXVGLDULHVQRWHERRNVDQG OHWWHUVUHODWLQJKHUEROGLPDJHVWR WKHIDVFLQDWLQJVWRU\RIWKHLUPDNLQJ GL*LRYDQQLDOVRLQWHUYLHZHGDURXQG RI$UQROGÂ¶VIULHQGVIDPLO\DQG FROOHDJXHVKHOSLQJWREXLOGDQ LQWLPDWHSLFWXUHRIWKHUHPDUNDEOH ZRPDQEHKLQGWKHFDPHUD :KLOH$UQROGLVSHUKDSVEHVW NQRZQIRUKHUSKRWRJUDSKVRI IDPRXVÂ¿JXUHVVXFKDV0DULO\Q 0RQURH0DOFROP;DQG4XHHQ (OL]DEHWK,,VKHLVDOVRUHYHUHGIRU KHUSKRWRMRXUQDOLVPRIWKHSRRUDQG GLVSRVHGÂ³,GRQÂ¶WVHHDQ\ERG\DV HLWKHURUGLQDU\RUH[WUDRUGLQDU\, VHHWKHPVLPSO\DVSHRSOHLQIURQWRI P\OHQVÂ´VKHRQFHUHPDUNHG %RUQWRDSRRU5XVVLDQLPPLJUDQW IDPLO\LQ3KLODGHOSKLDLQ $UQROGEHFDPHDSKRWRJUDSKHUE\ FKDQFH6KHKDGEHHQJLYHQDFDPHUD E\DER\IULHQGDQGZDVDSURÂ¿FLHQW DPDWHXUEXWLWZDVQÂ¶WXQWLO DJHGWKDWVKHHQUROOHGLQDVL[ ZHHNSKRWRJUDSK\FRXUVHOHGE\ $OH[H\%URGRYLWFKWKHDUWGLUHFWRU RI+DUSHUÂ¶V%D]DDU +HUWDOHQWIRUERWKSKRWRJUDSK\ DQGÂ¿QGLQJDVWRU\ZDVLPPHGLDWHO\ REYLRXV)RUKHUÂ¿UVWFODVV - 32 -
DVVLJQPHQWVKHKHDGHGWR+DUOHP DIWHUKHDULQJDERXWWKHEODFN IDVKLRQVKRZVWKHUHZKLFKOHGWR KHUJURXQGEUHDNLQJSKRWRHVVD\RQ $IULFDQ$PHULFDQPRGHOV,QMXVW DIHZVKRUW\HDUV$UQROGZRXOG WUDQVIRUPKHUVHOIIURP/RQJ,VODQG KRXVHZLIHÂ±VKHPDUULHG$UQROG $UQROGDQLQGXVWULDOGHVLJQHU LQDQGJDYHELUWKWRDVRQ )UDQNODWHUWKDW\HDUÂ±WRVHDVRQHG SKRWRMRXUQDOLVW ,QWKHHDUO\Â¶VVKHEHJDQ ZRUNLQJIRUSXEOLFDWLRQVVXFK DV3LFWXUH3RVW7LPHDQG/LIH E\VKHZDVWKHÂ¿UVWZRPDQ SKRWRJUDSKHUWRMRLQWKHSUHVWLJLRXV 0DJQXP3KRWRVDJHQF\,Q $UQROGDQGKHUIDPLO\PRYHGWR (QJODQGZKHUHVKHZRXOGOLYHIRU WKHUHVWRIKHUOLIHDOWKRXJKKHU PDUULDJHZDVQRWWRODVW6HSDUDWHG IURPKHUKXVEDQGDQGZLWKKHU VRQLQERDUGLQJVFKRROVKHEHJDQ ZRUNLQJIRUWKH6XQGD\7LPHV PDJD]LQHZKLFKRYHUWKHQH[WWZR GHFDGHVZRXOGWDNHKHUWRPDQ\ FRXQWULHV Â³6KHZURWHDORWRIKHURZQVWRULHV IRUWKH6XQGD\7LPHVZKLFKZDV UHDOO\XQXVXDOÂ´UHFDOOHGIHOORZ 0DQJXPSKRWRJUDSKHU6XVDQ 0HLVHODVZKRZURWHWKHIRUHZRUGWR WKHERRNGXULQJDGLVFXVVLRQZLWK GL*LRYDQQLDW/RQGRQÂ¶V)URQWOLQH &OXE$UQROGZHQWIDUEH\RQGWKH ERXQGDULHVRIPRVWSKRWRJUDSKHUV SDUWLFXODUO\IHPDOHSKRWRJUDSKHUV RIKHUWLPHWUDYHOOLQJWKHJOREH
1. Egypt. Valley of the Kings. Egyptian woman. 1970. ÂŠ Eve Arnold/ Magnum Photos USA. 2. Nevada. US actress Marilyn Monroe on the set of â€œThe Misfitsâ€? by John Huston. 1960. ÂŠ Eve Arnold/Magnum Photos 3. USA. District of Columbia. Town of Washington D.C. 1961. Malcolm X at a Black Muslim rally. ÂŠ Eve Arnold/Magnum Photos
3. often alone, to document the Islamic world, communist Soviet Union, political America and postrevolution China. A diminutive and elegant woman, â€œEve used her size and her femininity to get things that she might not have been able to get,â€? di Giovanni remarked at the Frontline Club. â€œAnd this, combined with her persistence and determination â€“ and of course god given talent â€“ was a big part of it.â€? +HUÂżHUFHGULYHZDVDSSDUHQWLQ her quest to visit China in the 1970s. Arnold spent nine years trying to get a visa when, in 1979, the Americans established diplomatic relations and she was allowed a visa for two threemonth-long trips to the communist state. â€œEve would go to theses places â€“ Russia, China â€“ [where] she didnâ€™t speak the language; she was a tiny woman, and this is before digital cameras so she had huge amounts of gear,â€? said di Giovanni. Her remarkable empathy for her subjects is evident throughout the book, none more so than in the passage where she remarks: â€œI must look at China in her own perspective, remembering her history, trying to understand her character, and being totally aware of her needs. I must try and not judge by my Western eyes,
but must try and think in Chinese, look in Chinese, while still retaining my own point of view.â€? During one of these visits, Arnold contracted pneumonia. â€œShe ended up in a clinic in a remote part of China, completely by herself, cut off from the world,â€? di Giovanni recalled. â€œThis is a time before internet, before cell phones, so her letters home would arrive months after what she was going through. You have to put yourself in her shoes and imagine the absolute tenacity, courage, bravery and fearlessness of doing this at a time when women didnâ€™t do that.â€? Between these long and arduous trips she carried out her more glamorous assignments, photographing movie stars such as Marlene Dietrich, Joan Crawford and Marilyn Monroe, gaining their trust by treating them with the XWPRVWFRXUWHV\+HUÂżUVWHQFRXQWHU with Crawford in the 1950s was fraught; the actress arrived drunk, stripped naked and demanded to be photographed. Concerned that Crawford would ultimately be furious with the images, Arnold GHPXUUHGDWÂżUVWEXWWKHQZHQW ahead with the shoot. A few days later, Arnold gave the negatives to Crawford, assuring her - 35 -
they would never be published. This act of loyalty was rewarded three years later when Crawford asked Arnold to photograph her for a very personal story for Life magazine, depicting the starâ€™s intensive physical preparation for a role. In an interview with the Independent some years later, Arnold said she had never been tempted to make the nude photos public. â€œI didnâ€™t think they would do me credit,â€? she said. â€œI had in mind a long career.â€? She achieved just that, capturing some 750,000 images and publishing a number of books. Arnold died in 2012, aged 99, believing she had experienced the best of serious photojournalism. â€œThere was an innocence in our approach,â€? she wrote in 1994, â€œespecially in the 1950s and 1960s when we naively believed that by holding a mirror up to the world we could help â€“ no matter how little â€“ to make people aware of the human condition. Now I question whether we were a combination of voyeur and exhibitionist as well as witness and crusader.â€? Eve Arnold: Magnum Legacy, published by Prestel in association with the Magnum Foundation, is available now.
