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EDITOR’S LETTER

I

t may seem ironic to anyone who knows me that I am presiding over an issue devoted to style, but, of course, I can argue that style is in the eye of the beholder. Note my use of the singular. Style is a broad canvas, and not to be mixed up with fashion, which, as Oscar Wilde pointed out, is a form of ugliness so intolerable that it has to be altered every six months. This is something the writer of our cover story would agree with. A fashion industry insider, she exposes the murky world of models, designers and a pliant fashion press. The story is illustrated beautifully by

Lindsey Spinks, a young British artist who re-imagined a drawing of hers we found about hapnophobia (the fear of being touched). Such is the haphazard way our covers take shape. There was nothing haphazard about Edith Head, whose book, How To Dress For Success, was something of a must-have style guide for women in the 1960s. While some of the advice might seem (very) dated, Head is still revered around the world. We also take a look at Hong Kong’s disappearing tailors, who are finding it impossible to carry on a generations-old tradition. One legacy that will live on is that of the architectural creations scattered around the far edges of the former Soviet Union. Shocking but beautiful, these buildings are snapshots of another time. Enjoy the issue.

CONOR@OPENSKIESMAGAZINE.COM

Emirates takes care to ensure that all facts published herein are correct. In the event of any inaccuracy please contact The Editor. Any opinion expressed is the honest belief of the author based on all available facts. Comments and facts should not be relied upon by the reader in taking commercial, legal, ďŹ nancial or other decisions. Articles are by their nature general and specialist advice should always be consulted before any actions are taken. PO Box 2331, Dubai, UAE Telephone: (+971 4) 282 4060 Fax:(+971 4) 282 4436 Email: emirates@motivate.ae

84,649 COPIES Printed by Emirates Printing Press, Dubai, UAE

EDITOR-IN-CHIEF Obaid Humaid Al Tayer GROUP EDITOR & MANAGING PARTNER Ian Fairservice GROUP SENIOR EDITOR (JOB +PIOTPO Ĺ&#x; HJOB!NPUJWBUFBF SENIOR EDITOR .BSL &WBOT Ĺ&#x; NBSLF!NPUJWBUFBF EDITOR Conor Purcell Ĺ&#x; DPOPS!NPUJWBUFBF ART DIRECTOR 5JB 4FJGFSU Ĺ&#x; UJB!NPUJWBUFBF CHIEF SUB EDITOR *BJO 4NJUI Ĺ&#x; JBJOT!NPUJWBUF ae STAFF WRITER .BUUIFX1SJFTU CONTRIBUTING WRITER (BSFUI3FFTĹ&#x;HBSFUI!NPUJWBUFBF SENIOR PRODUCTION MANAGER S Sunil Kumar PRODUCTION MANAGER C Sudhakar GENERAL MANAGER, GROUP SALES "OUIPOZ .JMOF Ĺ&#x; BOUIPOZ!NPUJWBUFBF BUSINESS DEVELOPMENT MANAGER /JDPMB )VETPO Ĺ&#x; OJDPMB!NPUJWBUFBF SENIOR ADVERTISEMENT MANAGER +BZB #BMBLSJTIOBO KBZB!NPUJWBUF BF DEPUTY ADVERTISEMENT MANAGER Murali Narayanan ADVERTISEMENT MANAGER 4ISVUJ 4SJWBTUBWB EDITORIAL CONSULTANTS FOR EMIRATES: &EJUPS 4JPCIBO #BSEFU "SBCJD&EJUPS)BUFN0NBS %FQVUZ&EJUPS4UFQIBOJF#ZSOF 8FCTJUFĹ&#x;FNJSBUFTDPN CONTRIBUTORS: Mark 5VOHBUF -VDJBOP#BM[BOP 'BSPPR4BMJR 8BFM"M4BZFHI .BSL1PXFMM )( (FNNB$PSSFMM 1IJM0I +FĘŤSFZ.BD*OUZSF  +BDRVFMJOF ,MBTTFO  "OO #MBDL  )JMBSZ #SFOIPVTF  (SJTDIB 3ÂşTDIFOEPSG  &EJUI )FBE  'S¨E¨SJD $IBVCJO  "YJT .BQT  COVER ILLUSTRATION CZ-JOETFZ4QJOLT MASTHEAD DESIGNCZ2VJOUĹ&#x;XXXRVJOUEVCBJDPN INTERNATIONAL MEDIA REPRESENTATIVES AUSTRALIA/NEW ZEALAND Okeeffe Media; Tel + 61 89 447 2734, okeeffekev@bigpond.com.au BENELUX M.P.S. Benelux; Tel +322 720 9799, Fax +322 725 1522, francesco.sutton@mps-adv.com CHINA Publicitas Advertising; Tel +86 10 5879 5885 FRANCE Intermedia Europe Ltd; Tel +33 15 534 9550, Fax +33 15 534 9549, administration@intermedia.europe.com GERMANY IMV Internationale Medien Vermarktung GmbH; Tel +49 8151 550 8959, Fax +49 8151 550 9180, w.jaeger@imvmedia.com HONG KONG/MALAYSIA/THAILAND Sonney Media Networks; Tel +852 27 230 373, Fax +852 27 391 815, hemant@sonneymedia.com INDIA Media Star; Tel +91 22 4220 2103, Fax +91 22 2283 9619, ravi@mediastar.co.in ITALY IMM Italia; Tel +39 023 653 4433, Fax +39 029 998 1376, lucia.colucci@fastwebnet.it JAPAN Skynet Media, Inc.; Tel/Fax +81 43 278 6977, skynetmedia@y2.dion.ne.jp NETHERLANDS GIO Media; Tel +31 6 2223 8420, giovanni@gio-media.nl SOUTH AFRICA International Media Representatives; Tel +27 11 234 9875, gisela@imrsa.co.za SPAIN IMM International; Tel +331 40 1300 30, n.devos@imm-international.com TURKEY Media Ltd.; Tel +90 212 275 51 52, mediamarketingtr@medialtd.com.tr UK Spafax Inflight Media; Tel +44 207 906 2001, Fax +44 207 906 2022, nhopkins@ spafax.com USA Totem Brand Stories; Tel +212 896 3846, Fax +212 896 3848, brigitte.baron@totembrandstories.com

25


CONTENTS

SEPTEMBER ���� OUR MAN IN PARIS ON WHY THE CITY’S LADIES ARE SO FASHIONABLE

(P33)… WE SHOWCASE NEW YORK’S COOLEST HAIR SALONS VIA TWITTER PITCH (P37)… ONE OF SYDNEY’S HIDDEN GEMS GETS THE ROOM TREATMENT (P39)… MILAN HAS STYLE. LOTS OF IT, AS WE DISCOVER WHEN WE MAP THE ITALIAN CITY (P40)… OUR COLUMNIST EXPLAINS THE EVER�CHANGING WORLD OF GULF FASHIONS (P49)… A BELGIAN DESIGNER HAS ONE OF THE MOST EYE�CATCHING BOUTIQUES IN ASIA (P56)… DELIGHT IN THE DELICIOUS CUPCAKES AT MAGNOLIA, ONE OF NEW YORK’S FINEST BAKERIES (P58)… WE PICK UP SOME GEMS IN THE FINANCIAL CAPITAL OF EUROPE (P60)… OUR

