AIR Magazine - ExecuJet - May'25 by Hot Media

MAY 2025

MAYA HAWKE

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Mrs.Mahallati

Gold Souk

One invention at a time

A.-L. Breguet redefined the art of horology with his inventions. His pursuit of perfection continues to inspire those shaping the future. To celebrate this legacy, Breguet introduces the new Classique Souscription 2025, crafted in the exclusive new Breguet gold.

breguet.com

Contents

Credit: © Oliver Pilcher, from the book Gucci: The Art of Silk, published by Assouline

MAY: ISSUE 163

FEATURES Thirty Four

Forty

Ahead of the final season of Stranger Things, its star Maya Hawke talks emotional endings, anxiety, and growing up with movie star parents.

Gucci’s multi-faceted celebration of its storied silk heritage brings together nine artists, each tasked with creating a unique scarf.

Strange Beginnings

Weave Magic

Forty Eight

Love Letters

Francesca Cartier Brickell discovered a trove of lost family letters in a cellar. The story they told is now part of a landmark Cartier show. 7

ALPINE EAGLE

Contents MAY: ISSUE 163

REGULARS Sixteen

Radar

Eighteen

Objects of Desire Twenty

Art & Design Twenty Eight

Timepieces Fifty Four

Motoring Fifty Eight

Gastronomy Sixty Two

Travel

Sixty Four

What I Know Now

EDITORIAL Editor-in-Chief & Co-owner

John Thatcher john@hotmedia.me

COMMERCIAL Managing Director & Co-owner

Victoria Thatcher victoria@hotmedia.me

PRODUCTION Digital Media Manager

Muthu Kumar

muthu@hotmedia.me

Twenty Four

Jewellery

How Chopard’s artisans turned one astonishing emerald into a spectacular high jewellery collection.

Dubai, UAE Reproduction in whole or in part without written permission from HOT Media is strictly prohibited. HOT Media does not accept liability for any omissions or errors in AIR.

ExecuJet Middle East MAY 2025: ISSUE 163

Welcome Onboard MAY 2025

At ExecuJet, we redefine the experience of private travel into an art of unparalleled luxury. From the moment you arrive, we are dedicated to perfecting every detail, anticipating every need, and elevating every moment from takeoff to touchdown, ensuring a journey as effortless as it is extraordinary. Since we established ourselves in the Middle East in 1999, we’ve had the privilege of seeing travel redefined – one journey, one client, and one tailored experience at a time. Now part of the prestigious Luxaviation Group, we’ve earned a reputation for innovation, precision, and the kind of personal care that truly sets us apart. Stepping into our world-class facilities is an experience that speaks for itself, with every element carefully designed to enrich your journey. It’s in the discreet checkins and the ease of immigration. It’s the luxurious private suites, where every element has been curated with your comfort in mind. It’s the rejuvenating wellness spaces and the bespoke cocktail and cigar lounge that invite you to unwind. These aren’t amenities –they are reflections of detail and care, designed with you in mind. Our services – whether bespoke charter flights, meticulous aircraft management, or state-of-the-art hangarage – reflect our commitment to connection. To your time, your needs, and your expectations. We don’t just deliver luxury. We live and breathe it.

Dumani Ndebele Regional FBO Director, Middle East

Cover:Maya Hawke by Anais & Dax/AUGUST

Contact Details: www.execujet.com / enquiries@execujet-me.com / +971 4 601 6300 11

ExecuJet Middle East MAY 2025: ISSUE 163

The Al Samaa Suite

A New Era of Luxury in Private Aviation With the introduction of the Al Samaa Suite, Junior Suites, and ExecuSpa, ExecuJet Middle East is setting a new standard in private aviation hospitality. More than just a transit point, its private terminal is now a destination in itself – where comfort, exclusivity, and well-being converge to create a seamless journey unlike any other The Al Samaa Suite

The Al Samaa Suite 12

n the world of private aviation, exclusivity, comfort, and seamless service define the ultimate luxury. ExecuJet Middle East, a name synonymous with world-class aviation hospitality, has unveiled an unparalleled offering at its private terminal – one that caters to the refined needs of elite travellers and flight crews alike. Introducing The Al Samaa Suite and ExecuSpa, two meticulously designed spaces that redefine pre- and post-flight relaxation, providing an unmatched sanctuary within the dynamic environment of air travel.

The Al Samaa Suite

The Al Samaa Suite: A Private Sanctuary Overlooking the Runway Meaning ‘The Sky’ in Arabic, The Al Samaa Suite is ExecuJet Middle East’s pinnacle of luxury – a haven of privacy and elegance within the private terminal. Overlooking the runway, this one-of-a-kind suite is designed for the world’s most discerning travellers. Every detail of the suite exudes sophistication, from top-of-the-line furnishings to hand-selected amenities that create an ambiance of understated elegance. Wrapped in warm tones and plush textures, the space provides a tranquil escape before or after a journey. Whether passengers seek rest, a moment of solitude, or a quiet place to prepare for an important meeting, the Al Samaa Suite is thoughtfully curated to meet their every need. Beyond luxury, the suite is designed for seamless convenience. Personalised services are available 24/7, ensuring that every request, from in-suite dining to bespoke concierge arrangements, is handled with meticulous care. This dedication to exclusivity redefines private aviation hospitality, making the transition between air and ground as effortless as it is indulgent. Junior Suites

Junior Suites: A Restorative Space for Pilots and Crew For flight personnel, Junior Suites provide a comfortable, private space to recharge between flights. Unlike traditional crew lounges, these suites feature ergonomic furnishings, plush bedding, noise-reducing interiors, and refreshment stations, ensuring optimal rest for pilots and crew navigating demanding schedules.

ExecuJet Middle East MAY 2025: ISSUE 163

ExecuSpa

ExecuSpa ExecuSpa

ExecuSpa

ExecuSpa by Sensasia Spas: A Sanctuary of Wellness and Renewal Luxury in private aviation extends beyond opulent interiors – it is also about well-being and rejuvenation. At the heart of ExecuJet’s commitment to holistic luxury lies ExecuSpa by Sensasia Spas, an exclusive wellness retreat designed to restore and revitalise. This carefully curated space offers an array of specialised treatments, from deep tissue massages that release tension to revitalising facials that combat the effects of travel. The standout experience at ExecuSpa is the transformative circuit therapy – an invigorating journey that guides 14

guests through a sauna, salt wall, and ice fountain, promoting circulation, detoxification, and overall vitality. Each experience at ExecuSpa is personalised, with expert therapists tailoring treatments to individual needs. Whether passengers seek predeparture relaxation or post-flight renewal, ExecuSpa ensures that every journey is complemented by a sense of balance and tranquillity. More than just a spa, ExecuSpa is an oasis within the private terminal, where the stresses of travel dissolve into a world of serenity. Here, luxury is not just about what is seen or felt –it is an experience that elevates the very essence of private aviation.

Radar

AIR

MAY 2025 ISSUE 163

The silver screen’s finest will descend on Cannes this month for the 78th staging of its annual – and ever glamorous – film festival, the closing ceremony of which is the most publicised event on the planet, after the FIFA World Cup and the Olympic Games. Since 1998, the Palme d’Or trophy, the festival’s greatest prize, has been handcrafted by Chopard. Now fashioned from ethical gold and mounted on rock crystal, the trophy takes 70 hours to craft, passing through multi manufacturing stages and the hands of six skilled artisans before being held aloft by the director of the festival’s best film.