HISTORY FOR SALE
For over 40 years, Didier Ludot has bought and sold the world’s most covetable haute couture. Ahead of next month’s sale in Paris, auctioneer Kerry Taylor shares her highlights WORDS: LARA BRUNT
o connoisseurs of vintage haute couture, Didier Ludot needs no introduction. For more than 40 years, the fashion antiquarian has bought and sold exquisite pieces by the worldâ€™s top designers, owned by some of the worldâ€™s most stylish women, at his legendary Palais-Royal gallery in the 1st arrondissement of Paris. Next month, Sothebyâ€™s Paris, in association with Kerry Taylor Auctions, will auction 150 garments and accessories from his private collection, including pieces by Paul Poiret, Madame GrĂ¨s, Christian Dior, Cristobal Balenciaga, Azzedine AlaĂŻa, Jean-Charles de Castelbajac, Yohji Yamamoto, John Galliano and Comme des GarĂ§ons. â€œItâ€™s an interesting collection because itâ€™s been put together by someone who deals in the subject,â€? says auctioneer Kerry Taylor. â€œSome people just collect and never sell anything, whereas Didier Ludot is one of the most famous dealers; heâ€™s been very well placed in his shop in Paris to source some of the most beautiful things from some of the most beautiful, wealthy French women over the years. Heâ€™s had the pick of quite a lot of special things. â€œAnd obviously he sells a lot of these things to his customers, so the pieces [in the auction] are a little bit special because heâ€™s wanted to hang on to them, rather than just sell them again. Heâ€™s really well-known for haute couture and red carpet dresses and I think WKDWWKLVVDOHUHĂ€HFWVKLVLQWHUHVWVZKLFKUDQJH from quite recent pieces by John Galliano to an early dress by Paul Poiret from 1924. Heâ€™s got very eclectic tastes,â€? she adds. The collection is a vibrant tribute to French haute couture and the time-honoured expertise of its craftspeople, including tailors, embroiderers, leatherworkers, feather merchants and lace makers. Ludot selected each piece for its technical skill, its beauty, the trademark style of the couturier who created it, or the elegance of the woman who wore it. The pieces, adds Taylor, â€œillustrate the breadth of his taste and his interest.â€? â€˜Thereâ€™s the wonderful haute couture that youâ€™d expect from Didier but thereâ€™s also unexpected things like a Jean-Charles de Castelbajac jacket that looks as though itâ€™s made from pasta; a lovely Yohji Yamamoto cage bodice; and a fabulous Thierry Mugler moulded green leather breast plate with chiffon skirt,â€? the auctioneer remarks. Highlights of the sale include Chanelâ€™s
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â€˜Ludotâ€™s had the pick of quite a lot of special thingsâ€™
sequinned â€œlittle black dressâ€? owned by actress Romy Schneider; the Duchess of Windsorâ€™s psychedelic â€˜60s dress; legendary muse Loulou de la Falaiseâ€™s Yves Saint Laurent safari jacket; American socialite Mona Bismarckâ€™s Balenciaga cape; the sculptural dresses AlaĂŻa created for model Bettina; an Ungaro minidress and coat worn by Catherine Deneuve; a dress made for Princess Caroline of Monaco by Karl Lagerfeld for Chanel in 1985; Barbara Huttonâ€™s Cartier jewel box â€“ and so the list goes on. â€œI think my favourite piece is a Balenciaga haute couture black wool suit, which Irving Penn also photographed in 1950. Itâ€™s got buttons that emphasis the shape and cut of the waist and hips â€“ very simple but very classical,â€? says Taylor. â€œAnother personal favourite is a Schiaparelli Circus Collection bodice and skirt, which has this wonderful print of rearing circus horses. Unfortunately, the lady who owned it cut and altered it so it has an estimate of â‚Ź3,000-5,000; if it hadnâ€™t been altered it would be more like â‚Ź50,000.â€? Taylor expects the July 8 auction in the French capital to attract a mix of international museums, vintage haute couture dealers and private collectors. â€œWhen the museums and those who wish to buy-towear are going for the same lot, thatâ€™s when you see spiralling prices,â€? she says. â€œI think whatâ€™s also interesting to note is that, although these are very collectable pieces, theyâ€™re also very wearable because Didier is unusual in the sense that he always looks for things that are not just beautiful, but can be worn because thatâ€™s the business heâ€™s in.â€? Private collectors tend to hail from America, France and England, she says. â€œI think thereâ€™s a huge resistance is places like the Middle East, China and Russia â€“ they just havenâ€™t quite got their heads around >YLQWDJH@\HWÂ´7D\ORUUHĂ€HFWVÂł,WKLQN people in the region may think of selling, [rather than buying]. I do have some [clients who are] Middle Eastern royalty and occasionally theyâ€™ll want to make room in their wardrobes and will sell things very discretely. In terms of a fashion museum, I can see a Middle Eastern museum being set up at some point.â€? If Ludot is the King of Vintage, then Taylor is undoubtedly the Queen. After joining Sothebyâ€™s in 1979, she rose rapidly through the
ranks to become the youngest auctioneer in the company’s history, aged just 21. After being appointed director and head of the Collector’s department in the early 1980s, Taylor re-established costume and textiles auctions at the New Bond Street saleroom and was responsible for QXPHURXVKLJKSUR¿OHVDOHV including the wardrobes of the Duke and Duchess of Windsor and Maria Callas. In 2003, Taylor set up her own business, which is widely recognised as the world’s leading auction house specialising in vintage fashion, ¿QHDQWLTXHFRVWXPHDQG textiles. Since then, she has auctioned garments belonging to some of the most fashionable women of the 20th century, such as Princess Diana, Audrey Hepburn, Elizabeth Taylor and Daphne Guinness, among others. And business is booming, she says. “For buy-to-wear [garments] it’s still very good value, but for the museum quality pieces the prices have escalated. I recently sold a jacket by Elsa Schiaparelli for £110,000. It was from her winter 1938 Zodiac collection – midnight blue silk velvet, covered in shooting stars, comets and signs of the zodiac, and embroidered by Lesage. In perfect condition, it was a thing of great beauty and something that lots of museums would want. You don’t normally get people spending that kind of money if they’re going to wear it,” she says. As for the collection she would most like to auction one day? “I’d like to get my hands on Kate Moss’s wardrobe,” she says without hesitation. “That would be the one.” The Didier Ludot Collection auction takes place on July 8 at Sotheby’s Paris.
1. Balenciaga – 1965 Evening dress in point d’esprit tulle by Brivet, entirely covered with appliqué pink feathers by Albert. Provenance: Francine Weisweiller. Estimate: €8,00012,000 2. Yamamoto – Winter 2006 Cage corset in black jersey. This model was worn at nearly every moment of the Winter 2006 show. Estimate: €1,5002,000 3. Christian Dior – Fall / Winter 1988-1989 Dé d’or Collection by Gianfranco Ferre for Dior Woolen tailleur with houndstooth motif and large gazer bow. Estimate: €2,0002,500 4. Chanel – Spring / Summer 1963 Short evening dress with black sequins Marescot. Provenance: Romy Schneider. Estimate: €4,0006,000 5. Alaïa – Summer 1992 Evening outfit in black cotton satin and white broderie anglaise. Provenance: Bettina. Estimate: €3,0004,000
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The wonder of Wartski As Royal jeweller Wartski celebrates 150 years, managing director Geoffrey Munn explains what makes the British firm so unique
hen the British Royal family requires a wedding band crafted from the Queenâ€™s supply of Welsh gold, thereâ€™s only one place they turn: Wartski. The family-run store, just off Bond Street in the heart of Mayfair, has served six generations of Royals, including Queen Mary, Queen Elizabeth II, and more recently, the Duchess of Cambridge. As Wartski celebrates its 150th anniversary, managing director Geoffrey Munn, who began working for Wartski in 1972, aged 19, has written a book detailing WKHIDVFLQDWLQJKLVWRU\RIWKHÂżUPWKDWVSHFLDOLVHVLQ goldsmithsâ€™ work, antique jewellery and the exquisite treasures of Carl FabergĂŠ. Munn likens the store to an archaeological site. â€œThereâ€™s no brush or trowel but we have no idea whatâ€™s coming next. The door can open and it can be a medieval jewel â€“ for instance, weâ€™ve got a little 15th century gold heart that was discovered by a man with a metal detector. Like archaeologists, our job is to put the context back onto these objects,â€? he says. Wartski made headlines last year when it was instrumental in identifying the long lost Third Imperial FabergĂŠ Egg (pictured). Made for the Russian Royal family in 1887, the egg was seized by the Bolsheviks after the 1917 Russian Revolution, along with the other 49 intricate eggs owned by the Tsars, and mysteriously made its way to the United States. An antiques dealer bought the gold egg, studded with diamonds and sapphires, at a bric-a-brac market for $14,000 with the intention of selling it for scrap. After VWUXJJOLQJWRÂżQGDEX\HUD*RRJOHVHDUFKOHGKLPWR :DUWVNL7KHÂżUPSXUFKDVHGWKHPDVWHUSLHFHDQGVROG it to a collector for a reported ÂŁ20 million. â€œIt was a sensational discovery,â€? says Munn. The Wartski family founded the business in North :DOHVLQDIWHUĂ€HHLQJDQWL6HPLWLVPLQ3RODQG Thanks to a chance meeting with a local landowner, WKHIDPRXVO\H[WUDYDJDQWÂżIWK0DUTXHVVRI$QJOHVH\ 0RUULV:DUWVNLZDVDEOHWRRSHQDVWRUHÂżUVWLQ%DQJRU followed by Llandudno.