FASHION INSIDER LAYS OPEN A WORLD OF TANTRUMS, TEARS, LIES AND EXPLOITATION � WELCOME TO THE WORLD OF HIGH FASHION

(P66)… HONG KONG’S TRADITIONAL TAILORS ARE A DYING BREED. WE JOURNEY TO THE ISLAND TO FIND OUT WHY (P76)… EDITH HEAD GIVES SOME QUIRKY �AND INVALUABLE� ADVICE ON HOW TO GET A RAISE, AND A HUSBAND (P88)… STUNNING IMAGES OF A PARTICULARLY STYLISH BRAND OF SOVIET ARCHITECTURE (P98)… 27


CONTRIBUTORS

LINDSEY SPINKS: Lindsey is a freelance illustrator based in London. She is passionate about handmade imagery and her medium of choice is the mechanical pencil. Her work has been exhibited in the UK and she has illustrated for numerous publications. JEFFREY MACINTYRE: Jeffrey is a New York-based writer who has written for the New York Times, Slate, The Boston Globe, Intelligent Life and Wired. He has written on everything from bathroom graffiti to evolutionary biology.

HILLARY BRENHOUSE: Hillary is an arts and culture writer currently based in Hong Kong. Her work has appeared in such publications as TIME magazine, Slate and the International Herald Tribune. FRÉDÉRIC CHAUBIN: Frédéric Chaubin is the editor of the French magazine Citizen K, and is a renowned architectural photographer. He has photographed buildings everywhere from Mexico to Vietnam.

EDITH HEAD: Edith was an American costume designer who won eight Academy Awards – more than any other woman, winning her final Oscar for her work on The Sting in 1974. Her book, How To Dress For Success, was an instant classic. 29


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Mechanical chronograph movement | Self-winding | 44-hour power reserve when fully wound | Date and day display | Small hacking seconds | Splitseconds hand for intermediate timing | Screw-in crown | Sapphire glass, antireflective coating on both sides | Water-resistant 12 bar | Case height 16 mm | Diameter 45 mm

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INTRO  ÙÕº  

P. ÙÙº film noir

P. ÚÛº seoul style

P. 58 º New York Cupcakes

RT FRANKFU BOOTEYBANKS

TH WE PROW L FOR SOME IN A M OF THE S CASE FILLER STYLISH SUIT

P60

31


OUR MAN IN

PARIS IS THERE A PARISIAN STYLE? YES – AND IT ISN’T HARD TO ATTAIN

F

or the Parisian, style is about far more than clothing. My wife, who was born and raised in Paris, once informed me that she could tell as much about a person from the way they wielded their cutlery as she could from the way they dressed. “The British tend to shovel,” she would say, with a significant glance across the dinner table. “While Parisians skewer,” I might counter. Nevertheless, if there’s one word that sums up Parisian style, it’s understatement. When I moved here 10 years ago, I noticed it straightaway — without initially being able to put my finger on it. Single at the time, I was intrigued by the city’s females. They were certainly different to the women I’d known in London, who exposed flesh in all weathers. Parisian women were not necessarily sexier, but they were more mysterious. Their hair was darker and scruffier; their voices huskier. But, finally, I realised what it came down to: they wore more clothes. In a word, they were demure. I was shocked six months later when I went to a party in London

and saw how brazenly the English girls were dressed. They were attractive — but they weren’t subtle. Parisian women keep sex on a low simmer, not only because they have to run the gamut of comments from occasionally persistent Parisian men, but because they dress for one another. They have a fear of being perceived as vulgar by their peers. They never want to look as if they’re trying too hard. Their hair must look as if they’ve just got out of bed (preferably with a fringe; fringes are very Parisian) and their make-up is minimal, although bold red lips are acceptable. It’s true that they wear lots of black, daringly teaming it with navy blue. They know how to make jeans and trench coats look the very essence of chic. Very often, they have a scooter helmet slung over their arm along with the latest ‘it’ bag. Indeed, accessories are an essential part of their allure. Women will wear costume jewellery with an evening dress and diamonds with their boyfriend’s striped shirt. They know that a masculine watch makes their wrist look even thinner. And both sexes understand that a flamboyant scarf whisks an outfit

from noncommittal to nonchalant in a flash. Parisians realise that fashion is the spice of clothing, not the main ingredient. If camouflage print is in, they’ll go out and buy a pair of camouflage ballet flats to contrast their monochromatic ensemble. Don’t forget that Paris is a very cosmopolitan city. One of the most influential Parisians right now is the actress Leïla Bekhti, born in a Paris suburb to Algerian parents and recently picked as one of the ‘faces’ of L’Oréal Paris. Many of the coolest-looking Parisians combine subtle references to their Arabic roots with European style. Many of these rules also go for Parisian men, who’ve perfected the art of scruffy stylishness. Which is only natural, as their ultimate hero is the rumpled Serge Gainsbourg. It’s actually hard to find a clean-shaven Parisian male these days. But their stubble is the perfect length, their sneakers, sunglasses and watches are stealthily expensive and the shirt and jeans they haven’t bothered to press fit them perfectly. For the Parisian, the stylish devil is in the details.

Mark Tungate is the Paris-based author of Branded Beauty: How Marketing Changed the Way We Look 33


GRAPH INFORMATION ELEGANCE

34


35

I LLUSTRATION: LUCIANO BALZANO | WWW.LUCIANOBALZANO.COM.AR


TWITTER PITCH

NEW YORK

HAIR SALONS Every month we profile a number of venues in a different city, country or continent. The catch? The companies must be on Twitter and must tell us in their own words what makes them so special. This month, we feature New York’s trendiest hair salons. If you want to get involved, follow us at: www.twitter.com/openskiesmag

Blow NY

Parlor Beauty, courtesy and talent is the

Opened in 2005 as the first-ever

Parlor philosophy. We want to inspire

blow-dry bar, Blow NY built a cult

you through innovative techniques

following for its signature services

and superior service utilising the

and product line, offering trendy

most current trends.

insider styling tips and advice.

www.twitter.com/parlorbeauty

www.twitter.com/blowdrybeauty

Concept Salon

Cutler Salon

Mizu NYC

Concept Salon prides itself on

With 3 bustling NYC salons and

Vaughn Accord & Damian

offering the newest treatments

150+ celebrity/editorial stylists,

Santiago’s luxury brand NYC salon

to keep your hair healthy and

Cutler offers insight into cutting-

w/ incredible talent, warm & friendly

manageable, regardless of your genes!

edge styles of the fashion world.

staff, modern architectural design.

www.twitter.com/conceptsalon

www.twitter.com/cutlersalon

www.twitter.com/mizunyc

37


PEACE OF MIND STARTS WITH PROOF OF QUALITY. Carat Weight 1.53

Color Grade E

Clarity Grade VS1

Cut Grade

Excellent

Laser Inscription Registry Number GIA 16354621

Natural Diamond Not Synthetic

A GIA report is certainty from the source. GIA is the gemological research institute that created the 4Cs and the International Diamond Grading System.™ It is globally recognized as the unbiased expert for professional, detailed gem evaluations. Before you buy a diamond, ask your jeweler for a GIA grading report. To learn more visit www.4cs.gia.edu

THE UNIVERSAL STANDARD BY WHICH GEMS ARE JUDGED.