Cannes Film Festival, May 13-24

OB JECTS OF DESIRE

OBJECTS OF DESIRE

Master craftsmanship, effortless style and timeless appeal; this month’s must-haves and collectibles

OB JECTS OF DESIRE

HUBLOT

B I G B A N G U N I C O W AT E R B L U E S A P P H I R E While Hublot’s Big Bang celebrates 20 years this year, it’s less than a decade since Hublot decided to experiment with the idea of a transparent sapphire case. Since then, it has somewhat mastered the art, growing ever more confident – and certainly colourful – in

its prowess. The latest offering from its renowned R&D department is this calming Water Blue sapphire, a hue matched with a translucent blue rubber strap and present also on the open dial’s indexes and hands. It’s limited to 50 pieces. 1

OB JECTS OF DESIRE

PAT E K P H I L I P P E

REFERENCE 5308 When it debuted in 2023 at a Patek Philippe exhibition in Tokyo, Reference 5308 was a limited edition. Now it’s part of the current collection. A self-winding quadruple complication, it features a minute repeater, a split-seconds chronograph and instantaneous perpetual

calendar – the split-seconds mechanism the notable addition to Patek’s triple complication timepiece, a unique version of which was sold at 2017’s charitable auction Only Watch for a cool 6.2 million Swiss francs. It further features a whitegold case and ice-blue sunburst dial. 2

OB JECTS OF DESIRE

C H O PA R D

J E W E L L E R Y W AT C H Chopard’s legacy of jewellery watches is prized, its gem-set pieces routinely awarded at the Grand Prix d’Horlogerie de Genève, including winning last year’s edition for a fifth time. The collection has been further bolstered with two brand new pieces; a bejewelled wonder woven

with 18-carat white gold and diamonds and this charming creation, a masterful composition of two Colombian emeralds (totalling 4.89cts), pear-shaped and brilliant-cut diamonds. Meticulously assembled, it took Chopard’s skilled artisans over 420 hours to create. 3

OB JECTS OF DESIRE OB JECTS OF DESIRE

R M SOTHEBY’S

1 9 94 J A G U A R X J 2 2 0 The 48th out of a reported 281 examples of Jaguar’s early 1990s supercar flagship, this XJ220 has been fastidiously kept by its trio of past owners, including performance upgrades by the world’s preeminent XJ220 authority, Don Law Racing. In 2016, the

coachwork was beautifully refinished in Le Mans Blue. From 1992-993, in between the two years of its production, the XJ220 was the world’s fastest production car. It will be auctioned in Milan on May 22, and carries an expected price of €375,000-450,000. 5

OB JECTS OF DESIRE

J E SSIC A MCCOR M ACK

‘ T I L L AT E D I A M O N D T O R Q U E As one of the industry’s most creative jewellers, any new collection drop from New Zealand-born, London-based Jessica McCormack is one to celebrate. Rush Hour has been designed to redraw the boundaries of corporate chic, a collection that finds the sweet spot between classic

and contemporary design, each piece almost sculpture like. Case in point is this beautiful ‘Til Late Diamond Torque, for which an 8.01ct oval-shaped diamond has been strategically placed to lay perfectly underneath one collarbone, while the flowing design hugs the other. 6 6

OB JECTS OF DESIRE

BERLUTI

THE ANDY BAG In 1962, Berluti fashioned a pair of tan leather loafers for celebrated artist Andy Warhol, a style that they have remained faithful to ever since. Now those shoes have provided design inspiration for the Andy bag. Among an array of little details, you’ll find the shoe’s distinctive penny bar feature

reimagined on the bag as handsewn vertical stitches. Yet the overarching idea for the Andy bag was to evoke the bookish style of a 1970s schoolbag, a beautifully structured design to which Berluti has added a wide shoulder strap for ease of use. 7

OB JECTS OF DESIRE

HERMÈS

ARCE AU LE TEMPS SUSPENDU When Hermès debuted the Arceau Le approach to watchmaking. That model temps suspendu in 2011, the complication has now been reinterpreted in a 42mm was a world first, one developed case fashioned from white or rose gold, exclusively for the brand. Allowing its which frames an open-worked dial and wearer to shield the time from their gaze, transparent caseback and comes in one of it’s the kind of mechanism that perfectly three colours – sunburst blue, brun désert, illustrates Hermès’ playful, ever-creative or this warming rouge sellier. 8

OBJECTS OF DESIRE

Art & Design MAY 2025: ISSUE 163

The Human Touch To celebrate Brioni’s 80th anniversary, Design Director Norbert Stumpfl has teamed up with Lalique to handcraft a beautiful objet d’art

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he Brioni story is not just one of sartorial elegance, of exceptional tailoring and bespoke finery. It is the story of a brand that has pushed boundaries, an innovator imbued with a creative spirit that seeks the extraordinary. So it was perhaps no surprise that when it came to celebrating its 80th anniversary this year, the brand wanted to do something different. “We wanted to create something exceptional that stood apart as a symbol of our craftsmanship and our pursuit of ‘sculptured’ excellence, similar to our tailoring,” says Norbert Stumpfl, Brioni’s Design Director. True to his word, Dualité, Crystal Edition Perfume, a limited edition of 18 fire-forged crystal flacons, each one crafted in collaboration with storied glassmaker Lalique and containing a scent specially developed by master perfumer Michel Almairac, is an exceptional objet d’art. “It all started with a visit to the Lalique workshop in Alsace where my admiration of the crystal world grew during a tour with Marc Larminaux [Lalique’s Artistic and Creative Director]”, continues Stumpfl. “Walking through the space, watching the artisans’ hands shape crystal with such

precision and care – it was like stepping into another time. I became fascinated by the cire-perdue technique. It’s an ancient method, rarely used today, and yet it allows for truly unique and delicate forms. That’s when the idea sparked: to use cire-perdue to capture a raw crystal inside a crystal. To combine the energy of an eruption, suspended in a pure, architectural shape – almost like freezing a moment in time. Reviving this ancient technique to create a modern piece that our clients and collectors would love was an exciting and new idea to explore.” Developed in ancient times, cireperdue (also known as ‘lost wax’) was a method more commonly used for casting bronzes, but one which René Lalique applied to glass from the 1890s onwards as a way of creating more intricate or elaborate shapes than is normally possible with glass. So prized are Lalique’s cire-perdue creations that examples are now housed in museums, including the Musée d’Orsay in Paris. It’s a method which ensures that inside each flacon is a one-of-a-kind work of art. “I wanted to create a visual tension between precision and raw energy,” outlines Stumpfl. “The exterior of the flacon is geometric, controlled, almost minimal… and entirely modern.

‘ AIR

It reminded me that beauty often lies in the unexpected

But inside, there’s a burst of crystal – an inner storm. This contrast is very important to me. It speaks to the duality I often explore in menswear as well: strength and elegance, stillness and movement. I wanted the piece to evoke emotion, to resonate on a deeper, almost subconscious level. Like a sculpture that you don’t just see but feel. Similar to our emotions, each of the 18 pieces in this limited edition are uniquely created.” Four years in the making, it was a process that presented numerous challenges. “This was a process full of dialogue, experiments, prototypes and fine-tuning. Marc Larminaux and I worked very closely – we sketched, sculpted and revised. Every detail was refined with care: the angles, the way the light moves through the shards, how the form speaks from every angle. We didn’t rush. This wasn’t just about design; it was about achieving something meaningful. In essence, to capture the beauty of the sublime. “The main challenge was both technical and emotional: how do you capture something so volatile and delicate inside a structure that’s so precise? Cire-perdue is an unpredictable process – many flacons 22

are lost in production. But that’s what makes each one so special. They are not just handmade. They are born from risk, from patience. As a designer, embracing that imperfection was a powerful lesson. It reminded me that beauty often lies in the unexpected.” Given each flacon contains a perfume, how did Stumpfl strike a balance between aesthetics and functionality? “In my work, aesthetics are never just decorative – they emerge from function and intent. I wanted the flacon to be not just visually striking but symbolically rich. The octagonal shape, for example, is a tribute to Brioni’s 80th anniversary. The silver hue of the extrait de parfum held within plays with the crystal’s inner texture to create a sort of living light. The pure alabaster box wasn’t just packaging but a pedestal reminiscent of a Roman column – an elegant nod to Brioni’s roots in Rome. The idea was to allow the object to transform into a sculpture that can live in our client’s homes as an objet d’art. It becomes not just a fragrance, but a presence in the room. A defining moment in luxury design to be lived with and admired.” And yet the fragrance itself is also something to admire. “We spent a lot of time thinking about what someone

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should feel when experiencing this object,” says Stumpfl. “The scent had to reflect a similar sense of contrasts, refined elegance and rarity. It opens with a fresh, abstract ozonic breath – like a sudden wind over water – and moves into a refined heart of violet and luxurious, rare iris butter. That last ingredient is meticulously crafted over seven years. There’s a story of time and utmost care in every note, just like in the flacon. To me, it’s a fragrance you inhabit, not just wear.” Beyond anything else, Dualité, Crystal Edition Perfume is the spectacular result of human skill and endeavour. A passion forged in fire. “In today’s world, the human touch of craft and art has become almost revolutionary,” states Stumpfl. “Algorithms can replicate, but they cannot feel. When you hold one of the 18 crystal flacons in your hand, you sense its soul. Each one bears the tiny nuances of its master glassmaker. Each one uniquely forged and carefully refined, which are, in fact, signs of life and artistic passion. I believe people are craving this authenticity today. Not duplicated perfection, but something real. Something that carries memory, intention, and craftsmanship.” Something that’s distinctly Brioni.