7KHÂżUPĂ€RXULVKHGRSHQLQJDVWRUHLQ/RQGRQLQ 1913, and the rise of Soviet Russia in the 1920s provided a unique opportunity. â€œIt was simply a business decision for Morris Wartskiâ€™s son-in-law, Emanuel Snowman, to buy the treasures that the Revolutionary government ZHUHVHOOLQJZKLFKKDGEHHQFRQÂżVFDWHGIURPWKH church, aristocrats and Royal family,â€? says Munn. The treasures included pieces by Carl FabergĂŠ, considered out of fashion at the time thanks to the clean lines of Art Deco. â€œThey were valuable of course, as they were made of gold and enamel, and they were still beautiful, but they were available at a fraction of the cost,â€? explains Munn. One of the most fascinating chapters in the book is devoted to Wartskiâ€™s famous customers, such as John F Kennedy, Margot Fonteyn, Elizabeth Taylor, Barbara
â€˜Like archaeologists, our job is to put the context back onto these objectsâ€™ Hutton, Frank Sinatra and Elton John. â€œOur customers and collectors have varied enormously over the years,â€? he says, â€œfollowing the peaks and troughs in the graph of international wealth.â€? They include customers from the Middle East who â€œare different in that they are more eclectic in their taste. In Qatar, for example, where museums are being made by the Al Thanis, they are buying all manner of good things, whereas perhaps other countries are more focussed on their own heritage. One of the great compliments to the Middle East is that their connoisseurship is all embracing,â€? Munn says. 'HVSLWHÂżHUFHFRPSHWLWLRQIURPWKHPDMRUDXFWLRQ houses, Wartski has survived because of its narrow focus and willingness to pass on its knowledge to employees outside the family, he believes. â€œI think the great thing is that nothing is really static â€“ except for Wartski and the Royal family,â€? he adds with a laugh. Wartski: The First 150 Years, published by ACC, is available now from accdistribution.com
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FRENCH F Âˇ A ÂˇN Âˇ C ÂˇY
AIR chats to Victoire de Castellane about her fantastical High Jewellery collection, available for a limited time in Dubai Words: LARA BRUNT
ith her high cheekbones, poker straight hair and polished Parisian style, Victoire de Castellane FXWVDVWULNLQJÂżJXUH DPLGWKHUHÂżQHG surroundings of One&Only, The Palm Dubai. Yet, surprisingly, the statuesque designer ÂąFUHDWLYHGLUHFWRURI'LRUÂżQHMHZHOOHU\ since 1998 and known for her big, bold and brilliantly coloured creations â€“ admits that she often forgoes statement jewels. â€œI think that rings and bracelets are the easiest things to look at on yourself and WKHPRVWĂ€DWWHULQJWRDZRPDQÂśVJHVWXUHÂ´ she muses. â€œBut I also like to not wear any jewellery, especially when Iâ€™m working in RUGHUWRQRWEHLQĂ€XHQFHGE\DQ\H[LVWLQJ pieces, colours, shapes or memories.â€? The designer is in town to discuss her eponymous, one-of-a-kind haute joaillerie pieces, which can be viewed by private
appointment only at Harvey Nichols Dubai and Bloomingdaleâ€™s Dubai until the end of the month. Made up of pieces from her two collections â€“ Fleurs dâ€™ExcĂ¨s and animalvegetablemineral â€“ the jewelled, lacquered and enameled rings, bracelets and necklaces are intended both as personal adornment and stunning objets dâ€™art, each coming with a pedestal to display the piece when not being worn. â€œMy jewels are propositions,â€? she says, â€œspeaking about concept and form as opposed to objective value. They become sculpture.â€? Inspired by sources as diverse as the natural world and the synthetic wonders of Technicolor; the Brothers Grimm and Walt Disney; Hollywood screen idols and Japanese manga characters; pop culture and the darkest depths of the subconscious, de Castellane PL[HVSUHFLRXVDQGVHPLSUHFLRXVVWRQHVÂżQH and futuristic-looking materials (think gold masked in bubblegum pink lacquer). â€œI like all
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coloured stones but my favourite is the opal,â€? VKHVD\VÂł%HFDXVHRILWVÂżUHVLWVHHPVWREH alive. Like Monetâ€™s Water Lilies; it possesses every colour as if a genie was living inside it.â€? Letting the genie out of the bottle is something she clearly relishes for her own line. â€œFor Dior, I develop the various house codes, which I use as a starting point to produce the themes for new collections. For my personal work, I enjoy the freedom to exclusively draw LQVSLUDWLRQIURPP\RZQÂżHOGRILQWHUHVWV VXFKDVDUWH[KLELWLRQVÂżOPVSKRWRJUDSK\ the street, the female world, love, sexuality, psychoanalysis and life itselfâ€Śâ€? she says. The jewels on show include four pieces never before seen in the Middle East, such as the Amanita Satana Diabolus necklace (pictured on page 43) from the Fleurs dâ€™ExcĂ¨s collection, a lacquered silver, white and yellow gold creation featuring diamonds, opals, sapphires, garnets and spinels, and the Opiom Velourosa Purpra necklace (opposite) of silver, diamonds and rubies. Meanwhile, the Lunae Magic Lumen ring, crafted from white and pink gold, diamonds and coloured lacquer, makes its worldwide debut. Each piece is fully formed in the designerâ€™s mind before she commits it to paper. â€œItâ€™s like Ă€DVKHVZKHQ,KDYHDQLGHDÂ´VKHH[SODLQV Âł7KHSLHFHLVDOUHDG\GHÂżQHGLQP\KHDG, see the stones, the volume, how the woman is going to wear it. And I write it down on a Post-it. Then I usually create a wax model and directly brief the workshops. Itâ€™s an exchange between them and me. I show them exactly what I want until the end. It usually takes EHWZHHQWRPRQWKVWRÂżQLVKHDFKSLHFHÂ´ Born into one of the most illustrious families in France â€“ her aristocratic family tree includes princes, bishops and generals â€“ de Castellane is pure fashion royalty. As a teenager during the early â€˜80s, her uncle, designer Gilles Dufour â€“ Karl Lagerfeldâ€™s
right-hand man for decades â€“ often took her out clubbing to famed Parisian haunts such as Le Palace. It was during this time that she ÂżUVWH[SHULPHQWHGZLWKGUHVVLQJXSLQSOD\IXO Ă€DPER\DQWDQGXOWUDIHPLQLQHVW\OHVRIWHQ sporting Mickey Mouse ears and wearing lingerie as outerwear. After joining Chanel in 1984 as a studio assistant, Lagerfeld soon asked her to oversee the development of costume jewellery designs. Self-taught, for the next 14 years de Castellane created bold pieces with playful cartoon and pop references, before moving to Dior in 1998. Since then, sheâ€™s been celebrated for pushing WKHERXQGDULHVRIÂżQHMHZHOOHU\ When it comes to designers she admires, de Castellane cites Lalique â€œfor his love and respect for women and Boivin and Belperron for their creative freedom.â€? Her love of extravagant jewels, meanwhile, stems from her glamorous grandmother, Sylvia Hennessy. Âł6KHZRUHMHZHOVPDWFKLQJKHURXWÂżWVDQG could change them up to three times a day,â€? de Castellane recalls. â€œShe was impeccable, lipstick and nail polish forever on her hands and feet. She was a true vision of loveliness and she was fascinating. She wasnâ€™t a grandmother in the classic sense of the term. She was a bit like a Hollywood heroine. â€œShe was a close friend of Barbara Hutton, the American millionairess married to Cary Grant, who wore emerald tiaras during the day and lived in a palace in Tangiers. She lived in a totally eccentric world peopled with a mix of writers, Hollywood stars and fashion designers. This was the real jet set. Through the eyes of a child, her stones, mounted in a very classic manner, seemed enormous to me,â€? she says. Without doubt, de Castellaneâ€™s dazzling pieces inspire similar wide-eyed wonder. Available at Harvey Nichols Dubai and Bloomingdaleâ€™s Dubai until June 30. - 44 -
â€˜The piece is already defined in my head. I see the stones, the volume, how the woman is going to wear itâ€™
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TARIQ MALIK If you bought a Rolex Daytona with a Paul Newman dial in 1970, looked well after it over the years and are still in possession of it today, then you might have a good chance of making a killing at auction.