BOOKED

EDITH HEAD — HOW TO DRESS FOR SUCCESS

I

t may be surprising that Edith Head, the epitome of female success (she won eight Academy Awards for Costume Design) should write a book in such a, well, patronising tone. But maybe things were different in 1967, the year her book was first published. Chapters include Get A Man (“Choose your wardrobe to please him and suit his way of life”) and In Business (“Who knows, you might marry the boss!”), hardly advice for a progressive woman. This new edition features Head’s own illustrations and, among the dated ramblings, some very useful advice. She was ahead of her time in many ways, and very much an exponent of the classic look. Head advises women to stay away from “faddish” clothes and to avoid looking like “mutton dressed as lamb”. Truisms, maybe, but sage advice all the same. Head’s experience of dressing the likes of Grace Kelly, Kim Novak and Elizabeth Taylor is reworked into advice for the ‘average’ woman. The fact that this book is still read today, only underlines her influence (see page 88). V&A Pubishing, 2009

ROOM

208

WATSONS BAY HOTEL SYDNEY, AUSTRALIA

INTERNET SPEED: 1MB, free PILLOWS: Six IPOD DOCK: No PIZZA DELIVERY TIME:

19 minutes COMPLIMENTARY SNACKS: Tea & coffee TOILETRY BRAND: Kudos DAILY NEWSPAPER: Sydney Morning

Herald, The Daily Telegraph EXTRAS: CD/DVD player, additional loft

bedroom BUSINESS CENTRE: No VIEW: 5 /5 RATE: From $195 WWW.WATSONSBAYHOTEL.COM.AU

Set away from the city centre in Watsons Bay, a former fishing village, this petite hotel sits atop one of Sydney’s most famous pubs. Owned by generations of the Doyle clan — the family behind Sydney’s worldrenowned Doyle’s restaurant — guests can enjoy food from the adjacent restaurant or from one of the take-away seafood counters while soaking up the salt air on the outdoor terraces. A coastal walk from here through national parkland takes you around South Head with its stunning views across Sydney Harbour to the northern suburbs and along the cliff faces of The Gap. The hotel has a ferry station: boats run via the harbour bays before stopping at Circular Quay in the city. A true local’s haunt: stylish rooms in an old-style pub façade with a million dollar view.

39


MAPPED MIL AN

Italy’s vibrant economic capital, Milan is synonymous with fashion, design and impeccable style. The city is home to scores of top design houses (including Armani, Prada, Versace and Dolce & Gabbana), four pilgrimage-worthy fashion weeks and an annual industrial design fair that’s one of the world’s best. And it comes as no surprise to find that the local food, nightlife and art scenes manage to keep up the cutting-edge pace. From enduring old favourites to the hottest new venues, Hg2’s Kathryn Tomasetti dishes up a hip antipasti of spots to bed down, dig in and dance the night away.

WWW.HG2.COM

HOTELS 1. 3 Rooms RESTAURANTS �. Clandestino Milano

40

2. Bulgari Hotel

3. The Gray

4. Hotel Principe Di Savoia

6. Antica Trattoria della Pesa

7. Il Marchesino

8. Giulio Pane e Ojo


BARS / CLUBS 9. CafĂŠ Marc Jacobs

10. h club>diana

11. Living

12. Hollywood

GALLERIES 13. Museo del Novecento

14. Galleria Lia Rumma

15. Triennale di Milano

16. Hangar Bicocca

41


MAPPED MILAN

HOTELS 1 3 ROOMS

The brainchild of art guru Carla Sozzani. The three sleek suites are packed with iconic 20th century designs. Premises are shared with a restaurant, boutique, bookshop and gallery.

2 BULGARI HOTEL

3

THE GRAY The Gray boasts 21 unique rooms. Opt for Urban & Fit, with its own private gym, or go for Gallery View, decked out in rich African-inspired textiles. In an alley near the Duomo Cathedral.

4

HOTEL PRINCIPE DI SAVOIA Milan’s landmark hotel takes the titles of grande dame, fin de siècle and any other ritzy superlative you can throw at it. It is completely lavish, but we love the indoor pool.

7

IL MARCHESINO Classic Italian dishes are given a contemporary lift, such as stuffed ravioli with seared langoustine. Menus are supplied on iPads, while the décor takes inspiration from the La Scala next door.

8

GIULIO PANE E OJO This Roman restaurant is renowned both for its home-made pastas and its candlelit, romantic ambiance. Be sure to check out the old ‘price per hour’ signs: the restaurant was a bordello.

The Bulgari Hotel is tucked into a private culde-sac in Milan’s fashion district. Bedrooms are decorated in teak and granite; the hotel’s spa is exquisite, with a pool tiled in pure gold.

RESTAURANTS 5 CLANDESTINO

MILANO This is a temple to both fashion and gastronomy. Chef Moreno Cedroni uses Italian ingredients to craft ‘susci’, his own Mediterranean take on the Japanese staple.

6 ANTICA TRATTORIA

DELLA PESA For authentic Milanese cuisine, this former weigh station is unsurpassed. Cosy up with a plate of creamy risotto alla Milanese or suck up a hearty ossobuco.

BARS/CLUBS 9 CAFÉ MARC JACOBS

In a city that is famed for it catwalks and designer labels, it’s little surprise that the hippest bars have a strong fashion slant. Pop in here for an afternoon espresso or a late evening (expensive) cocktail.

10 H CLUB>DIANA

Hidden behind the Sheraton Diana Majestic’s chic foyer, h club>diana is part Art Deco atrium, part secret garden bar. Aperitivo hour kicks off from 7.30pm, later, live music and late night DJs.

11 LIVING

Living is famous for its vodka selection: sip your way through its 100strong collection. Set in a renovated post office, the bar’s glass windows and sprawling terrace peek out over Arco della Pace.

12 HOLLYWOOD

For 25 years, Hollywood has been Milan’s most popular nightclub and Kate Moss, Tom Ford, Jamiroquai and Carla Bruni have partied here. Music ranges from cheesy electro to R & B.