Jewellery

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MAY 2025: ISSUE 163

This page: pendant in ethical 18-carat white gold and platinum, set with pear-shaped (24.97 cts), oval-shaped (21.75 cts) and brilliant-cut (0.46ct) emeralds, as well as diamond brilliants (2.0cts); ring in ethical 18-carat white gold set with an 11.17-carat heartshaped emerald and brilliant-cut diamonds; earrings in ethical 18-carat white gold set with four emerald-cut emeralds (15.91cts) and two emerald-cut diamonds (3.70cts) Opposite page: Floral earrings in ethical 18-carat white gold, platinum and titanium set with two emeraldcut emeralds (11cts), pear-shaped emeralds (3.54cts) and brilliantcut diamonds

Go Green

How Chopard’s artisans turned one astonishing emerald into a spectacular high jewellery collection

These pages, models from left to right: earrings in ethical 18-carat white gold set with two pear-shaped emeralds (21.69cts) and fancy-cut diamonds (20.74cts);ring in ethical 18-carat white gold and platinum set with an emeraldcut emerald (11.43cts) and brilliant-cut diamonds (1.80ct) and emeralds (0.71 ct); suite of four necklaces comprising a pearl sautoir; a chain in ethical 18-carat white gold featuring pearls, emeraldand brilliant-cut emeralds (2.43cts) and diamond brilliants (4.66cts); a necklace in ethical 18-carat white gold set with a central emerald-cut emerald (15.53ct), brilliant-cut emeralds (1.71ct), fancycut pink sapphires (totalling 15.53cts) and diamond brilliants (0.73ct); and a a choker in ethical 18-carat white gold set with a central emerald-cut emerald (2.88cts) and brilliant-cut diamonds (6.88cts)

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uring its ongoing journey to sustainable luxury, Chopard has already reached many milestones. By 2018 it met the strict criteria required to realise its commitment to using only ethicallyproduced gold in its workshops, while by 2023 it was making watches with 80% recycled steel. Along the way its complementary practice of responsible sourcing has also unearthed some genuine treasures. The latest was discovered in the Kagem mine in Zambia: an astonishing 6,225-carat rough emerald, nicknamed Insofu [meaning ‘elephant’] in the language of the miners who discovered it on account of its trunk-like shape and huge size. Master gem-cutters gleaned 850 carats of individual emeralds from it, the first cluster of which was used to create a capsule collection that debuted at last year’s Oscars. This year, Caroline Scheufele, Chopard’s Co-President and Artistic Director, has used her considerable magic to conjure another spectacular collection. Comprising 15 pieces – five pairs of earrings, four necklaces, three rings, a bracelet and a jewellery watch – it is a collection that draws inspiration from the Roaring Twenties, a decade brilliantly critiqued in F. Scott Fitzgerald’s literary masterpiece, The Great Gatsby. It informs a one-of-

a-kind ensemble of four necklaces, including a diamond choker with a 2.50ct square-cut emerald and a medium-length necklace with a 15.53ct octagonal emerald at its heart. Elsewhere, earrings team two pearshaped emeralds of 21.69cts with fancy-cut diamonds totalling 20.74 cts, while a ring in 18-carat white gold and platinum is set with an 11.43ct emerald-cut emerald, brilliant-cut diamonds and additional emeralds. But the signature piece of the collection is the magnificent elephantshaped pendant. Formed from emeralds of various shapes and sizes, the elephant’s body is outlined with diamonds and its tusks skilfully formed from them. “In every stone lies a story, and my role is to listen and honour the natural magic they carry as treasures from the Earth,” explains Scheufele. “With the Insofu Collection, it was about respecting this inherent beauty. “Traceability is more than a technical advancement; it is an ethical achievement,” Scheufele explains. “The Insofu Collection reflects our belief that true beauty results from a genuine commitment to society and ethical practices.” Ever the creative, Scheufele also designed accompanying gowns to provide the perfect canvas for her vivid expression of natural beauty.

Timepieces

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MAY 2025: ISSUE 163

Into The Blue Chanel’s renowned watchmaking creation studio shows its colourful side WORDS: JOHN THATCHER

Timepieces MAY 2024: ISSUE 152

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Previous pages: J12 Bleu Diamond Tourbillion These pages, clockwise from left: Making of J12 Bleu Diamond Tourbillion and birth of blue hue This page, below: J12 Bleu X-Ray

I dreamt of giving a colour to black, of illuminating it with blue. ‘The final choice of this particular blue was like an epiphany ’

icasso sprang to mind when Chanel launched the latest iteration of its J12 model at Watches & Wonders, and in doing so entered its own Blue Period. Of course, while Picasso’s almost exclusive three-year use of the hue was deemed a result of his sombre mood, Chanel’s is underpinned by joy; the J12 Bleu a fulfilment of a vision, five years of research, and a level of artistry that Picasso would have been proud of. “I dreamt of giving a colour to black, of illuminating it with blue,” enthuses Arnaud Chastaingti, Director of Chanel’s Watchmaking Studio. “The final choice of this particular blue was like an epiphany. I wanted a blue that has a rigorous elegance, a blue that is nearly black or a black that is nearly blue.” It’s not the first time the wider house of Chanel has used blue as a design statement – it stretches all the way back to the jewellery boxes of its iconic 1932 Bijoux de Diamants collection – but this shade has been formulated for exclusive use in watchmaking, where it adds a singular style to the ceramic that makes the J12 appear as fresh as it did when its first iteration launched in 2000. “In the course of 25 years, Chanel has elevated ceramic

to the level of a precious material.” says Chastaingti. “The art of ceramic is undeniably Chanel watchmaking and our outstanding savoir-faire: it is an inspiring material that, thanks to the genius of our engineers, offers a vast creative playing field.” That creative playing field now features nine new players, all limited editions. They include the J12 Bleu Diamond Tourbillion, which is limited to 55 pieces and features a 65-facet solitaire diamond at the centre of its cage and a bezel composed of 34 baguettecut sapphires; and the 12-piece, 196 sapphire-set J12 Bleu X-Ray, for which over 1,600 hours of work were required to sculpt the case and bracelet from a

single block of synthetic sapphire. Also dressed in blue for the first time is the 100-piece Monsieur de Chanel Superlegger, its twin complications – jumping hour and retrograde minute – displayed in the style of race car speedometers. When Picasso was done with feeling blue he entered his so-called Rose Period, a body of work comprising more cheerful compositions full of colour. Striking a similar chord, Chanel’s Blush capsule collection introduces vibrancy by taking design cues from its beauty line – and not just its rich colour palette. “The visual language of Chanel Beauty creations is both fascinating and graphically very inspiring,” details Chastaingti. “I am drawn to the authoritative elegance of these objects – their sophisticated architecture, their striking, deliberate geometry; the depth of black lacquer that intensifies the richness of a crimson hue or the softness of a powdered pink. “There is an aesthetic dimension akin to artistic composition in these creations. These palettes, pencils, brushes, pigments, and textures – so intrinsic to the art of fine watchmaking – inspired me to establish connections with artistic movements such as