few highlights since 2013 include the rare 1942 Rolex SplitChronograph (of which only 12 were ever made) which sold for $1.17 Million at Christies or the 1971 Rolex Daytona Ref.6263 Albino that belonged to Eric Clapton and sold for over $1.5 Million at Christieâ€™s in Geneva. Results from the Phillips Day Date Auction also shout for a new world record, a Day Date for over $500,000. Now if that applied to all Rolex watches, we would not be that excited about it. The secret is to know what makes these watches so special: when and how does a Rolex qualify as collectible and become expensive, sought after and, last but not least, an investment? At Momentum we take a personal interest in this topic, and weâ€™d like to share a few insights. The value of rare vintage timepieces has continued to grow, despite the worldwide economic pressures. Rolex is one of the most consistent brands when it comes to the having the power to maintain its value, and show good return, as far as investments go. The brand has established itself through innovation DQGLQWURGXFWLRQRIÂľZRUOGÂżUVWVÂś VXFKDVWKHÂżUVWZDWHUSURRIZDWFK WKHÂżUVWZDWFKZLWKDGD\DQGGDWH
window on the dial and many more. Collectors and connoisseurs appreciate the milestones the company has reached over the years and, most importantly, there are stories behind the watches, important ones at that. Each model has its own background and was produced with a special need in the market, paired with a consistently high quality throughout the years since the 1920s. The most important factors LQĂ€XHQFLQJWKHYDOXH True Vintage: The question here is, what is vintage? It is not only the era (1920s-1990s) which makes a watch vintage, it is the story behind it, the collectability and rareness. Even slightly newer watches qualify as vintage if they are â€˜importantâ€™ watches, if they are iconic. History: One of the most important aspects affecting selling price is the unique history of the watch. If someone famous owned it, gave it as a gift or wore it on a movie set or a race track, you can be sure that the value will go up. Rolex has featured in the lives of many famous personalities, and in plenty of newsworthy events â€“ this was part of their marketing strategy all along. A Rolex with historical provenance will be among the most important. Condition: Often Rolex produced timepieces using only the highest quality of materials, including gold, silver and diamonds, but this isnâ€™t always the case. In fact, some of the priciest Rolex models ever sold were made from steel. Itâ€™s vital to have a watch in good and, most importantly, original condition. The replacement of original components affects the value and collectability immensely. Paperwork: Original documents and packaging, including - 47 -
FHUWLÂżFDWLRQDUHVXUHWRLQFUHDVH the value of the watch tremendously. Look after these as carefully as the timepiece itself. Rarity: The fewer watches released to the market originally, the more valuable the watch tends to become after time. Some models were made in very limited numbers, making them all the more rare and valuable to the collector. Complications: The more intricate the design, and the more complications, the pricier the watch â€“ generally speaking. Rolex Split Seconds Chronographs and Perpetual Calendars are the rarest, hence skyrocket the value. In conclusion, it is wise to be educated on the subject when purchasing a vintage Rolex as an investment. Not all Rolex models will turn out to be equally lucrative deals but most of them will retain their value at best. Itâ€™s always wise to
get some expert advice on the topic and to spend time researching before you purchase. But then, of course, buying a watch is often more of an emotional thing than an intellectual one â€“why not get the best of both worlds? Tariq Malik is co-founder of the UAEâ€™s only vintage watch boutique, Momentum. momentum-dubai.com
WIRE H. Moser and Cie have battled through adversity, and are leading the charge for ultrarare Swiss watches Words: RICHARD JENKINS
tâ€™s an ambush. Iâ€™ve been sent to interview one watchmaker, and Iâ€™ve had two sprung on me without warning. Edouard Meylan is the suave and urbane CEO of H. Moser & Cie, one of Switzerlandâ€™s most valuable H[SRUWHUVRIÂżQHWLPHSLHFHVDQGWKH man Iâ€™m expecting to meet. GeorgesHenri Meylan is his imposing father and chairman of the group, and his presence is something of a surprise. A welcome one, but a surprise nonetheless. Iâ€™ve come to the headquarters of Seddiqi and Sons, the Middle Eastâ€™s largest distributor of Swiss watch brands, to talk with Edouard (and Georges-Henri) about WKHGLIÂżFXOW\HDUWKHFRPSDQ\KDV faced, and the infamous open letter Edouard wrote to the president of the Swiss National Bank. While Moser doesnâ€™t have an HQRUPRXVSURÂżOHLQWKH0LGGOH (DVWWKHÂżUPLVFHUWDLQO\QRWQHZ to the area. Georges-Henri says: â€œIâ€™ve been in this region for a long WLPH,ÂżUVWFDPHKHUHZKHQLWZDV really a village. I was here doing after-service. There were only a few - 48 -
buildings, a lot of sand, at the end of the ‘70s and the beginning of the ‘80s. It was completely different. It’s grown up and gone through some big changes.” Edouard interjects: “We’ve been for many years kind of a niche brand. That has changed recently. People see us less as the biggest of the niche brands, and more as the smallest of the established brands. It gives us more visibility, more traction. We’re quite well established in Asia and Europe, and there is a lot of potential for growth in the Middle East. We believe the market is ready for Moser, and that Moser is ready for this market. We see more and more people going back to watches that are more classic, less bling. Maybe people want to show off a little less, and at the same time we have become a little bit less understated, fresher, sexier, sometimes a little bit
agreement with its terms. Georges-Henri exhales, and says: “Sitting here today, it was more of a positive than a negative for us. Edouard’s letter made so much noise for the brand, it was perfect. It’s millions in advertising that we saved. But the day they announced that news, we were very upset. Our work from the last two years was destroyed, orders were cancelled. But six months on, for us, it was a good decision because of that letter. It was big news on Bloomberg and CNN, asking us about our business. Suddenly we were in front of the scene and it brought us a lot of visibility.” It’s clear that Edouard’s passion for watchmaking was poured into that letter. He says: “I was really upset. My father said, ‘I was here in the ‘70s when the digital revolution came. Let’s just wait and see where it
‘We believe the market is ready for Moser, and that Moser is ready for this market. We see more and more people going back to watches that are more classic, less bling’ bigger. Not ostentatious, but it’s kind of the two opposite ends meeting in the middle, so we think there is a lot of potential.” Expansion in the Middle East is a challenge borne out of necessity. In January 2015, the Swiss National Bank announced plans to remove the cap of 1.20 Swiss Francs per Euro, plunging local business into disarray. Stocks plunged, and the export-heavy Swiss economy (of which timepieces make up 10 per cent) reeled. It destroyed Moser’s plans to expand their facilities, and almost sent the company under. Edouard immediately penned an open letter to the President of the SNB, Thomas Jordan. The letter spoke honestly and humorously about the challenges this new ruling would create for H. Moser & Cie, and swiftly went viral, with the watchmaking world in strong - 49 -
goes.’ But I was really upset. I was on the train and listening to the radio, and it’s always the same people you hear from the big watch brands using strong words, saying they were upset. And I was thinking, ‘You JX\VDUHJRQQDORVHSUR¿WV<RX¶UH not gonna die from this.’ For brands like ours, we are talking survival. I wanted people to hear what the situation meant to us. I said ‘Ok, I could move to Germany.’ Of course I don’t want to, we’re Swiss made and have history here, but I was really upset. And a lot of people asked me if I did the letter for marketing reasons, but for me it was a scream from the heart.” That scream may have saved the company, and watch collectors should be grateful. As Edouard Meylan said in his letter, H. Moser watches were at risk of becoming much more rare than planned.
A CLASS OF ITS
OWN The Mercedes-Maybach S-Class melds the perfection of the MercedesBenz S-Class with the exclusivity of Maybach. The S600 provides a level of executive luxury unparalleled anywhere else in the market
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t an imposing 5453mm long and with a wheelbase of 3365mm, the Ă€DJVKLSRIWKH Mercedes-Benz range with the exclusive Maybach marque is a full 20cm larger in both dimensions than the next-largest Mercedes S-Class saloon. Its exterior design combines effortless, stylish superiority with trend-setting exclusivity. In keeping with modern tastes for subtlety, there are few hints about the specialness of this
car. Discreet additional vertical chrome trim appears, as does the famous Maybach logo on the tail end. Inside the cockpit, passengers are enveloped in lounge style, modern luxury. A clear architecture, created ZLWKWKHPRVWUHÂżQHGPDWHULDOV Ă€RZVIURPWKHIURQWWRWKHUHDURI the car, swathed in soft white nappa leather. For those that wish to drive the car themselves, rather than be chauffeured, the experience is one of intense pleasure. Mercedesâ€™ classleading entertainment console and - 52 -
executive seats make journeys of any distance completely gratifying. Itâ€™s in the rear of the vehicle where RZQHUVZLOOWUXO\IHHOWKHEHQHÂżWV of the extended wheelbase. Head clearance has also been raised, and the executive seats on the left and right welcome their owners with warmth and softness. Each element of the seat can be fully adjusted, with an extendable footrest akin to WKDWIRXQGLQDOX[XU\MHWWKHÂżQDO Ă€RXULVKRIFRPIRUW&RQWLQXLQJWKH theme, like an aircraft seat, the centre console is available with two
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The Mercedes-Maybach S-Class cannot be categorised in terms of other vehicles in its class, as it creates a class for itself
adjustable tables which can easily be folded in or out with one hand. The table surfaces have leather inserts to provide a comfortable writing or dining surface. Passengers can also enjoy a drive in style with the two silver plated glasses that lock into place, or use the innovative thermo-cup holders that use Peltier technology to either cool or warm drinks. Furthermore, passengers in the rear will notice that the S-Class is the world’s quietest production saloon vehicle. Alongside Mercedes AMG, Mercedes-Maybach is the second lavish sub-brand to reach the
market, designed to provide Mercedes-Benz vehicles in evermore exclusive forms. It would seem that some of AMG’s expertise in engines has found its way into the S600’s V12 biturbo engine, as well. With an output of 530hp, it completes the sprint from 0-100kmh in exactly 5 seconds, and has a maximum torque of 830Nm – an impressive amount of power. The Mercedes-Maybach S-Class cannot be categorised in terms of other vehicles in its class, as it stands alone and creates a class for itself. The benchmark for luxury has been raised to a phenomenal level.