GALLERIES

42

13 MUSEO DEL NOVECENTO

14 GALLERIA LIA RUMMA

This museum showcases a brilliant permanent collection of 20th century art. Highlights include pieces by Matisse and Picasso, as well as Italian superstars Modigliani, Fontana and Morandi.

Lia Rumma is an unconventional gallery, set over five glass and concrete floors. Recent shows include Vanessa Beecroft’s tableau vivant, blending performance with marble sculptures.

15 TRIENNALE DI

MILANO An exhibition space built almost 80 years ago, it chronicles Italian design from the 1940s to the present: iconic Castiglioni lamps, Olivetti typewriters and Cassina furnishings.

16 HANGAR BICOCCA

This former train workshop still impresses with its giant size. Shows make the most of the space, including Surasi Kusolwong’s installation of five visitor-friendly ping-pong tables.


FLICK CELLULOID DISSECTED

F

amed screenwriter, director and critic Paul Schrader’s writing CV includes such not-insignificant highlights as the scripts for both Taxi Driver and Raging Bull. He might, therefore, be credited with knowing a thing or two about the darker side of Hollywood moviemaking. Which is why, when it comes to seeking out a workable definition for film noir — arguably modern cinema’s most iconic and yet frustratingly slippery genre — his opinion is worth listening to. When we viewers talk about film noir, we’re almost invariably referring to its 1940s and 1950s heyday; the ‘classic’ period which forever etched an image of 44

monochrome moodiness onto the face of popular cinema. Citizen Kane, The Maltese Falcon , Double Indemnity, The Big Sleep, The Third Man , Sunset Boulevard . These are the films that instilled that noir notion of chain-smoking anti-heroes clashing with femme fatales in low-lit detective offices, A nd, in many ways, these visual tropes quickly came to define film noir in the minds of cinema-going audiences — far more so, in fact, than the twisting plotlines, moral ambiguity and all-pervading air of faint nihilism that many would later insist defined the genre. Indeed, for Schrader, noir didn’t even qualify as a genre in its own right: “It is not defined,

as are the western and gangster genres, by conventions of setting and conflict,” he wrote in his seminal essay Notes On Film Noir, “but rather by the more subtle qualities of tone and mood. A film of urban night life is not necessarily a film noir, and a film noir need not necessarily concern crime and corruption.” A ll of which seems perfectly reasonable. But, given how deeply entrenched our impression of a noir ‘style’ remains, can we afford to be quite that reductive? After all, you don’t need a PhD in film studies to pin a genre to a certain look: a sharp-suited Humphrey Bogart, framed in the doorway


MARK POWELL GETS UNDER THE SKIN OF ONE OF FILM’S MOST MISUNDERSTOOD GENRES

of a backstreet whisky den? Well, that’ll be film noir, clearly. So, if the genre should only ever be defined by its prevailing mood or tone, as Schrader would seem to have it, why do we still identify film noir by the set of stylistic associations we have with it? Have we fundamentally misunderstood what elements contribute to making a given movie noir, or can we, in fact, do away with scholarly subtleties of tone and shade and simply claim that we (quite literally) know a film noir when we see it? O f course, as with most critical discussions, the real answer probably lies somewhere in between. The idea of fully

separating noir from its own deeply entrenched sense of style doesn’t sit at all comfortably with our perceptions of the genre. Shooting The Hangover in black and white with a bunch of suitwearing smokers wouldn’t make it a film noir; equally, The Third Man would quickly cease to be identifiable as such if remade in glorious technicolour with a side order of slapstick gags, song-anddance numbers and protagonists running around in tracksuits. What really seems to define film noir, then, is a combination of both its ingrained style and its pervading atmosphere. In which case, rather than what Schrader and others felt was an inherent

‘hopelessness’ being that key defining air, you might prefer to argue it was something more akin to a growing anti-establishment groundswell — a sort of post-war cynicism. This not only helps to account for all the trash-talking, innuendo and wry humour scattered across the genre, but also gives us leverage to think about film noir as a much more conscious phenomenon. It even helps explain the gender politics on display, the desperate men and powerful women. And, since we’ve all fancied a day as a hard-boiled 1950s detective or scheming femme fatale at some point, that seems a much more satisfactory outcome on every level. 45


AB7@E=;7E:3>8B397367@9>;E:^RTȨ

SKYPOD FASHION DJ JEREMY HEALY GIVES US HIS FAVOURITE REMIXES

TWIST AND SHOUT – THE BEATLES (ELEKTROBOX VERSION) You can never go far wrong with The Beatles, but the Elektrobox version of this classic tune is guaranteed to get mums and dads dancing.

AD 74mm wide x 224 mm high

GET IT ON 80S – CALVIN HARRIS VS MARC BOLAN T.Rex were my first favourite band. It is great to be able to play them out again 40 years later thanks to the super funky Calvin Harris.

OUR MAD SUMMER – DRAGONETTE VS MAD PROFESSOR VS THE WHO Gloriously mashed up version of The Who’s classic, My Generation. Then add in a sassie girl rap, a la Gwen Stefani.

HOT AND FUN – N.E.R.D I’ve got a lot of time for N.E.R.D, but the remix of this song by Boys Noise just goes that bit further. A great electro take on the original bassline by War. 46


WWW.JEREMYHEALY.COM

ONE NATION ARMY – THE WHITE STRIPES VS SWEDISH HOUSE MAFIA Jack White’s seminal riff gets everyone singing along instantly! Then those Swedish boys take it on and spin it around.

GOD LOVE LOCKDOWN – COLDPLAY VS KANYE WEST We all know that what Kanye wants to be more than anything is a rock star – so here he is, backed up by the boys from Coldplay.

IT’S A BUBBLE – BENI This is a liquid-funk groove, no doubt destined to be played in stripped down form at Ibiza’s most notorious club, the wonderful DC10, this year.

REPLICA IN THE DEEP – AFROJACK VS ADELE If you like things to get a bit chaotic, then I promise you that this little ditty will create a moshpit in the middle of any dance floor.

DON’T STOP ‘TIL YOU GET ENOUGH – MICHAEL JACKSON (GIGAMESH REMIX) The Gigamesh remix is a pumping update , but it still stays true enough to the original, with Quincy Jones’ perfect orchestration intact.