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Opposite page: Boy-Friend ‘Coco Art’ This page, below: Mademoiselle J12 Blush; 5-piece J12 Box ‘Dripping Art’ This page, bottom: Mademoiselle Prive Pincushion ‘Beauty Art’

‘It’s a collection that marries colour to time-honoured crafts’ Dripping Art and Pop Art. Why not ‘put makeup’ on time to make it more beautiful? This vision of beauty became the heartbeat of the entire collection.” When introducing a beauty line a century ago, Gabrielle Chanel used black lacquer cases in order to enhance the colour of the cosmetics they contained. In Chanel’s watchmaking world, it is black ceramic and blackcoated steel which adopt that role. It’s a collection that marries colour to time-honoured crafts, the likes of grand feu enamel and miniature painting. A masterful gradation of pink and red on the index and dial enriches the ceramic canvas of the limited edition J12 Blush Caliber 12.1, while another version of the watch, the Mademoiselle, depicts a richly detailed black and white illustration of Gabrielle Chanel, the colour coming courtesy of shimmering silver and pink tones that decorate the array of beauty essentials laid out on the makeup table before her – beauty essentials that make a full turn of the dial every five minutes. There’s also an illustration of the couturier on the limited-edition

Boy-Friend Blush, this one Pop Art in style and her playful appearance sealed with a kiss. A gradient of pinks radiates from the piece’s quilted calf leather strap and lacquered bezel, the lacquer carefully applied by hand, while the crown complements and contrasts as a black spinel cabochon. Chanel’s storied savoir-faire is brought to bear on another Pop Art-influenced piece, the Boy-Friend ‘Coco Art’, for which Gabrielle Chanel’s sapphireframed portrait – set on pink grand feu enamel – is formed from tampography, a printing process that in this case

sees twelve successive prints stamped manually onto a white gold dial. It’s limited to just 20 pieces. But the Mademoiselle Prive Pincushion ‘Beauty Art’ is unique. Defined by a surrealist-style composition of Coco Chanel’s masterful hands formed from 18k gold, which are encircled by her makeup essentials and a necklace set with diamonds and pearls, it features blackened gold, miniature painting and enamel. Moreover, its black dial is set with 120 diamonds and 234 yellow gold pearls, and its bezel ringed by 84 pink sapphires. A genuine work of art. It’s the kind of piece that charms collectors, who would do well to also take note of the ‘Dripping Art’ box. Limited to five sets, it comprises five individually designed J12s, for which splashes of nail polish have been mimicked with grand feu enamel to elaborately decorate the dials. To achieve this striking look, Chanel’s development teams conducted over one hundred colour tests and devoted 200 hours of research to develop the process for applying enamel to ceramics. Timed to perfection, as always. 33

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BEGINNINGS Ahead of the final season of Stranger Things, its star Maya Hawke talks emotional endings, anxiety, and growing up with movie star parents INTERVIEW: LUCY ALLEN WORDS: JOHN THATCHER

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he internet-propelled discourse surrounding nepo babies – the child of one or more famous parents – tends to see people entrench themselves in two distinct camps. In one are those who believe the child to be undeserving of their success, the pathway to their own stardom seriously smoothed by their parents’ fame, wealth and connections. In the other camp are those who believe such privilege results in a rougher ride, a no-win situation no matter what the child’s level of talent. As always in the bear pit of online squabbles, the truth will lie somewhere in between. But Maya Hawke, daughter of Ethan Hawke and Uma Thurman, definitely does not reside in the latter camp. “I say this not as a criticism to anyone who has said that, but I think the idea that you have to work harder is crazy. I have so many wonderful friends from drama school and from New York theatre who didn’t have the luxury to come from where I come from, and it is harder. You have to work hard to earn people’s respect and make sure that you show up on time and do a great job and are prepared every day, but everyone should do that anyway. And you have to care for the people around you and try to share the luck that you have. But I definitely don’t think it’s harder. You do have to work hard to earn people’s respect, but you always do.” Being so honest is what has made Maya somewhat of a Gen Z poster girl. That and playing the part of Robin Buckley, part ice-cream parlour worker, part pan-dimensional demon battler, in Stranger Things. Filming of its fifth and final season has already wrapped. Bringing the much-loved show to an end proved quite the experience. “I’m not emotionally prepared for the ending of these characters and these stories and for the ending of this chapter in my life,” says Maya. “If you could see the tears that were shed in the last few weeks of filming, they were overwhelming. In fact, I even think I learned something about acting when filming the last scene of the show, about being emotionally present.” She joined the Stranger Things cast for season three. Was it difficult to come into a show that was already so established? “It’s always difficult when you love a story and characters

This page, from top to bottom: still from Stranger Things (2019); still from Asteriod City (2023)

I think the idea that you ‘have to work harder as a nepo baby is crazy ’ and they bring in a new character. Because inevitably you only have 30-40 minutes of episode time, which makes you spend less time with the characters you love. And sometimes you’re happy, but usually you’re not. So I was really nervous about disturbing what had already made the show so special and what people had already fallen in love with. But the Duffer brothers’ method is to bring in new energy every season. “They’re like watchmakers; tightening each gear on the watch so that it runs smoothly and keeps the time, so that you just have to come in and play your part and try to hit the notes right. I was so moved to feel accepted by the fan base and continue to be so. But even when filming this past season I

would ask myself the same questions every day: ‘Am I serving the story? Am I serving the people who love the show? Am I dedicating myself to what they come here to feel?’ That was the guiding light every day.” Her parents, now separated, were another guiding light, ensuring that their daughter only entered the film industry when a young adult. “It was outlawed. I mean, both my parents were child actors, which, if you’ve looked into that you’ll know people seem to have a bad time. Though that said, I do know many wonderful, extremely talented people who started young, who have extraordinary, brilliant work ethic ethics and brilliant minds and have wonderful social lives and healthy attitudes toward themselves. But it is really difficult, and I think my parents wanted to give me space to be a private person.” Born in New York City in 1998, Maya made her acting debut aged 19 in a small screen adaptation of Little Women. On the big screen she has

Right: still from Little Women (2017)

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between actor and celebrity ‘ Thehaslinebecome extremely blurry ’ been cast in films by Bradley Cooper (Maestro), Wes Anderson (Asteroid City) and Quentin Tarantino (Once Upon a Time… in Hollywood). “There are few directors who have reputations that are vast enough that they get given a lot of freedom and a lot of privacy. I’ve been privileged enough to work with three in my life, and all of them bring this extreme sanctity to their set, where walking onto that set feels like walking into church. You can hear crickets. Nobody speaks. It’s extremely focused and extremely celebratory at the same time. Like, it’s not overly snooty serious, it’s raucous, but it’s raucous in the direction of the work and centred on the work. And I don’t know any actor who wouldn’t want to work on that kind of set, much less with auteur directors of that calibre of excellence.” Having been on sets as a child while her parents acted, Maya finds them homely places. “I’m more comfortable on set than I am anywhere else. That whole world and being in a big group of people who are all making something together is my total comfort zone. “The place where I started to run into feelings of discomfort was when Little Women was released and I had to face the press. I was like, ‘Woah. I haven’t been here.’ Like I said, my parents really worked hard to keep me private, so the art making part has always been 38

my comfort zone, and the outward facing part of it, the promotion, has always been like, ‘Arghgh!’ “I have no problem with it when it feels like the promotion of a thing that everyone got together to make. Like, ‘I did my little part, but thousands of people did their part, and they deserve to be on the stage just as much as me. And let me tell you who they are and what they did.’ It’s a little bit old fashioned, and it definitely loops back into the way that I was raised, but I think that the line between actor and celebrity has become extremely blurry. I always wanted to be an actor where the work is what the draw is, not the person. But the industry keeps changing and you have to change with it and understand that all of these things are getting blurred.” To a generation of kids, Maya is also the living embodiment of anxiety, the feeling she portrayed in Pixar’s Inside Out 2, the highest-grossing animated film of all time. “You know, that sits great with me because I think with the way that the movie ends it’s giving kids a warmer relationship to their anxiety,” says Maya. “Kids knowing me as Anxiety and as their warm, friendly Anxiety that’s there to protect them – and they just need to get to know a little bit better – sits really well with me.” Season five of Stranger Things will be screened on Netflix later this year