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â€˜Mercedes-Maybach is the second lavish sub-brand to reach the market, designed to provide Mercedes-Benz vehicles in ever-more exclusive formsâ€™
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DINOMITE Words: Richard Jenkins/ The Interview People
With one blockbuster opening this month, 2014â€™s two biggest films behind him, and his name in the mix for some of the highest-profile roles in the world, itâ€™s no wonder Chris Pratt is feeling good.
ife could hardly get better for Chris Pratt. In February 2014, The Lego Movie (in which he voiced the lead character, Emmett) was released. It swiftly became one of the most successful ÂżOPVRIWKH\HDUDQGJURVVHGKDOI a billion dollars worldwide. Pretty good going for a relatively unknown actor. Then, six months later, Guardians of the Galaxy hit cinemas. Analysts were wary: although it was a Marvel movie, hot on the heels of The Avengers Assemble, this was a new property. Its characters werenâ€™t Iron Men, or Hulks, or Captain Americas. They were a talking tree and an anthropomorphic raccoon, led by one human â€“ Pratt. But
Guardians of the Galaxy, with its zippy dialogue, space-hopping action and charismatic new leading man took in three quarters of a billion dollars across the globe. Cinema had a new hero - and then things got even better: Pratt landed a role that Bradley Cooper, Eddie Redmayne and Aaron Paul couldnâ€™t â€“ the lead in the Jurassic Park sequel, Jurassic World, due to hit theatres this summer. â€œIâ€™m so happy to be part of this ÂżOPÂ´3UDWWVD\VÂł7KHRULJLQDO Jurassic Park was one of the most LQĂ€XHQWLDOPRYLHVRIP\FKLOGKRRG and itâ€™s so surreal that Iâ€™m getting to EHSDUWRIWKLVKLVWRULFIUDQFKLVHÂ´ Success has been a long time coming for the 35-year-old Minnesotan. At the age of 19, he - 59 -
was working as a waiter at a Bubba Gump shrimp restaurant in Hawaii, and living in a tent popped up in the cark park. He took small roles in a variety of TV shows, and auditioned unsuccessfully for parts in Star Trek and Avatar before landing the character that would make his name: Andy Dwyer, the lovable idiot in Amy Poehlerâ€™s smash US sitcom Parks and Recreation. Dwyer was a roly-poly funnyman, a slacker and a goof, and a comfortable gig. For Pratt to kickstart his career, he needed to change his mindset. He says: â€œI had to change my whole way of thinking. I had gotten into a frame of mind on Parks and Recreation where I saw my character as someone who would just let himself go and party. I had gotten used to
â€˜Iâ€™ve gone from being a guy living out of a van in Hawaii with not a cent to my name to becoming a movie star with a beautiful wife and childâ€™ the idea of making a living as an actor by playing the fat friend who makes you laugh. That works for some roles but you begin to realise how many parts you will never be able to get because youâ€™re out of shape. But at some point I saw that if I wanted to have a serious career and play serious characters that I needed to get into shape and look after my body. Iâ€™ve had to work very hard and maintain a good training regimen for the last year and a half and I have no intention of ever letting myself slide again. Iâ€™m eating good food, Iâ€™ve cut back on drinking (alcohol), and I have a different mindset now. Itâ€™s a matter of having discipline and knowing how much better you feel and the impression you create when youâ€™re SK\VLFDOO\ÂżW,WZRXOGDOVREHKHOO to have to lose that weight again. I never want to go back to being the IDWJX\Â´ The gym beckoned, and Pratt heeded the call. Within a year, KHZDVLQÂżJKWLQJVKDSHÂąDQG Instagramming a picture of his newly buff body that caught the attention of the Guardians of the Galaxy producers, who were
looking for the ideal candidate to play Peter Quill, AKA Starlord. The movie was a runaway success, and Pratt stepped through the door into the big time. He says: â€œItâ€™s been beyond anything I had a reasonable right to dream about. Iâ€™ve gone from being a guy living out of a van in Hawaii with not a cent to my name and no real idea about what I was going to do with my life to becoming a movie star with a beautiful wife DQGFKLOG,ÂśPDYHU\KDSS\JX\Â´ Most of Prattâ€™s interviewers agree on at least one thing: success hasnâ€™t changed him. Not yet, anyway. And itâ€™s something the actor has considered too. He says, thoughtfully: â€œI sometimes worry that it might make me be less open and enthusiastic when it comes to meeting people or doing interviews. I donâ€™t want to change who I am to present a different kind of image of myself. Even though things are going very well now I donâ€™t want to become the kind of guy who takes himself so seriously simply because heâ€™s suddenly found some success. I want to be able to enjoy the kinds of opportunities that have opened up to me lately and take that as far as I - 60 -
can. I love being able to reach a big DXGLHQFHZLWKDÂżOPOLNH*XDUGLDQV DQGZLWK-XUDVVLF:RUOGÂ´ The future is bright for Pratt. Heâ€™s shown a different range with his character in Jurassic World, Owen Grady, who is, in Prattâ€™s words: â€œIn some ways a cross between like Sam Neillâ€™s (Dr. Grant) and Jeff Goldblumâ€™s (Dr. Malcolm) characters, but I saw Owen as more RID-RKQ:D\QHW\SHÂżJXUH+HÂśV pretty no-nonsense, and although thereâ€™s some humorous moments, thereâ€™s not much to laugh about when people are getting eaten and I KDYHWRVDYHWKRXVDQGVRIOLYHVÂ´ Prattâ€™s also hotly tipped to step into Indiana Jonesâ€™ fedora in the forthcoming franchise reboot, giving him the chance to live out a million more fantasies. But for the down-toHDUWKDFWRUDOOKLVÂżOPZRUNSDOHV in comparison to spending time with his new son. He sweetly says: â€œIâ€™ve done all kinds of cool stuff as an actor. Iâ€™ve gotten to jump out of helicopters and do daring stunts and play baseball in a professional stadium, but none of them mean anything compared to being VRPHERG\ÂśVGDGG\Â´
THE DAWN OF THE
BLOCKBUSTER Jaws, Steven Spielbergâ€™s seminal summer film, first roared onto screens 40 years ago, and was the original event movie. But its production was not a straightforward one. WORDS: RICHARD JENKINS
Roy Scheider on the set of Jaws
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lawsâ€?. Thatâ€™s what the crew of Steven Spielbergâ€™s 1975 creature feature nicknamed the movie they were working on. Its headline attraction, a 14-foot long mechanical shark, couldnâ€™t swim. And that was just one of a hundred problems facing the ÂżOPPDNHUVRQDJUXHOOLQJVKRRWWKDWVXPPHU of 1974. The book on which Spielbergâ€™s most famous movie was based was itself only released in 1973. Producers Richard D. Zanuck and David Brown had gotten access to a pre-release copy, and immediately saw its potential on screen. The book was an instant success on publication, and Universal gave the green light to the movie adaptation. Steven Spielberg, just 26 years old, was signed up to direct, and Peter Benchley â€“ the author of the original book â€“ turned in his screenplay ready to start ÂżOPLQJLQ0D\LQ0DUWKDÂśV9LQH\DUG 0DVVDFKXVHWWV7KLVZDVWKHODVWWLPHDQ\ part of the shoot could be described as straightforward. Immediately, Spielberg had a problem
â€˜Amendments were made right up until the minute of filmingâ€™ with the script. Peter Benchleyâ€™s novel featured several adult elements that Spielberg wanted excised, like an affair between PDULQHELRORJLVW0DWW+RRSHUDQGWKHWRZQÂśV SROLFHFKLHI0DUWLQ%URG\DQGDVOLJKWO\ undercooked story whereby mobsters forced the townâ€™s mayor to keep the beaches open even as the ocean was terrorised by the great white. Spielberg wanted to get back to an HWKRVPRUHLQĂ€XHQFHGE\7KH2OG0DQDQGWKH Sea: men versus shark, as simple as possible, and with a lighter tone than Benchley had provided. Immediately, a series of rewrites took place, with Benchley eventually ceding the script to a team of screenwriters including 79FRPHG\ZULWHU&DUO*RWWOLHE7KHVFULSW LWVHOIZRXOGQHYHUWUXO\EHÂżQLVKHGZLWKQRWHV and amendments being made right up until WKHPLQXWHRIÂżOPLQJÂąDQGVRPHWLPHVHYHQ EH\RQG7KHÂżOPÂśVPRVWLFRQLFOLQHÂąÂł<RXÂśUH gonna need a bigger boatâ€? â€“ was ad-libbed E\5R\6FKHLGHU(YHQFDVWLQJWKHÂżOPZDV problematic. Roy Scheider was in place early as police chief Brody, but Robert Shaw and - 64 -