47


LOCAL VOICES

THE EVOLUTION OF GULF FASHION

BREAKING THE MODE EMIRATI FASHION SENSE IS A LOT MORE COMPLEX THAN IT MAY FIRST SEEM, SAYS WAEL AL SAYEGH

ILLUSTRATION BY VESNA PESIC

A

t first glance, you might be forgiven for thinking that fashion in traditional Gulf Arab societies is limited to the strict formula of ‘men wear white and women wear black’. On closer inspection, however, one can clearly see, woven between the seams, a changing story of heritage allied to modernisation, globalisation, and increasing versatility. Gulf Arab clothes are a reflection of the environment and culture they were born from. A desert climate dictates that as much of the body as possible be covered from the powerful rays of the sun. The Arabic word ‘abaya’ means ‘covering’ and usually describes a loose fitting, black over-garment worn by both men and women. Head-coverings for both men and women are also considered very important. Leaving home without covering your head, apart from

being a health hazard in the strong sun, is considered by some to be a shameful act. A man’s abaya, generally known as a bisht, is a long translucent garment decorated with gold embroidery on its sides and worn over a kandoora, the long, usually white, flowing garment. The bisht is normally seen only on very formal occasions such as weddings, graduations, or on visiting the court of a country’s ruler. Its design has changed very little over the years. Ladies’ abayas, by comparison, have seen great changes. Today they are clearly drawing inspiration from other cultures. Whereas they were once a ‘one style and one colour fits all’ affair, now the options for personalisation are seemingly endless. Wide fit, slim fit, tight fit, wide sleeves and tight sleeves are just some of the choices. Depending on how bold and daring one’s character 49


is, you can opt for see-through fabric or elaborate accessories such as fur, feathers, beads and crystals, or even a shorter hem to show a little leg. Some abayas come in muted shades of brown, blue and green. I once saw a punk-rock style studded abaya that stopped me dead in my tracks. Designers such as Rani Khaoger, a Saudi, and Lamya Abedin, an Emirati, have successfully merged Western styles into their designs. These changes to the style of female dress, which some have

dubbed the ‘abaya revolution’, have proved controversial. Gulf Arab traditionalists, who believe the abaya’s primary function is to modestly cover a woman, complain that modern adaptations attract attention to the wearer. The question of how far the concept of ‘abaya’ can be stretched (what point does it start to become a dress?), is an ongoing debate. Men’s kandooras (also known as dishdashas, jalabayas or thobes) have seen changes too. Each Gulf

Cooperation Council (GCC) country traditionally had its own distinctive cut. A notable change over the past few years is the emergence of hybrid styles that show, for example, a Kuwaiti open collar blended with a tight Qatari fit around the chest and shoulders. Coloured winter kandooras, from sky-blue to deep purple, now make their way out of the wardrobe much earlier in the year. The appearance of Nero and Chinese collars is another example of how other cultural influences

A BRIEF HISTORY OF LAWYERS IN THE MOVIES

50

1957

1959

1962

1982

Take 12 disgruntled men, one of whom should be Henry Fonda, bring to the boil and simmer in a hot room until they’ve decided the fate of a slum dwelling youth accused of murdering his father. The recipe for the best legal drama of all time – Twelve Angry Men.

With a Saul Bass title sequence, a score (and cameo performance) from jazz great Duke Ellington, and James Stewart as lawyer Paul Biegler, legendary director Otto Preminger’s trial drama, Anatomy Of A Murder, was never going to fail, was it?

Gregory Peck won an Oscar for his portrayal of lawyer Atticus Finch in To Kill A Mockingbird – the story of the rape trial of innocent black man Tom Robinson. Keep an eye out for Robert Duvall, making his debut as the misunderstood Arthur ‘Boo’ Radley.

Sidney Lumet’s The Verdict, in which Paul Newman stars as Frank Galvin, an alcoholic Boston Lawyer trying to save his reputation by winning a medical malpractice case, is another classic. A prize for anyone who spots a young Bruce Willis in the closing scene.


LOCAL VOICES

are being expressed in our clothes. While those of a more conservative religious inclination customarily shorten the hem of their kandoora to ensure it stays clean when it comes to prayer time, others add Westernstyle shirt pockets and cufflinks. The Gulf Arab clothes industry now includes non-Gulf Arab designers, with brands such as Burberry, Calvin Klein, Christian Dior, Dunhill and Givenchy just some of the big names that have entered the local market from abroad.

Versatility plays a key part in today’s lifestyle. Formal occasions demand different attire from casual life. Men who wear their gotra, (the white or white-and-red scarf for the head) and eqal (the black rope worn around the head to anchor the gotra) in the office, might choose to dress down and wear an esamah (a gotra worn turban-style) at the weekend. Some have even taken to baseball caps as an alternative. When travelling abroad, it is common to adopt full Western

attire. The change in appearance (from local to Western dress) can be quite startling to those who see the results of a swift transformation that has taken place in an aeroplane’s cramped lavatory. Whichever way you look at Gulf Arab clothes, whether you think they are deliberately defying tradition or are simply evolving naturally to reflect the times we live in, one thing is for sure; there is more to their story than merely ‘men wear white and women wear black’.

1992

1993

1996

2011

Watch My Cousin Vinny and you’ll be glad Joe Pesci’s rooky lawyer, Vincent Laguardia Gambini, isn’t related to you. Unless you’re one of two teenagers arrested for murder in Alabama, that is. Fred Gwynne’s (Herman Munster) turn as Judge Chamberlain Haller was his last.

Daniel Day-Lewis, Pete Postlethwaite and Emma Thompson display the best of British in In The Name Of The Father – the story of four men wrongly convicted of an IRA bombing and the attempts of female attorney Gareth Peirce (Thompson) to free them.

Barry Levinson’s Sleepers features four kids who almost kill a man with a hot dog cart, are abused by a reform school guard, take revenge 15 years later and end up in court with assistant district attorney Michael Sullivan (Brad Pitt) trying to get them off.

If the International Bar Association Conference was a film, it would have a cast of thousands, and a crew that would make Scorsese blush. With 5,000 legal delegates coming to Dubai from October 30 to November 4, this promises to be quite the legal blockbuster.

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INTERVIEW

MY TRAVELLED LIFE LEONARD LOGSDAI L, 62, TAILOR

ON SAVILE ROW

its own vineyard and olive groves, and sits

during travel, which works to a certain

high in the Tuscan hills.

extent. Certainly, if you’ve had your shirts laundered, keep them in the plastic covers.

I met my wife, who is American, and moved

It takes up room, but the shirts stay pressed.

[from Savile Row] to New York. But I was reading in The Times the other day that

ON TRAVEL STYLE

Some wear their best suit on the flight,

the importance of Savile Row has returned

If you’re going somewhere hot, make sure you

where you can hang your jacket onboard.

to the halcyon days, which is encouraging.

have nice cotton and linen blends – and that

They have set up an independent union and

applies for shorts and suits alike. Also, include

are finally coming out of the dark ages.

shirts that won’t show perspiration. If travelling

ON SHORTS

to cooler climes, I advise one smart suit –

Personal style is dictated by the individual.

typically the safe navy option – a chino and

No one would scoff at Brad Pitt wearing

blazer combination and a shirt for each day.

shorts on a plane, but might raise an

ON STYLE My definition of style is timeless elegance

eyebrow at Michael Douglas. As a man of

and the ability to have the courage of ones’

advancing years, no one wants to see my

convictions. One should be aware of fashion

ON PACKING

pasty legs, so you won’t see me in shorts,

trends, but always try and stamp your own

Some suggest using the dry cleaning bags

but casual chinos and a shirt might do

element of individuality on something.

from a hotel to keep the shape of a suit

the trick. Comfort is important.