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Gucci’s multi-faceted celebration of its storied silk heritage

WORDS: JOHN THATCHER

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eginning with the time Guccio Gucci first laid admiring eyes on the beautifully crafted luggage of the British aristocracy, which he would haul to their rooms while working as a porter at London’s Savoy hotel during the latter part of the nineteenth century, the story of Gucci is flush with moments that have forcibly shaped its rich and eventful history (some particularly colourful events recently retold by Hollywood). It was one such moment that cemented its proud legacy in silk craftsmanship, which is currently the subject of a multifaceted project encompassing a campaign shot by celebrated photographer Steven Meisel, a weighty tome published by Assouline titled Gucci: The Art of Silk, and the 90x90 initiative, for which nine international artists were invited to create silk scarves that reinterpret themes rooted in Gucci’s archive. Back in 1966, Rodolfo Gucci, Guccio’s youngest son, was well into his second decade as the manager of the Gucci store on Milan’s via Monte Napoleone. A former screen idol of Italian cinema, he helped forge links between the brand and the stars of the day, which is how Grace Kelly – by then both Hollywood and, as Princess Grace of Monaco,

literal royalty – walked into his store. The story goes that Rodolfo offered the princess a gift of her choosing, with her request for a scarf adorned with a floral print – a pattern Gucci did not offer at the time – forcing the quickthinking Rodolfo to falsely claim that one was currently in production and would be couriered to her on completion. Instead, Princess Grace left the store with a Bamboo bag, but Rodolfo swiftly commissioned his friend, illustrator and painter, Vittorio Accornero, to produce the floral pattern she so desired. Drawing inspiration from the robes printed with flowers worn by the nymph Flora in Botticelli’s La Primavera and featuring 27 flowers alongside berries, butterflies and insects in a composition that required 37 shades of colour – each one applied through separate printing steps – Accornero completed his design in just one week, and the pattern has since become a cherished signature of the house. For Gucci, the process of crafting silk scarves actually began a decade earlier and was growing in prominence by 1958, the year Gucci teamed up with a distinguished silk producer from

Opening pages, from left to right: © Oliver Pilcher; Look 06 SS25 These pages, clockwise from below: © Oliver Pilcher; Look 05 SS25; © Laziz Hamani

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The delicate and demanding hand-finishing requires an obsession with perfection’

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Como to produce the first collaborative scarf, the nautical-themed Tolda di Nave. It was the collaborations with Accornero, though, that would elevate the Gucci silk scarf to iconic status. Between 1960 and 1981, Accornero designed close to 80 scarves for Gucci, transforming silk into wearable art and coming up with ever more imaginative designs defined by their themes – florals, but also animals, nautical and equestrian – and intricate detailing, like the GG Monogram. His designs also leapt from scarves onto clothing, a trend that continues to this day, with Gucci creative directors past (among them Tom Ford and Alessandro Michele) and present having used silk prints in their ready-to-wear collections. “By drawing on both historical and contemporary sources for its scarf designs, Gucci has inserted itself into a well-established history of imagemaking in Florence,” says Jennifer Sliwka in the book Gucci: The Art of Silk. “By adopting and adapting subjects, symbols, and motifs that have long been associated with power, wealth, and fortune in the city, the house of Gucci has identified itself as the natural heir of

these Renaissance traditions, ensuring that the brand might flourish in the city of perpetual spring and beyond.” It’s with those aforementioned and recurring themes that the artists involved in Gucci’s 90x90 initiative – which takes its name from the 90cm x 90cm measurements of the classic silk twill scarf – have challenged themselves to produce creative interpretations. For his usual artistic practice, Milan-based illustrator, Gio Pastori, carves or tears solid-coloured paper to form collages that aren’t set to any preconceived template, allowing him

to “move each cutout in the space until I reach an expressive composition.” He was tasked with composing a striking interpretation of the renowned Gucci Flora scarf. “I remained faithful to the composition and colours of Accornero’s original design. I reproduced the flowers in the form of pieces of paper as if they were pressed between a white surface and glass. I tried to communicate the fragility of the petals through the tears visible on the stressed and torn paper.” For Italian illustrator, animator and graphic novelist, Walter Petrone, it was one of his favourite animals that 45

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inspired his take on the GG Monogram design. “The way the manta ray swims is hypnotising,” he says. “The animal has two enormous ‘wings’ that reach an opening of up to eight metres and make it a kind of leviathan, an alien being, something that almost detaches itself from the normality of this planet. Observing this creature floating in the oceans has always given me the feeling of observing something magical, beautiful and elegant, but at the same time distant, mysterious, arcane.” By expressing their singular approaches, the nine artists’ creations are distinct, while blurring the lines between pop, fine art and fashion. “In the scarves, each character comes to life, from the central lily of Flora to the animals of the savannah, metamorphosing into sci-fi monochromatic gels or compelling characters from an adventure comic, 46

interpretations that strengthen the symbols of the House, animate them and launch them towards new perspectives, interpretations and uses for the future.” “The final part of Gucci’s silk scarf process is the hand-stitched finishing,” says Jo-Ann Furniss in Gucci: The Art of Silk. “Hand-rolled and stitched, the foulard edges are finished in the Italian manner, with the roll gravitating to the back of the scarf (while the French finish would roll to the front). This delicate and demanding work requires an obsession with perfection: The expert stitchers take forty minutes with each 90 x 90 silk twill piece, something that would take others hours to complete. It is the end part of the process before such a mini-masterpiece comes into a customer’s possession.” Another moment stitched into Gucci’s fascinating story. Gucci: The Art of Silk is out now, published by Assouline assouline.com

The nine artists’ ‘ creations blur the lines between pop, fine art and fashion ’

Previous pages, from left to right: Gucci’s 90x90 initiative; © Oliver Pilcher; Look 52 SS25 These pages, from left to right: © Oliver Pilcher; Look 20 SS25

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Love letters

Francesca Cartier Brickell discovered a trove of lost family letters in a cellar. The story they told is now part of a landmark Cartier show WORDS: FRANCESCA CARTIER BRICKELL

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ou know from experience that my two brothers mean everything to me. It’s together that we dreamed of the greatness of our house, it’s together that we developed it and spread its fame to the four corners of the globe.” When my great-grandfather Jacques Cartier read these words from his brother Pierre during the First World War, the family’s dream of creating “the leading jewellery firm in the world” hung in the balance. The emotionally charged letter aimed to prevent Jacques, still recovering from tuberculosis, from returning to the Front by insisting that Cartier’s success depended on all three brothers: “With the deep affection that unites us, combined with our various talents, God willing, our house will be unbeatable.” Hidden for years, this 1915 letter us now on display for the first time at the V&A’s landmark Cartier exhibition, London’s first major showcase of the jeweller’s work in three decades. I discovered it by chance while searching for a bottle of champagne in my grandfather’s cellar on his 90th birthday. Opening a dusty trunk, I unearthed a century of long-lost family correspondence. Entire forests worth of paper have been written about Cartier – the jewels, the brand, the stars dazzling in their tiaras and tank watches – but the raw ambition, fears and hopes documented in that trunk opened a window into another world. It propelled me to leave my job in the City and embark on a decade-long research journey across the globe to uncover and chronicle the untold family story behind the glamour. Sitting on their bedroom floor above the family’s modest jewellery shop as the 19th century drew to a close, the three young Cartier brothers studied the map of the world laid out between them. Their 49