American Director Steven Spielberg on the set of his movie, Jaws
Roy Scheider and Robert Shaw on the set of Jaws
Richard Dreyfuss both initially rejected the chances to play grizzly Quint and enthusiastic 0DWW+RRSHUUHVSHFWLYHO\,QWUXWKWKHGXR never saw eye-to-eye in real life either, their animosity towards each other plainly visible on screen. It wasnâ€™t just the human cast that Spielberg VWUXJJOHGWRPDQDJHHLWKHU2ULJLQDOO\WKH director had wanted the shark to be the star of WKHSLFWXUH+RZHYHUWKHQDwYHGLUHFWRUGLGQÂśW UHFNRQZLWKWKHGLIÂżFXOWLHVRIÂżOPLQJDWVHD 3URGXFHU'DYLG%URZQVDLGLQ7KH0DNLQJRI -DZVÂł,UHPHPEHUEHLQJRQVHWIRUWKHÂżUVW shark test, and it simply sank. We thought our careers in motion pictures had gone with it. Everything that could go wrong with the shark went wrong.â€? The salt water eroded the delicate internal operations of the shark, which had been hastily put together in just six months. It was meant to be waterproof, with jaws that opened and closed on demand, and of course look totally realistic. And on dry land, the shark (which Spielberg nicknamed %UXFHDIWHUKLVODZ\HU ZRUNHGMXVWÂżQH,WZDV only when Bruce was submerged in water that he steadfastly refused to operate correctly, DQGRQRFFDVLRQHYHQĂ€RWDWLRQSURYHGWRR much for him â€“ sinking like a stone instead of remaining level with the surface of the water. $VDÂżQDOLQVXOWWKHPHFKDQLFDOVKDUNZDVD mere 14 feet in length, and in order to make it appear 25 feet long, as per the story, Spielberg used little people in underwater scenes to distort the perspective of its size. - 65 -
Forced to improvise further methods of dealing with his temperamental star, Spielberg struck on the idea that would turn Jaws from a run-of-the-mill horror movie into a suspenseÂżOOHGFODVVLF+HZRXOGQÂśWVKRZLW7KH mechanical shark isnâ€™t shown in full until deep LQWRWKHVHFRQGKDOIRIWKHÂżOPZKHQ+RRSHU Quint and Brody are out at sea trying to hunt it down. This teasing of the beast kept audiences on the very edge of their seats, and when the VKDUNZDVÂżQDOO\UHYHDOHGÂąLQWKHIHZVKRWV Spielberg was able to take â€“ the effect was extraordinary. Photography on Jaws was supposed to take 55 days, long enough for a shoot at sea. It ÂżQDOO\ZUDSSHGDIWHUKDYLQJORQJVLQFH raced beyond its $3.5 million budget. In the ÂżQDOZHHNVRIWKHVKRRW6SLHOEHUJKDGWRMXJJOH a mutinous crew, openly hostile actors and of course that infuriating mechanical shark. Âł+DGZHUHDGWKHVFULSWWZLFHLQP\RSLQLRQ ZHQHYHUZRXOGKDYHPDGH-DZVÂ´UHĂ€HFWHG %URZQÂł%HFDXVHDQ\ERG\ZLWKDPRGLFXP of production knowledge would know there was no way to get a shark to leap onto the stern of a boat and swallow a man.â€? But, in a once-in-a-lifetime twist of fate, all these seemingly bad ingredients came together to produce something perfect: a tense, tight and FUHDWLYHÂżOPWKDWSDYHGWKHZD\IRU\HDUVRI summer blockbusters to come (traditionally, VWXGLRVVDZVXPPHUWLPHÂżOPVDVDGHDGWLPH WRUHOHDVHÂżOPV -DZVLVVWLOONHHSLQJSHRSOH out of the water to this day.
HOLD ME, THRILL ME, KISS ME – KILL ME Alfred Hitchcock set the template for suspense in cinema – and broke plenty of taboos along the way. On the 55th anniversary of his most talked-about film, Psycho, AIR examines the man’s legacy
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inema today doesnâ€™t have to play by any rules. There are examples too numerous to mention of gratuitous scenes of violence, sex and substance abuse, that have served to thoroughly desensitise YLHZHUVRIPRGHUQÂżOPV,Q things were different â€“ and one man pushed the envelope more than anyone. Alfred Hitchcock was an auteur, a genius and an unrivalled showman â€“ and he knew how to push the general publicâ€™s buttons, QHYHUPRUHWKDQLQKLVGDULQJ classic, Psycho, which celebrates its 55th anniversary this month. Born as the centuries changed, RQ$XJXVWLQ/H\WRQVWRQH England, Alfred Hitchcock grew up in lower middle class surroundings with two siblings. His comfortable home, however, did not mask the
discomfort he felt within himself. Hitchcock often described a lonely and sheltered childhood, exacerbated by his obesity. An anecdote about his childhood UHYHDOVWKDWZKHQKHZDVÂżYHKH PLVEHKDYHGDVÂżYH\HDUROGVDUH wont to do. His father, a strict Roman Catholic, sent the boy to the local police station with a note requesting that the constabulary ORFNKLPDZD\IRUÂżYHPLQXWHVDV a punishment for behaving badly. This instilled a lifelong fear of the police, and sowed the seeds of what would become recurring motifs LQKLVÂżOPVSDUDQRLDZURQJIXO accusations and draconian authority ÂżJXUHV7RQ\/HH0RUDOLVWKHDXWKRU RIWKUHHERRNVRQ$OIUHG+LWFKFRFN 7KH0DNLQJRI+LWFKFRFNÂśV7KH %LUGV+LWFKFRFNDQGWKH0DNLQJ RI0DUQLHDQG$OIUHG+LWFKFRFNÂśV 0RYLH0DNLQJ0DVWHUFODVV+H WHOOV$,5Âł+LWFKFRFNZDVDEOHWR - 67 -
use all his phobias, such as the law, domineering mothers, and DEVHQWIDWKHUÂżJXUHVLQKLVDUWDQG ÂżOPV0DQ\RIWKHVXEMHFWPDWWHUV in Hitchcockâ€™s movies include the wrongfully accused man, running away from the police and interfering PRWKHUV+LVPRVWSHUVRQDOÂżOPV VXFKDV9HUWLJRDQG0DUQLHUHĂ€HFW his innermost feelings, such as illusory beauty, unrequited love and traumatic childhood.â€? +LWFKFRFNÂśVORYHRIÂżOPEHJDQ DWWKHDJHRI$IWHUOHDYLQJ school and beginning working for his fatherâ€™s business, the young man would spend as much time as possible in the cinema, devouring ÂżOPIURPDURXQGWKHZRUOG,Q KHJRWKLVÂżUVWMRELQWKHÂżOP LQGXVWU\DVDGUDIWVPDQIRUDÂżOP studio. His prodigious knowledge of the medium saw him quickly work his way up to scriptwriter, then art director, and then assistant director,
EHIRUHKLVGHEXWIHDWXUHÂżOPLQ 7KH3OHDVXUH*DUGHQZDVD modest success, and although it was something of a screwball comedy, also featured several elements of crime and drama that would go on to become Hitchcock hallmarks. 7KHĂ€HGJOLQJGLUHFWRUÂśVUHSXWDWLRQ JUHZZLWKKLWVOLNH7KH0DQ:KR .QHZ7RR0XFKLQ7KH 6WHSVLQDQG7KH/DG\ 9DQLVKHVLQ+LWFKFRFNÂśVODVW ÂżOPPDGHLQWKH8QLWHG.LQJGRP,Q WKHQRZHVWDEOLVKHGGLUHFWRU PRYHGWRWKH86$DQGLWÂśVKHUH his career truly took off. Despite a solid reputation at home, Hitchcock knew he had to produce something special to immediately announce KLPVHOIWRKLVQHZ86DXGLHQFH7KDW something was Rebecca, a starring YHKLFOHIRU/DXUHQFH2OLYLHUDQG Joan Fontaine, which was a huge success and earned its director a %HVW3LFWXUH$FDGHP\$ZDUG,WZDV DOVRWKHÂżUVWVWRU\WKDW+LWFKFRFN DGDSWHGIURPD'DSKQH'X0DXULHU QRYHODQDUHDKHZRXOGUHYLVLWZLWK The Birds over a decade later. 2YHUWKHQH[WWZHQW\\HDUV Hitchcock would cement his place as RQHRIWKHDOOWLPHJUHDWVRIFLQHPD 6XFFHVVIROORZHGVXFFHVVWKURXJKRXW WKHVFXOPLQDWLQJLQDTXDUWHW RIÂżOPVWKDWZRXOGFKDQJHWKH KLVWRU\RIÂżOP5HDU:LQGRZ Vertigo and North by Northwest are all masterful examples of suspense, EXWLWZDVLQWKDWWKHPDQÂśV masterpiece was unveiled. 3V\FKRLV+LWFKFRFNÂśVEHVWNQRZQ ÂżOPEXWLWZDVQHDUO\QHYHUPDGH ,WVJHQHVLVFDPHZKHQWKHGLUHFWRUÂśV assistant, Peggy Robertson, read $QWKRQ\%ORFKÂśVQRYHORIWKH same name, and passed it on to Hitchcock. The novel was loosely based on the case of convicted :LVFRQVLQPXUGHUHU(G*HLQZKR had a psychopathic obsession with his mother. Paramountâ€™s executives were reluctant to fund this creepy new LGHD,PLWDWRUVDQGFRPSHWLWRUVKDG sprung up in the wake of Hitchcockâ€™s success, and the director had been forced to abort his two most recent