I always suggest someone should dress for their shape, and always have a smart, navy suit – you can’t go wrong with one of those. Otherwise, just make sure you don’t look ridiculous. A couple of unforgiveables are a check shirt with a striped suit, matching ties and pocket squares and short sleeve shirts.

ON ITALY My favourite destination is Tuscany. My wife and I visited in 2010 and stayed in an 11th century castle for a few days before moving on to Rome. The Castello di Vicarello boasts 53


STREET PEEP • ER GLOB A L WWW.STREETPEEPER.COM            

   

MENSWEAR BUYER

FASHION DIRECTOR,

NEW YORK

BARNEYS NEW YORK NEW YORK

Borsalino hat Cantarelli jacket

Brooks Brothers shirt

Bergdorf Goodman shirt

Celine bag

Simon Spurr tie

Celine shoes

Lanvin shoes

  

54

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    ÂŽ

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STYLIST + SOCIALITE

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Chanel jacket & skirt


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all vintage

Mark Cross bag

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OROMA ELEWA

NEW YORK

EDITOR IN CHIEF,

Helmut Lang jacket

NEW YORK

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J Crew shirt Brooks Brothers trousers

Maki Oh dress

55


PLACE

IMAGES: YONG-KWAN KIM

A R C H I T E C T U R E M A P P E D «ANN DEMEULEMEESTER STORE «SE O U L , SO U T H KO R E A «BUILT 2007

56


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N

ew Yorkers fancy themselves as few things more than authentic, independent and resilient. The epicurean set carry on in the same vein, defiant to uphold the traditions of the corner deli and the allnight diner as much as the next-newthing eatery. So, it’s little surprise that New York spawned Magnolia Bakery, that local stalwart of scratch baking which turned 15 years old this August. Time was, Magnolia was a single bakery of humble means in the West Village of Manhattan. Today, between locations in the Upper West Side, Grand Central Terminal, and Rockefeller Center, it’s a culinary brand on the march. Its expansion of late has it putting down stakes in a corner storefront space at Bloomingdale’s on Fifth Avenue, and it recently landed in Los Angeles and Dubai. Its calling card may have been an iconic Sex and the City cupcake cameo 10 years ago, but the folks behind Magnolia tout something else to explain its lasting power: nostalgia. “Every neighbourhood had a bakery,” explains Steven Abrams, Magnolia’s owner. “They’ve disappeared now.” “Where I grew up in Queens,” says Abrams, 53, “there were all these bakeries. Those places have slowly died out, leaving a hole in the culture — and we’ve filled it.” No base, no mix — no problem, claims the Magnolia management. As Bonnie Lloyd, Magnolia’s President and Chief Baking WORDS: JEFFREY MACINTYRE / IMAGE: JACQUELINE KLASSEN

58


Officer says: “We started with classic chocolate and classic vanilla. We’ve added to the mix. But I shouldn’t say that — there is no mix. “We bake about 120 variations of these products every day in all our stores, including cupcakes,” she adds. According to Lloyd, also 53, there is little risk of this bakery becoming a victim of its own much-hyped success. “We know what our customers like and what sells well. We can adjust our baking over the course of a day.” Magnolia’s clientele runs the gamut of men and women, locals and tourists alike. The Magnolia menu is full of baked goods of every sort. Prices range from $1 up to ritzy cakes north of $50. Yet for all the small-town pretense, Magnolia is a powerhouse, a name recognisable to anyone who has read a New York travel guide in the last decade, let alone the syndicated long tail of Sex And The City fame. Still, this clout may prove key in shoring up its argument of prolonging the baking traditions of bygone days. “In this country where packaged foods have been part of the culture since the 1970s, It’s rare to have a bakery that really bakes,” says Lloyd. We bake on our premises. We’ve been doing it for 15 years, so there’s no reason to change a formula that works.”

Magnolia Bakery, 401 Bleeker Street, New York, (212) 462-2572; www.magnoliabakery.com

59


BOOTY F R A N K F U RT

WE PICK UP SOME STYLISH SUITCASE FILLERS IN GERMANY

1

2

3

Karate Chicken, $58. Who says the Germans have no sense of humour?

Shopping Pad, $8. Never forget your list again with this rather quirky notepad.

Figurine, $29. Gloriously upbeat design from a local Frankfurt artist.

Rรถtzel & Co, Berliner St. 42

ITABA, Tรถngesgasse 42

Rรถtzel & Co, Berliner St. 42

3

1

2 60


4

5

6

German Vinyl $3. Old school German pop. Record player not included.

032c magazine, $14. Hip German style magazine.

+-0 Alarm Clock, $56 Japanese design with Asian simplicity.

Ubervart, Kleiner

Form Im Raum,

Oxfam, Tรถngesgasse 35

Hirschgraben 14

Berliner Str. 60

6

4

5 61


2 3 n Su

SEOUL FILM & VIDEO FESTIVAL

4

Sa t

Fr i

Th u

1

CALENDAR

on M

Explore Seoul’s creativity at the Experimental Film & Video Festival. www.ex-is.org

5 6

e Tu

7

ed W

8

u Th

9

Fri

BRAZILIAN INDEPENDENCE DAY

10

Sat

Celebrate the biggest party in samba-crazy Brazil. www.braziltour.com

11

Sun

12

n Mo

13

Tue

14

Wed

september

Thu

15

Fri

16

Sat

17

Tue

Wed

Thu Fri

Sa t

Su n M on

W ed

Tu e

u Th

28

27

26

25

Fashion is practically a religion in New York – and this is its holy week. www.mbfashionweek.com

18

Sun

Mon

NEW YORK FASHION WEEK

19

20 21

RHINE IN FLAMES The banks of The Rhine will be ablaze in pyrotechnic beauty. www.rhein-in-flammen.com

22

23

24

BEIJING FRINGE FESTIVAL Plays, concerts and performances pop up all over China’s capital. www.beijing-tourism.com

29

i Fr

30

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FASHION FAIL

T

hey say pop will eat itself. If fashion ever ate anything, it would probably do the same. Like an addict, the industry keeps consuming the same thing over and over again, hoping this time the thrill will last. But it never does. Once a line hits the runway it’s already obsolete, ready to be ground down and served up all over again. Like an addict, fashion lies, cheats and is really only concerned with itself. Once it finds a new addiction – a new model, muse, or designer – it only wants more of the same. Once you’ve hung around with it for a while, it can get, well, kind of boring. I work closely with the fashion industry in Australia. But I’m not going to tell you my real name. Not because I’m scared the hipsters might come to my door and do something nasty. But because I’m afraid they’ll stop doling out my pay cheques. Yeah, I’m one of them. Sorry about that. But think of this as a confession, an airing of dirty size-zero laundry, a report from the velvet trenches. I’ll admit it: I am a self-loathing fashionista and I’m biting the hand that feeds me. Fashion is neurotic. It’s this way because wrapped up at the heart of it lies a paradox. Fashion is all about newness, but these days there are very few genuinely new ideas to be had. No matter how outrageous the label, each collection must consist of the same basic things: frocks, separates, accessories. Occasionally a new variation will arise – the playsuit or harem pants – until consumers realise (slowly, usually) how hideous they make everyone look, at which point they’ll be quietly shelved for 68