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vision required strategy: divide and conquer. Louis, the creative eldest, marked out territories with a pencil: he would command the Parisian branch their grandfather had founded half a century earlier; Pierre, with his head for business, could look after clients in America; and gentle Jacques, wise beyond his years, would oversee Britain and its colonies, especially the jewel of India. Three brothers, three branches – no more, for like the Rothschilds who partly inspired them, the Cartiers believed family alone shared the same values. What was remarkable, my grandfather later reflected, wasn’t that young boys devised such an audacious plan, but that they achieved it. Initially opening in 1902, on the request of a soon-to-be King Edward VII so that coronation guests could buy their tiaras without crossing the Channel, Cartier London grew quickly. In 1909, Jacques opened the doors of a larger showroom at 175 New Bond Street (where it remains today), transforming it into an elegant social hub where duchesses mingled with American heiresses seeking unique treasures to wow friends back home. In 1921, several years before Cartier Paris, the London branch opened an in-house workshop, English Art Works, soon known as the best in the country, with its craftsmen repeatedly winning awards (the top prize at Goldsmiths Hall annual ceremony still bears Jacques Cartier’s name). From the corseted Edwardian era through to the mini-skirted 1960s and 70s, Cartier London maintained its distinctive identity. Yet despite its innovative designs and rich heritage, it has long dwelled in the shadow of its Parisian counterpart. It seems only fitting therefore that the V&A – in the very city where Jacques and his son, Jean-Jacques, elevated jewellery artistry to new heights – now showcase Cartier London’s phenomenal creations, from art deco tiaras and royal diamond flowers to ancient Egyptian-inspired brooches, chirpy gem bird clips, rare handmade watches, and never-beforeseen original designs. Jacques embraced his adopted country, settling in Dorking with his beloved wife Nelly and their children, and soon becoming friends with many of his clients: from the arty set like 50

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If the British royals impressed with their jewellery, the maharajas took luxury to another level

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Isadora Duncan and Vita Sackville West, to visiting Maharajas, European diplomats and even the British Prime minister HH Asquith. It was Asquith’s wife Margot, Countess of Oxford, who, after years of friendship, captured Jacques’s essence so astutely in his obituary: “Jewellers are not always great artists, but this was not the case with M Jacques Cartier. He was rarer than a great artist, or designer in precious stones: he was a wonderful friend. Completely unself-seeking, courteous to strangers, gay, kind and the best of ambassadors between the France which he loved and the England which he admired.” At work, Jacques believed in prioritising the training of young local talent rather than employing Parisian craftsmen, even though it cost him money and time. During the 1930s, when high unemployment led to a public outcry against foreign firms taking local jobs, the jewelloving Queen Mary helped highlight Cartier London’s British workforce in a publicity-generating visit that ended up being “a great success” for the firm (needless to say, the earrings she liked were sold to her at a very attractive royal rate). Future royals, including Princess Margaret, continued this tradition. “We never made much on the royal sales, if anything”, my grandfather explained. But the 'influencer' effect was worth it. A spectacular 1938 diamond rose brooch that Princess Margaret Rose wore at her sister’s coronation features in the exhibition. If the British royals impressed with their jewellery, the maharajas took luxury to another level. Jacques’s first trip to India in 1911 was almost comically disastrous: he attempted – and failed dismally – to teach himself the language on the three-week boat

journey, was given a stubborn donkey instead of the expected luxury car, had to chase a valuable borrowed pearl across the country, and brought entirely inappropriate inventory: delicate feminine pieces when the Indian princes wanted jewels for themselves, not their wives. The silver lining was that he established connections with many Indian princes whose commissions would help keep the firm afloat when the triple blow of the Russian Revolution, the First World War and the Great Depression decimated the spending power of jewellery buyers in Europe and America. Trace a precious stone’s journey through history, and you map the world’s ever-changing centres of power. Of all the thousands of jewels Jacques brought into existence, his pride and joy was a necklace for his dear friend Ranji, the Maharaja of Nawanagar. The three-year creation process reflected both men’s gem-connoisseurship and patience in tracking down some of the rarest diamonds in existence. “Had not our world witnessed an unprecedented succession of world-shaking events,” Jacques reflected, “such gems could not have been bought at any price; at no other period in history could such a necklace have come into existence.” While this masterpiece has vanished – though it made a fictional appearance as the target of a heist in Ocean’s Eight, oddly credited to Jeanne Toussaint – visitors can marvel at the Maharaja of Patiala’s enormous necklace, originally containing nearly 3000 diamonds, many now replaced with replicas after it surfaced in a London antiques shop missing its main stones. Jacques’s Indian expeditions of the 1920s and 30s became legendary affairs, his entourage – Nelly, her lady’s maid, the doctor and chauffeur – sweeping across the subcontinent from Surrey in the family RollsRoyce. One Nepalese royal wedding required dismantling the car to carry it piece by piece over the Himalayas, before meticulously reassembling it on the other side to make a majestic arrival at the palace – only for the King to purchase absolutely nothing. Even more than a salesman though, Jacques was an artist, and his journeys profoundly shaped Cartier’s aesthetic:

Opening page: Rose clip brooch, Cartier London, 1938. Vincent Wulveryck, Collection Cartier © Cartier This page, clockwise from left: brooch, Cartier London, 1933. Vincent Wulveryck, Collection Cartier © Cartier; Orchid brooch, Cartier Paris, 1925. Marian Gérard, Cartier Collection © Cartier; Pierre Camille Cartier and family; Panther skin wristwatch, Cartier Paris, 1914. Nils Herrmann, Collection Cartier © Cartier; Crash Wristwatch, Cartier London, 1967. Vincent Wulveryck, Collection Cartier © Cartier; Tiara, Cartier London, 1937. Vincent Wulveryck, Collection Cartier © Cartier; Burmese jade necklace, Cartier Paris, 1934. Image courtesy of Cartier

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Opposite page: Grace Kelly wearing her famous Cartier engagement ring in High Society (1956)

the panthers he and Nelly marvelled at in the wild became iconic big cat jewels, temple sketches in his travel diaries transformed into art deco brooches and the vibrant palette birthed an entirely new jewellery style. “Out there one does not see as in the English light,” Jacques explained to clients shivering through British winters. “One is only conscious that here is a blaze of red, and there of green or yellow… one vivid impression of undreamed gorgeousness and wealth.” Eager to recreate this warmth and energy, he incorporated carved rubies, emeralds, and sapphires purchased from Delhi gem markets into magnificently colourful ‘tutti frutti’ jewels. The exhibition features perhaps Cartier London’s finest example, and one of my favourites, a 1928 bandeau ingeniously convertible into two bracelets, appropriately purchased by the future Vicereine of India, Lady Mountbatten. Throughout Cartier London’s evolution, from the mind-blowing commissions of the interwar years through the hardships of post-war austerity and the rebellious swinging Sixties, the family motto – “never copy, only create” – remained sacrosanct. Designers, following the disciplined approach of “Silhouette, Mass, Detail,” emphasised clean lines and symmetry with “an absence of twiddly bits”. Craftsmen spent years perfecting techniques to minimise visible mounts: “We weren’t in the business of selling metal,” my grandfather explained, showing me the skill involved in making the gems appear as if they were holding together by magic. Heavily involved in the creative process, the visionary Jean-Jacques, like his father, was a much-loved and admired boss. Visitors to the museum will be able to see the result of his perfectionism in jewels including Queen Elizabeth II’s 1950s pink Williamson diamond flower brooch, accompanied by designer Frederick Mew’s original sketches for the first time; and Jean-Jacques’s favourite: a breathtaking gemencrusted stag’s head in full relief that he designed for his sister-inlaw, Princess Rethy of Belgium.