SURMHFWVIRUWKHVWXGLR+LWFKFRFN RIIHUHGWRÂżOP3V\FKRTXLFNO\DQG in black and white, using the crew from his Alfred Hitchcock Presents television series, but was again UHEXIIHG7KHVWXGLRÂżQDOO\DFFHSWHG an offer whereby Hitchcock would SHUVRQDOO\ÂżQDQFHWKHPRYLHDQG Paramount signed up solely to distribute it. 7KHÂżOPZDVLPSRUWDQWWR Hitchcock because he felt like he needed to differentiate himself from the spate of directors that
LQĂ€XHQWLDOZLWKZDVWKHSRZHURI suggestion to convey fear, such as the mass bird attack on the house in The Birds. You never actually see the birds attacking, as Hitchcock uses sound and the charactersâ€™ reactions. 7KLVLQVSLUHG5LGOH\6FRWWWRQHYHU quite show the creature in Alien, and 6WHSKHQ6SLHOEHUJWRRQO\UHYHDOWKH full sighting of the shark at the end of Jaws.â€? Hitchcockâ€™s, and Psychoâ€™s, LQĂ€XHQFHLVIHOWDVNHHQO\WRGD\DV \HDUVDJR0RUDOVD\VÂł$IWHU3V\FKR QRQHRI+LWFKFRFNÂśVÂżOPVZHUHDEOH WRPDWFKWKHÂżQDQFLDOVXFFHVVRU DSSHDOZLWKWKHDXGLHQFH7KHÂżOP tapped into the publicâ€™s fears and consciousness and foreshadowed a decade of riots, wars, public unrest and random assassinations.â€? $QGGHVSLWHKLVGLIÂżFXOW aped his style with something bold, childhood, and the unpleasant new and distinctive â€“ something VXEMHFWPDWWHURIPDQ\RIKLVÂżOPV that would push the boundaries Hitchcockâ€™s personal life had a happy of acceptability in cinema, but HQGLQJ0RUDOVD\VÂł+LWFKFRFNZDV ZLWKKLVGLVWLQFWLYHÂżQJHUSULQWV a family man, who loved his wife, DOORYHULW+RZPXFKGLGWKHÂżOP children and grandchildren. All LQĂ€XHQFHPRYLHPDNHUVRIWRGD\" WKHFROOHDJXHV,LQWHUYLHZHGKDYH 0RUDOVD\VÂł3V\FKRGHÂżQLWHO\ZDV described him as generous, family the forerunner of todayâ€™s slasher oriented, and traditional who loved movies, but Hitchcock actually used order and routine. He described his YHU\OLWWOHYLROHQFHLQKLVÂżOPVPRVW idea of perfect happiness as a â€˜clear of which was suggestive. The most horizonâ€™ with nothing obscuring the violent sequences in Hitchcock future and no problems. He was able DUHWKHJDVRYHQPXUGHULQ7RUQ to use all his fear and repressions &XUWDLQDQGWKHVWUDQJXODWLRQUDSH and turn them into an art form that LQ)UHQ]\:KDW+LWFKFRFNZDVPRUH has withstood the test of time.â€?
â€˜Hitchcock knew he had to produce something specialâ€™
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1. Alfred Hitchcock and Janet Leigh during the making of Psycho (1960) 2. Hitchcock on the set of Psycho (1960)
3. Anthony Perkins on the set of Psycho (1960)
5. Anthony Perkins and Janet Leigh in Psycho
4. Hitchcock in the studio (1955)
6. Hitchcock hiding while on set (1966)
When car designers get it right, some models become iconic works of art. So how can they be improved? A pair of brave companies have tried to do just that. - 70 -
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hat’s your all-time favourite car? To drive, to look at, to revel in its sheer perfection? There’s a very good chance that it’s either the Porsche 911, or the Jaguar E-Type. Two companies looked at those cars and thought: They’re good, but they could be better. Eagle E-Types was formed in the early 1980s as Eagle Racing, a classic car business developed from founder Henry Pearman’s obsession with classic cars. Paul Brace, the company’s director, tells AIR: “The (7\SHLVVXFKDGH¿QLWLYHDQGZHOO recognised British classic, plus it is actually a fabulous all-round sports car in all respects, even in standard form. The design and engineering is so good that it responds very well to IDLUO\VXEWOHPRGL¿FDWLRQVDQGZH can more than satisfactorily address every weak element, if the customer requires, making it an exciting, reliable and comfortable sports car to use even factoring in the sky high expectations of supercar owners today. And, of course, it is gorgeous.” Eagle offers three different options for those looking to reclaim a slice of automotive history. Firstly, customers can simply buy from Eagle’s stock list of original or restored E-Types. Second, there are roadster models built from the ground up and made completely individual to their buyer. Eagle GB only has the capacity to produce two per year, and are made around an entirely new steel body. Third, Eagle GB also offer two new additions to Jaguar’s original range of Coupe, 2+2 and Roadster, which is the Speedster and Low Drag GT models. They are built to order and are the most exclusive hand-built car in the world with prices starting at £650,000. As with many things in life, customisation is crucial, and car HQWKXVLDVWVÀRFNWR(DJOH*%IRU personalisation with a personal touch. Brace says: “People love the
fact that we are a small, personal and passionate company working IURPDTXLUN\PRGL¿HGIDUPLQWKH country - a far cry from industrial estates, factories and faceless corporations. We build a very modest number of Eagle E-Types
passion is noticeably as strong for what we do today as it was at the start, and people appreciate the difference here.” Across the Atlantic in Los Angeles, California, the Singer Vehicle Design company is hard at work modifying
‘We appreciate other cars, but while the others come and go, the E-Types remain’ and so each and every project, and customer, means a lot to us. We do everything in-house and have been dedicated to the Jaguar E-Type for nearly thirty years - nobody else can offer that. The core team; Henry Pearman, myself and Mathew Dewhurst have been working together since the start and the - 72 -
the Porsche 911. Only founded in 2009, Singer believe that the Porsche 911 is the most important sports car of all time, and deserves to be celebrated, though they are coy about making claims to improve it, their website reading: “By performing restoration and stateRIWKHDUWPRGL¿FDWLRQVWRFOLHQWV¶
vehicles to update performance, aesthetics and modern day usability, we attempt to optimise the strengths while preserving and perhaps enhancing the essence and magic of this incredible machine.” Singer strips a 911 down to its very core, before slowly adding layer upon layer back, as per their customers’ VSHFL¿FDWLRQV7KH\UHSODFH electrical systems, cooling systems, lighting, exhausts, glass and engines (using Cosworth developed 3.8 litre QDWXUDOO\DVSLUDWHGÀDWVL[HV ,Q short, it all gets worked on. Rob Dickinson, the leader of the company, told Total 911: “I’ve been obsessed and haunted by the 911 VLQFH,ZDV¿YH,ZDVLQWURGXFHGWR it on a wind-swept autoroute in the south of France in 1970 by my father.
We were travelling along in our VW Beetle on holiday and he pointed out this 911 and I’ve been smitten ever since. “It was purely Porsche 911 that led this thing. It wasn’t like, ‘Oh, I want to start a company.’ I had some 911s in England that I sold when I moved to America, and I funded my own special hot rod build here in 2003. It’s certainly not revolutionary or original (I certainly don’t pretend the concept of what we’re doing here LVUHYROXWLRQDU\ DVUHVWRUHGDQG PRGL¿HGFDUVKDYHEHHQDURXQGIRU many years. “Maybe we have taken it to its logical zenith, especially with the 911, and that was enabled because we knew that the services that would result in the car would - 73 -
be unavoidably expensive. We embraced immediately the sense that, if this is going to be done properly, and when I say ‘properly’ I mean every single millimetre of the car would be evaluated. ‘Do we just leave well enough alone here, or can improve this?’” Judging by the testimonials on Singer’s website from people who VKRXOGNQRZ³-XVWWHUUL¿F´±-D\ /HQR³$ORYHOHWWHUWRWKH´± -DPHV0D\³7KHZRUOG¶V¿QHVW 3RUVFKH´±7RS*HDU LWZRXOG seem that yes, Singer, and Eagle, can improve on perfection. Paul Brace of Eagle GB neatly sums up their obsession: “We all appreciate and own all sorts of cars for their different merits, but while the others come and go, the E-Types remain.”