<7H9;


a few years before they come round once more. Again displayed as utterly new, unique, boundary-breaking, zeitgeist-making. Yes, silhouettes change and colours morph over time. But here too, novelty is a sham. The 1970s plundered the 19th century, the 1980s looked to the 1940s (ask your grandma – those power shoulder pads were nothing new), the 1990s nicked stuff from the 1970s, and since the turn of the millennium we’ve churned through 1980s and now we’re back to the 1990s again. Plus there’s the rotating, same-same triumvirate of nautical looks (sailor hats, blue and white stripes, anchor motifs), safari (animal print, ridiculous Out of Africa costumes) and chinoiserie (giving Chinese factory workers a chance to produce simulacra of their country’s rich heritage for Western high streets). The whole industry is really just going round and round in ever-decreasing circles. But they’re hoping if they move fast enough you’ll be sucked in just the same. Perhaps we in the media should be doing a better job at calling them out, but, as I say, they pay my wages and – through big budget ad campaigns – my company’s bills, too. They also fill our wardrobes. You didn’t really think we could afford Christian Louboutin heels and Balenciaga dresses on journalists’ wages. did you? Whatever fashion is about, we’re about too. But at the same time we’re bored, listless, looking for novelty (you try and write your 26th completely unrealistic story about why it’s OK to wear shorts to the office or your millionth expose on new pastels for summer and see how you feel). Which is why, like our fashion industry 69


FASHION FAIL

colleagues, we’ll grab on to just about anything exciting that comes along – especially if it seems dangerous, provocative, mad or potentially illegal. Since mainstream fashion’s stash of new ideas burnt out decades ago, everything original comes from outsiders – the weirder and more messed up the better. But the cutting edge is called that for a reason. It hurts and it often leaves its victims slashed and bloody in the process. Fashion has always had a thing for self-destruction. Witness its morbid fascination with brilliant but doomed chanteuse Amy Winehouse. In 2007, Karl Lagerfeld made her his muse for his December Chanel show. Even when it was clear the damaged singer was in freefall, fashion was still knocking at her door. Her posthumous line for Fred Perry has already gone on sale. At a photo shoot before her death a writer for Harper’s Bazaar described her as “unsteady... barely intelligible” but the (fashion) show went on. Fashion’s chief purveyors are famously unstable. Sometimes tragically so – the hanging suicide of designer Alexander McQueen and self-administered poisoning of stylist Isabella Blow are at the saddest, most extreme, end of the spectrum. But then there’s Donatella Versace’s well-publicised, long-running drug addiction; Naomi Campbell’s thuggish antics; photographer Terry Richardson’s alleged, less than professional dealings with his young models. All are still working though: in fashion-think, criminals are always cool. Sure there’s the occasional hypocritical slapping of wrists: John Galliano was fired from Christian Dior after video footage of 70

him abusing two women he thought were Jewish and drunkenly declaring “I love Hitler” surfaced on the TV news. But was it the anti-Semitism or the fact it got leaked that finally tipped logo overlords LVMH over the edge? Kate Moss was dropped by Chanel, H&M and Burberry after her 2005 drug scandal. But, she’s still the third best-paid model in the world, raking in $13.5 million a year.

Everything original in fashion comes from outsiders, the weirder and more messed up the better

Even without the tabloid lifestyle, Moss herself has always courted outrage. Her waifish frame ushered in the era of painfully thin models in the mid 1990s, and 15 years later it’s still going strong. Given fashion’s yen for reinvention, it might seem odd that the super-skinny ideal has stuck around so long. I’m certainly ready for it to end. Every fashion shoot I’ve been on, I divide my time between hating myself for treating the 14 or 15-yearold models like (very lean) pieces of meat and figuring out ways to cover up bony clavicles, knobbly knees, fragile-looking forearms. Eating disorders are so widespread no one even notices them anymore. Some time ago, I issued a spotter’s guide to bulimics and anorexics for my photographers and stylists so they’d know who to turn away. Look for hairy arms, pinched lips, mood swings and brittle nails, I said, and

unnaturally plump cheeks caused by acidic vomit irritating the inside of the mouth. But I still sometimes get pictures of girls whose thighs are smaller than their knees. They’re standard issue these days. To sell clothes to adult women, fashion looks to pre-pubescents. There’s an old episode of Absolutely

Fabulous where Patsy says something like, “If the models get any younger they’ll be throwing foetuses down the runway.” These days, that seems more like prophecy than comedy. Vogue and Elle were recently called out for sexploitation after using a 10-yearold model in their editorial shoots. Photos of Thylane Blondeau have her heavily made-up, dressed in vampish clothing, posing as a seductress, a femme fatale. British Prime Minister David Cameron has publicly denounced the photos, and yes it’s shocking – that’s exactly what fashion wants. But in truth, Thylane isn’t that much younger than most girls in the modelling world. Give her 10 or so years and she’ll be over the hill. But childhood isn’t the only place fashion stalks those with flat chests and freakishly long legs. The newest ‘It Girl’ of the modelling world is actually a man – 19-year-old Andrej Pejic – whose androgynous looks have seen him walk in shows for Givenchy and Jean Paul Gaultier. His topless cover for Dossier magazine was censored by Barnes & Noble “in case customers confuse him for a woman”. Which you’d think was the whole point. Andrej is pretty: he was even voted number 98 in FHM’s 100 Sexiest Women in the World poll this year. And he seems like a nice bloke (he’s from my hometown, so I might be biased). But along with


JH7=;:O


FASHION FAIL

kiddie models like Thylane and regular catwalk waifs, he represents something I’ve always found sinister about the industry that pays my wages. The ongoing campaign to demonise traditional womanly features – breasts, bottoms, thighs. So far as fashion’s concerned, curves are gross and not very profitable. Obesity, as Karl Lagerfeld, the industry’s ever-shrinking, ghoulish godfather, so politely points out, is a social issue: “In France there are, I think, less than one per cent of people who are too skinny,” he says. “There are nearly 30 per cent of young people who are too fat. So let’s take care of the zillions of the too-fat before we talk about the percentage that’s left.” But what he fails to mention is how extreme skinniness is what his industry runs on. It’s the ultimate drug, knocking life into merchandising, retail and branding. Pumping money into the veins of haute couture, if not food into the bellies of its adherents. Fashion is meant to sell clothes. Clothes are bought in stores on racks, hanging from coat hangers or – increasingly – on the internet, displayed flat against white studio backgrounds. What matters here is not looking good on a person, but looking good on a hanger. When people do have to enter the equation, in places like catwalk shows and editorial shoots, 72

it makes sense to hire the human equivalent of those clothes hangers. Pre-pubescents, teens who’ve dodged puberty through starvation and (occasionally) skinny men all fit the bill perfectly. Yes, fashion is meant to sell clothes. But these days they’re almost beside the point. The grand design houses are multi-million dollar operations and a large chunk of their

revenue comes not from clothing, but assorted brand extensions: perfume lines, handbags, licensing deals. In a way, the clothes are just a front. The people who wear them are walking, talking brand ambassadors, meant to inspire the rest of us who can’t afford $10,000 for a one-season frock to instead drop our cash on branded scents, accessories, TV shows, credit cards. The industry doesn’t want fatties for ambassadors. That’s why average-sized women can’t find prêt-à-porter clothes that fit. They were never meant for them. And that’s why fashion needs scandal, it needs column inches, it needs