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With the deep affection that unites us, combined with our various talents, God willing, our house will be unbeatable

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Jean-Jacques also left his mark on the world of timepieces. Against a backdrop of anti-establishment fervour, youthfocused fashion, psychedelic music and irreverent pop art, he revolutionised watch design by adding his own twist to classic forms. The exhibition features several rare examples made by Cartier’s Wright and Davies workshop, including a never-before-exhibited rotated variation of the London Oval once owned by Cartier salesman (later head of production) Paul Vanson, and the infamous Crash, inspired not by an accident as legend suggests, but by Jean-Jacques “pinching the ends and putting a kink in the middle” of the popular oval shape. The first Crash took months to perfect as the unusual shape distorted time-telling, requiring head designer Emmerson to repeatedly repaint the dial by hand. Initially considered too avant-garde (actor Stewart Granger returned his), the Dali-esque design recently popularised by rappers like Kanye and Tyler the Creator, now commands astronomical prices: from £300 ($395) in the 1960s to $1.65 million at a recent LA auction. Behind these creations were real people with colourful stories. There was the shocking ‘Mayfair playboy’ heist, where four polished public school boys lured a salesman to the Hyde Park Hotel on the pretence of needing an engagement ring only to violently truncheon him almost to death and flee to Oxford, where they were soon arrested at the Randolph Hotel. There was the ordinary day that ended with Elizabeth Taylor hovering in the workshop while her famous 69-carat diamond ring, a recent gift from Burton, was resized; the craftsmen,

trying hard to respectfully avert their eyes from the Hollywood goddess standing over them, recalled how “she would not let it out of her sight, as if she didn’t trust us!” Then there was the everyday reality of female employees washing their hair in sieve-fitted work sinks to retrieve gold dust and setters being given two days off work to calm their minds, and hands, before setting incredibly fragile Mughal emeralds. Through it all, there was the feeling, repeated by so many I interviewed, that Cartier London felt “like family,” as generations worked side by side through life’s highs and lows. This rich heritage is now being celebrated. The V&A exhibition isn’t dedicated to Cartier London but curators Helen Molesworth and Rachel Garrahan do give the British branch deserved recognition. Among the treasures on display, one piece holds particular significance for me: an amethyst brooch symbolising the extraordinary love story between my great-grandparents. When Jacques sought Nelly Harjes’s hand, her banker father refused, dismissing him as beneath their station. Standing his ground and insisting his love was genuine, Jacques was challenged to prove it by making no contact with Nelly for an entire year. Precisely 365 days later, he returned, his devotion unwavering, promising never to touch a cent of her fortune – a vow he kept throughout their lives. Theirs was a real love story, the stuff of movies, cut too short when Jacques died aged 57, during the Second World War. But their bond lives on through the brooch that Jacques designed for his soulmate: her birthstone, an amethyst, surrounded by four diamonds, representing their two sons and two daughters, each framed by Jacques’s birthstone, sapphire. The whole family in a jewel. My grandfather remembered it as his mother’s most cherished possession – a testament not only to Cartier London’s inimitable design philosophy and extraordinary craftsmanship but also to their enduring love. Cartier shows at the V&A Museum, London until Nov 16 53

Best of Both Worlds

Range Rover’s hyper-intelligent PHEV is the perfect introduction to its electric future

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WORDS: JOHN THATCHER

Motoring MAY 2025: ISSUE 163

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efore SUVs became omnipresent. Before every luxury marque built one. A man named ‘Spen’ King had an idea. History has it that King, a British engineer and nephew of the founders of Land Rover, had longed to design a car that improved on the performance and comfort of the utilitarian Land Rover, which had debuted in 1948, while retaining its four-wheel drive and off-road capability. In short, a car that would be as much use to a farmer navigating their rugged fields as it would a suit-clad driver at high-speed on the highway. The idea popped in the 1960s, and while London was swinging, Spen was busy sketching, perfecting lines that would ultimately form the Range Rover. Launched in 1970 in a striking Tuscan Blue hue, so outstanding was King’s design that it was once chosen for exhibition at the Louvre – the first time such an honour was bestowed on a car. It would go on to claim the approval of fashion royalty – a model created 56

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This is a highly intelligent car, which knows what you need before you do

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as a one-off for a Vogue photoshoot in the South of France was so popular it would morph into a permanent model – and actual royalty – the State Review Range Rover was created in 2015 for the late Queen Elizabeth II – all the while innovating at every stage of its evolution and adding an extra layer of luxury. The reason for the potted history is simply to establish Range Rover as the original SUV. The OG. The benchmark against which all other luxury SUVs must still be measured. “In the world of luxury vehicles, the Range Rover has always stood apart as peerless and enduring,” stated Gerry McGovern OBE, JLR’s Chief Creative Officer. “Its unique and pioneering sensibilities together with an unrivalled

engineering approach have been the intrinsic values which our customers have admired since the first of the breed was revealed in 1970.” Soon, the Range Rover story will add another chapter with the delivery of its first all-electric iteration, for which there’s a substantial pre-order list. But to whet the appetite, there’s the PHEV version – that’s Plug-in Hybrid Electric Vehicle for those not up to speed with motoring acronyms – which pairs a petrol engine with an electric battery. And not the type of electric battery you’d find in a typical hybrid vehicle which, if powering the car by itself, would struggle to get you from A to B. This one is much larger, powered up at the mains and will take you as far as 94km, far enough to complete your daily commute without the assistance – and air-choking impact – of the accompanying combustion engine. Indeed, this is a car that’s perfect for those who fear succumbing to range rage if driving an all-electric vehicle, because once your electric is used up you have the considerable safety net of

the 3.0-litre 6-cylinder petrol engine. That’s not to say that the two are fiercely independent. For example, the default driving mode automatically selects between the petrol engine and electric battery to meet the power and torque required for your journey. Then there’s another anacronym, PEO (Predictive Energy Optimisation) a function which, once you’ve entered your destination into the car’s navigation system, will switch between the electric motor and petrol engine to help maximise fuel economy and minimise emissions throughout your journey. Additionally, whichever mode you’re driving in, the car’s regenerative braking system will harvest

battery power while you slow down. This is a highly intelligent car which, in addition to doing all it can to earn you brownie points from Mother Nature, knows what you need before you do – hence the highlighted shortcuts to things like maximum AC and 360° parking cameras, and the flush door handle and step suddenly extending outwards to greet you as you approach. It’s also a car that’s insanely comfortable; its electronic air suspension makes the road feel like silk, while you’re completely cosseted in your elevated driving position – right down to being able to select from a range of massage options – ensuring that every drive is also a pleasure, a

word you wouldn’t readily associate with driving in Dubai, where we put the PHEV 460e version through challenges as gruelling as the daily school run. This level of luxury heads into the heavens should you opt for the SV model and indulge in all manner of bespoke options. But let’s not forget in all this talk of refinement that this is also a fun car to drive, not least in EV mode. While there might be an aural thrill attached to particular petrol engines, the instant, rapid acceleration that an electric battery delivers trumps it every time. The fully electric version of Spen King’s dream is sure to be some car.

Gastronomy

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MAY 2025: ISSUE 163

Star Man

After two years of success, Tristin Farmer left Dubai in 2017. Now he’s back with three Michelin stars and his own restaurant WORDS: JOHN THATCHER

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ust the thought of being on the receiving end of one of Gordon Ramsay’s infamous tirades is enough to make most people tremble. For Tristin Farmer, being blasted at point blank range by the expletivehappy chef was the making of him. “It was one of the best days of my life. I called my mum and told her Gordon had shouted at me and she asked if I was ok. I said, yeah, it means Gordon knows my name!” The caveat is that Tristin Farmer isn’t like most people. He’s a richly gifted three Michelin-starred chef who has arrived in Dubai with a recipe for something different. Not least, a restaurant in which Tristin will actually be in the kitchen – a rarity for big-name chefs in Dubai, who tend to visit their restaurants sporadically. That alone makes Maison Dali a tantalising prospect. But that’s only part of the draw. “I’m crazy about food,” he proclaims, as we sit down to lunch at Revolver, the other exciting restaurant he has brought to Dubai as chef partner and culinary director of Culinary Arts Group, both located inside the Zaha Hadid-designed ME Dubai. “Maison Dali offers the depth and complexity of what we do in a three-star restaurant, put into a simple format.” The simple format is that of a brasserie; the food Mediterranean and Japanese-inspired and their ingredients very familiar. “But then as soon as you eat it the complexity blows your mind.” That juxtaposition is where the Dali reference comes into play. The décor and dishes are visually rich, the flavours multi-layered and exceptional. There’s a theatrical vibe to the mood, the service playful. It’s designed to “keep you guessing” says Tristin. To ask yourself, “What just happened there?” In keeping with this spirit, there’s also the Dali Supper Club, hidden away with speakeasy-style access so that entry to it feels exciting. A cocktail bar, the bite-sized food designed to accompany the drinks here is more experimental, pairing masterfully with an outstanding offering of libations, both with alcohol – including 50 wines by the glass – and particularly without; the highly inventive non-alcoholic lineup the first of its kind to be designed by a three-Michelin-starred chef. “We’ve applied the same thought 60