Time Now is
Three Michelin-starred Jean-Georges Vongerichten runs 26 restaurants in 10 cities around the world, and is about to open his first in Dubai. He spoke with AIR ahead of the opening of JG Dining Room and JG Kitchen
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ew York, Chicago, Las Vegas, Miami, Bahamas, Shanghai, Paris, St. Barths, Tokyo, Los Cabos. Not an average weekâ€™s work for a pilot, but the glamorous locales around the world that three Michelin-starred chef Jean-Georges Vongerichten has opened restaurants. And now heâ€™s set to add Dubai to the list as lucky number 27, when he opens a new eatery at the palatial Four Seasons in Dubai. So why now? Vongerichten tells AIR: â€œMy partner here was a very good friend of mine in New York, he said â€˜you should come here, your food would do very well here.â€™ We had a discussion several years ago, he showed me the plans for the Four Seasons, and itâ€™s a great site. Thereâ€™s already a Coya there, and it was a good size and a good location, and it all sounded good so we decided to have this adventure together, and weâ€™re opening now. Itâ€™s very exciting. To come out now at this time is very exciting.â€? Of course, Dubaiâ€™s hotels are studded with restaurants that have Michelin-starred chefsâ€™ names over the door. The key, says Vongerichten, is to provide something a little different. â€œItâ€™s one place with two different areas,â€? he explains. â€œWe have a casual side, and a smaller VHDWDUHDWKDWÂśVÂżQHUGLQLQJ with a bar in the middle thatâ€™s for both sides. We also have a beautiful terrace outside. In the fall and winter, it will be really cool.â€? -*'LQLQJ5RRPLVWKHÂżQHGLQLQJ venue, and JG Kitchen, on the other side of the space, is a more relaxed, all-day environment. This is smart on the chefâ€™s part. Many restaurateurs open franchises in Dubai and get the delicate balance wrong between stuffy and suffocating, or too relaxed without proper emphasis on the food and service. By ambitiously tackling both ends of the spectrum, Vongerichten has found the sweet spot. And with as much experience of opening restaurants as heâ€™s got, youâ€™d expect
him to. Having opened so many restaurants around the world, what other place does Jean-Georges compare to Dubai? â€œItâ€™s really unique,â€? he replies. â€œThere are a lot of farms and local things growing
compare it to any other city, though, wouldnâ€™t be fair as itâ€™s so different to anything else.â€? Vongerichtenâ€™s success in the kitchen stems from a desire, like fellow star-collecting chef
â€˜To compare Dubai to any other city, though, wouldnâ€™t be fair as itâ€™s so different to anything elseâ€™ here now, but you can still get the best ingredients sent in from around the world and the restaurants here DUHUHDOO\WHUULÂżFQRZ7KHGHPDQG of different food and different experiences is very exciting. To - 76 -
Heinz Beck, to use lighter, fresher ingredients and move away from the very rich and heavy fare that still comes to mind when the term ÂľÂżQHGLQLQJÂśLVXVHGÂł,WKLQNÂżQH dining has changed a little bit,â€?
Vongerichten says thoughtfully, “Where before it might have been 90 per cent meat and 10 per cent vegetables, maybe it’s changing now, I don’t know. Fine dining has also become a little bit more relaxed, less pressure. I’ll be there for the opening, for a few weeks. We have an executive chef in place already, but after that I’ll be there as much as I can to work on menus. When you look at all the restaurants in Dubai, it’s pretty amazing for a chef to be here.” There’s no denying that the market for high-end eating in Dubai is growing faster than ever. For discerning diners, there’s more
choice than ever about where to enjoy a meal. One-off guests visiting the city aren’t so important as the crucial repeat visitors. Vongerichten agrees, saying: “When I eat out, I want something a little bit different. You go to Zuma, you go to a Souk, everything is different. You get your food out, and of course the décor comes into it. Great service. People remember that. Any restaurant exists on its personality. Food today from chef to chef is very personal, and we all want to create something that makes people come back. If people have that good memory, they will come back.” Success in ten locations, decades - 77 -
of glory, and the undimmed respect of his peers and critics have done little to quell Vongerichten’s desire to improve. But it’s when asked about the very favourite part of his job that he reveals a surprising answer. “I feel like I’m a frustrated designer,” he sighs, “So working with the designers on this restaurant has been amazing. For me, designing the place, everything’s fresh, everything’s new, and seeing it go from the plan to being actually built has been really special. Everyone’s doing their best to make it so amazing. But the hard job is to keep that going for the next ten years. That will be the challenge.”
WORLD CLASS WELLNESS This New Zealand retreat takes health and fitness to a whole new level
,I\RXUEXV\OLIHVW\OHLVWDNLQJLWVWROOWKHQ$UR+Ĺ… Wellness Retreat is the ideal elixir. Set on the shores of Lake Wakatipu in New Zealandâ€™s sigh-inducing Southern Alps, just 40 minutes drive from the private jet WHUPLQDODW4XHHQVWRZQ$LUSRUW$UR+Ĺ…LVGHVLJQHGIRU those seeking a truly transformative shift. Established by Damian Chaparro, a former software consultant turned yogi, and Chris Madison, who made his fortune in hedge fund management in New York, the resort combines detoxifying vegetarian cuisine with resultsoriented programmes to sculpt body and mind. With DPD[LPXPRIJXHVWV$UR+Ĺ…HVFKHZVFDIIHLQH alcohol and tobacco, and while the 6am wake-up calls are tough, the combination of yoga, sub-alpine hiking, strength training, meditation, massage and mindfulness produces great results. â€œNothing will change without change,â€? says Chaparro. â€œChange is only change during the change, then it becomes habit.â€? aro-ha.com - 78 -
3 MORE HOLISTIC HIDEAWAYS Ananda, India
Situated on the estate of the Maharaja of Tehri, this Himalayan retreat mixes the traditional Indian regimes of Ayurveda, yoga and Vedanta with Western health and spa expertise. The result? An experience that is as emotionally uplifting as it is physically effective. anandaspa.com
Canyon Ranch, USA
The iconic retreat just outside of Tucson, Arizona, has led the way in luxury wellness for over 35 years. Choose from over ÂżWQHVVFODVVHV a day, while new programmes incorporating yoga, dance, meditation and drumming focus on teaching guests to live a more meaningful and stress-free life. canyonranch.com
COMO Shambhala Estate, Bali
Located near Ubud, this tranquil resort offers wellness programmes designed by its resident experts, including a yoga teacher, Ayurvedic doctor and dietician. Combined with outdoor activities such as hiking and climbing and clean cuisine, youâ€™ll leave feeling lighter and brighter. comohotels.com
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WHAT I KNOW NOW
Gordon Campbell Gray Hotelier
Stick to your initial instincts, whether it be about people or situations. When youâ€™re younger, you run the risk of being thrown off course, either through insecurity or lack of experience. I know now that if you believe in something, be FRQÂ¿GHQWDQGDVP\IULHQGWKHODWH $QLWD5RGGLFNXVHGWRVD\Â³-XVW'R ,WÂ´,FDQWKLQNRIQREHWWHUDGYLFH WKDQWKDWDQG,WU\WRXVHLWDOZD\V Over the years I have learnt that ZHPXVWERWKSHUVRQDOO\DQG professionally, make wise choices with whom we choose to work or play. As you progress through life it is essential to make sure that you are FRQVWDQWO\OLYLQJZLWKKRQHVW\DQG integrity, because without these you
are nothing. It is often easy to let this slip, but we cannot let this happen. I have also learnt that when we DZDNHQHDFKGD\ZHFDQFKRRVHZKR we are going to be. You can choose to EHKDSS\RUVDGSRVLWLYHRUQHJDWLYH angry, generous or mean - these DQGPDQ\RWKHUHPRWLRQVDUHDOO SRVVLELOLWLHVDQGZHFDQPDNH our selection! ,DPIDVFLQDWHGE\SHRSOHDQG love observing how we all tackle WKHFRPSOH[LWLHVRIOLIHGLIIHUHQWO\ DQGGHDOZLWKWKHVXFFHVVHVDQG GLVDSSRLQWPHQWVWKDWLWEULQJV,WLV VDGWRVHHSHRSOHZKRKDYHQRWOHDUQW WKDWZHFDQRIWHQWUXO\GHWHUPLQH RXURZQFRXUVHQRWDOZD\VHDV\DQG I realise, certainly easier for some - 80 -
than others. It therefore becomes GRXEO\LPSRUWDQWWRFKRRVHFDUHIXOO\ ZLWKZKRPZHGHFLGHWRVSHQGRXU WLPHRQHRIP\UHFRPPHQGDWLRQVLV WRDYRLGQHJDWLYLW\DQGZKLQJHUV 'HVSLWHKDYLQJDJUHDWIDPLO\DQG IULHQGVDVZHWU\WRPDQRHXYUH through an increasingly hostile, DJJUHVVLYHDQGVRPHWLPHVXWWHUO\ EDIÃ€LQJZRUOG,Â¿QGP\VHOILQWKH SHUSHWXDOSXUVXLWRIVROLWXGHDUDUH FRPPRGLW\LQWKLVWLPHRIHQGOHVV PHDQLQJOHVVDQGRIWHQ pointless communication. ,VD\ULVHDERYHLWSDGGOH\RXURZQ FDQRHDQGVWD\RQ\RXURZQSHUVRQDO course. We surely all want to be KDSS\DQGVSUHDGKDSSLQHVVDVDIWHU all, it is one of the magic LQJUHGLHQWVRIOLIH
The E xc e ℓ ℓ e n c e o f It a ℓ i a n Design Fur n i t u re
NEW SHOWROOM Selva Middle East L.L.C. Sheikh Zayed Road North, Exit 46, Building 2020 nearby Oasis Centre, Dubai T +971 4 3411933 — F +971 4 3411799 firstname.lastname@example.org www.selva-me.ae
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Published on Jun 1, 2015