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Suddenly something changed and I realised I could really thrive under pressure

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process to these drinks as we do when approaching recipes,” says Tristin, hailing the likes of a white grape juice that he’s fermented with milk bread to give it toasted, yeasty notes similar to Champagne. And another that sees smoked cherries mixed with fermented tomato water and lapsang tea. Tristin’s creativity is boosted by a unique gift: an ability to not only visualise the finished product before beginning work on it, but to almost taste it. “I don‘t know how to describe it, but things just pop into my head. The colour, the texture, the taste, the smell, the temperature. It’s really strange.” Maison Dali is not Tristin’s Dubai debut. That came when he was recruited by Jason Atherton, whom we worked with in London, to head Marina Social. But it was in Singapore where he made his name – and learnt a great deal. Over six years Tristin helped Zén – the sister restaurant of Bjorn Frantzén’s three-star Frantzén – earn its own three stars, following in the footsteps of his old boss Gordon Ramsay to become only the second Scotland-born chef to do so. “It was life-changing, it really was. To cook at that level was incredible. But I also learnt how to see a fine dining restaurant as a luxury product and to approach it in a different way; high energy with a very social approach to service. I also learnt how to really take care of your team and how to get them to work less but produce more.” While he’s taken something from each of the chefs he’s worked for, Tristin is very much a product of his own determination to succeed. An inner fire that can’t be doused. As soon as he scooped three stars, he told his team to aim for the impossible feat of a fourth. “You’re pushing yourself to be better, not just trying to maintain what you’ve got. That makes things very exciting because you’re always trying to blow guests away.”

It’s hard to reconcile the chatty, engaging and endearing character sat opposite me with its self-described shy, introverted and insecure alter ego who, even after winning three stars, doubted that he was at the same level as others who’ve achieved such acclaim. “I would always think I was never good enough, always worried what other people thought of me, that I wasn’t as good as other chefs. I was always trying to prove myself, so even after winning three stars I still thought the same way. “I’m also quite uncomfortable with praise. If someone tells me I’ve just cooked the best meal they’ve ever had, my first thought is that they haven’t eaten out enough.” It’s equally difficult to understand how such a character flourished under the tutelage of Gordon Ramsay, the polar opposite. “Gordon used to always spend a lot of time in the kitchen, and I always felt really intimidated and scared to make a mistake. So my thought process was always like, ‘Don’t make a mistake’, ‘Don’t mess up’. I used to actually repeat it to myself, like a mantra. Then, of course, Gordon came in one day and the floor was wet and I picked up a big tray of sauce which ended up all over me and he lost his mind. “One time he took me aside and said, ‘You’re a very good chef. Why are all these crazy things happening? I explained how I was really trying not to make a mistake, to make him happy. And he said ‘Stop that. Accept that things are going to go wrong, accept you’re going to make mistakes, accept I’m going to tell you off, and accept that bad things will happen. But don’t stress about it.’ And suddenly something just changed, and I realised I could really thrive under pressure. That I could almost laugh in the face of danger to the point that I was bored if something wasn’t difficult enough.” Launching your own restaurant in a market as competitive as Dubai’s is certainly difficult. But it’s something Tristin had already visualised, naturally. “I started off in a small village in Scotland with no money. But I knew that if I worked hard, one day I’d be able to have a restaurant. I knew that I would do it.” He’s not the type to admit it, but he’s probably also seen that it’s going to be a big success.

Travel

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MAY: ISSUE 163

All Tracks Lead to Rome The renaissance of Rome’s hotels continues with the opening of the first Orient Express hotel

n what is a Jubilee year for Rome, an event that takes place once every quarter of a century, the Eternal City is expected to attract some 30 million visitors before the year is out. In preparation, it has seen a slew of luxury hotels open up, including the much-hyped Romeo Roma, which offers Zaha Hadid design and Alain Ducasse cuisine, and Palazzo Talia, a transformed 16th-century Renaissance palace. But it’s the rebirth of another palace – one from the 17th century – that excites us the most. Mere steps from the Pantheon on the atmospheric Piazza della Minerva, the once magnificent home to an influential Portuguese family is now the first Orient Express hotel. “Opening the doors of Orient Express La Minerva marks a powerful moment in our journey,” says Gilda Perez-Alvarado, CEO of Orient Express. “Through the visionary work of artist-architect Hugo Toro, we have the privilege to breathe

new life into a heritage property deeply rooted in the fabric of this timeless city.” With a number of glamorous projects to his name – including Hotel Particulier in Paris and Gigi in Dubai – French-Mexican creative Toro has unveiled corridors reminiscent of Orient Express carriages and turned each of La Minerva’s rooms into an homage to travel’s golden age. Noteworthy details include bespoke bedside trunks, hand-painted ceiling artwork, and the same type of bed linen once used inside Orient Express sleeper cars. Of four individually designed Signature Suites, the Orient Express Suite is the largest. A harmonious marriage of modern and Art Deco styles, it features a kitchen, dining room and entertainment courtesy of a stack of vinyl records and a turntable. Toro isn’t the only link to Dubai. Rikas Hospitality Group will this month open Gigi Rigolatto on the hotel’s rooftop, where diners get to drink in panoramic views of some of Rome’s storybook buildings

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We have the privilege to breathe new life into a heritage property

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(St. Peter’s Basilica, the Vittoriano and Pantheon) and will add Dubaifavourite Mimi Kakushi later this year. “La Minerva is a secret spot where you can admire the wonders of Rome,” enthuses Toro. Though we suspect it won’t stay a secret for long. 63

What I Know Now MAY 2025: ISSUE 163

AIR

Tatiana Korsakova ENTREPRENEUR The best piece of advice I have ever received, which has resonated with me profoundly throughout my life, is to always follow my gut feeling. This advice was imparted to me during my teenage years, a time when I was beginning to navigate the complexities of life and decision-making. It struck a chord with me, leading me to realise the importance of trusting one’s intuition. When reflecting upon my greatest achievement, I find it impossible to overlook the profound experience of motherhood. My children are not only a source of immense pride but also my greatest teachers in life. Each child possesses unique qualities that continuously open my eyes to different facets of existence, rendering the journey of parenthood both enlightening and rewarding. Witnessing their growth into happy, confident and kind individuals fills my heart with unparalleled joy. A lesson I learnt rather painfully was the importance of heeding my inner voice. In my youth, I often silenced my instincts, believing that my lack of life experience 64

rendered me unqualified to trust my gut feelings. Instead, I sought validation from the experiences of others, convinced that their wisdom would guide me towards the right choices. However, this reliance on external opinions led to several missteps and regrets. As a perfectionist, I often find myself setting exceedingly high standards, not only for my work but also for my personal achievements. In this pursuit of excellence, I have come to recognise that I can be quite harsh on myself, failing to acknowledge my own accomplishments and rarely taking the time to celebrate my successes. I wish I could cultivate a gentler approach towards myself, one that allows for self-compassion and recognition of my efforts. Perfect happiness, in my eyes, is found in the connections we build with one another. The laughter shared around the table, the heartfelt conversations, and the bonds strengthened through shared experiences are what I treasure most. These moments create lasting memories that our children

will carry with them, instilling in them the importance of family values and togetherness. I find solace in the simple yet profound joy of communal gatherings. If I were to address my younger self, the most significant piece of advice I would impart is to refrain from comparing oneself to others. In a society that often celebrates competition and benchmarks, it is easy to fall into the trap of measuring one’s worth against the achievements of peers. However, I have come to realise that each individual’s journey is uniquely their own, and it is essential to honour that individuality. Without a doubt, the person I most admire is my mother. She embodies a rare and beautiful spirit, characterised by unwavering selflessness and kindness. In a world that often prioritises individual gain, my mother stands out as a beacon of generosity, giving of herself without hesitation or compromise. Her ability to support others while neglecting her own needs is both admirable and humbling.

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