9H7PO


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FASHION FAIL

attention. It sells dreams rather than clothes. Sometimes it sells nightmares. Thus Galliano’s Hitler-loving scandal (nothing so cutting-edge as fascism) is just as good for the industry as its occasional – and grotesquely ironic – flirtation with regular-sized women. Fashion loves a freak. When Vogue Italia recently put three plus-sized models on its cover it wasn’t staking a claim for the female of the species, it was saying: “Hey, look at these weirdos! Please buy multiple copies and cover us extensively in the fashion media! Look how avant garde we are!” Vogue might not be running quite as scared as the rest of the traditional print media (though its circulation figures are starting to decline in some territories), but it’s a bastion of fashion’s old guard. Emphasis on ‘old’. The new black in terms of fashion media comes not from big publishing houses, but bloggers like Tavi Gevinson (a 15-year-old) and street-style photographers such as The Sartorialist’s Scott Schuman. These are the folk filling the front rows of fashion shows right now. They’re something new to play with. And while they might have started off subverting fashion’s strict hierarchy, these days they’re part of the pecking order. With fashion’s new focus on street 74

style, ‘recessionistas’ and mixing designer threads with chain-store buys, the wider industry – those slaving away beyond the MilanParis-New York axis – is under greater scrutiny. What happens in the world of haute couture happens on the high street. As Meryl Streep’s thinly veiled Anna Wintour parody, Miranda Priestly, says in The Devil

Wears Prada: “You think this has nothing to do with you. You go to your closet and you select that lumpy blue sweater... but what you don’t know is that that sweater is not just blue. It’s not turquoise. It’s not lapis. It’s actually cerulean. And you’re also blithely unaware of the fact that in 2002 Oscar de la Renta did a collection of cerulean gowns... and then cerulean quickly showed up in the collections of eight different designers. And then it filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin.” But it’s not just colourways filtering down from on high. It’s ethics, too. The fashion world’s dark underbelly – found in sweatshops with poor working conditions, non-unionised labour, child workers and pitiful pay – is all too easy to see, but few bother

to look. And don’t think those ‘Made in Germany’ or ‘Made in America’ labels get you off the hook. Sweatshops exist pretty much everywhere. And the labels are just as easy to sew on overseas. You can buy big reels of them in the backstreets of Hong Kong. On buying trips, we used to joke that there must be factories in Shenzhen called ‘Germany’, ‘France’ and ‘USA’. Fast-fashion brands rip off young designers’ work – America’s Forever 21 alone has been sued over 50 times for stealing the work of others and passing it off as its own. And retail workers at chains like American Apparel complain of sexual harassment, exploitation and other assorted dodgy practices. It’s a grim picture for an industry that worships beauty. But there you have it. High, low, inbetween – all levels of fashion have skeletons in the closet. And only some of them are the ones draped in silk and high-stepping down the runways. Sometimes I find fashion’s wilful ignorance funny. My favourite fashion anecdote to tell outsiders – one I’m sure sums up the whole thing on some vast, metaphorical


The fashion world’s dark underbelly, in sweatshops with child workers, poor conditions and pitiful pay, is all too easy to see

level – takes place in my hometown. Every Autumn, Melbourne hosts the L’Oreal Melbourne Fashion Festival. The weather here is famously changeable, especially in those ‘transeasonal’ days. Sometimes the festival is freezing, sometimes it’s blazing hot. Most events are held in the city’s Docklands area – originally a marshland, then a staging ground for portside industries like cargo handling, tanneries and abattoirs before being revamped as an inner-city yuppie lifestyle zone. And when the weather’s hot it still reeks of dead fish. During Fashion Week, thousands of models, journalists, designers

and buyers troop through and I’ve never heard one of them complain about the smell. Even when their eyes are nearly watering and the occasional fly buzzes past. They’re too busy being fabulous to notice the decay around them. Too intent on chasing the next ‘it’ thing to realise that what they’re doing stinks. I’m one of them, so I can’t exactly wash my hands of the whole thing. But I can tell you, there’s something rotten with the state of fashion.

*Ann Black is the pseudonym of a fashion insider with more than ten years of experience in the industry.

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IMAGE: XAVIER BAKKER || WWW.XAVIBARCA.COM


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n an inclined street in the north-west of Hong Kong Island, a woman extends a purple, likely fake, Nike wallet in need of fixing. The fabric loop that can be used to hold a key ring has come undone; all it wants are a couple of quick, violet stitches. From his hawker stall, a canopied box of metal and wood painted in the usual primary green, the tailor accepts. The wallet passes briefly beneath Boon Cheung Luk’s rusted sewing machine and the work is done. The single city block is a closepacked village of these emerald huts, every one trading in some service or good. Cars are not authorised on this part of the hill, but above and below the traffic is a force. Luk perches on a stool in the small space between the counter and his needled machine, lean and grinning through patent exhaustion. His face is lined with deep creases, his grey trousers perfectly starched. Like a doctor who specialises in a field of medicine, a tailor must choose his course from the start: he is either a cutter or a sewer. Luk is a cutter. Even now, when on the rare occasion asked, he carves out men’s button-down shirts and trousers with a pair of heavy scissors, sending them to local craftsmen to be stitched. But quality sewers are in short supply. It is just as well, he says. “I am getting old, too. I don’t have the energy to do so much work.” Fifty-odd years ago, Luk, then 12, came to Hong Kong by boat from the nearby Chinese province of Guangdong. He began as a teenage apprentice in his cousin’s workroom, where, some way into four years of 78

training, he learned to outfit calling tourists. After a short stint operating his own tailor shop, he landed in an atelier in the Central district that catered to European sailors. He worked there, cutting the fabric for elaborate uniforms and eveningwear, for more than 20 years. The store closed on New Year’s Eve, 2000. Luk

have generally had to outsource their work to China. Factories, many of them in the burgeoning Chinese border city of Shenzhen, churn out in 24 hours the jobs these Hong Kongers once took weeks to complete. But it is nearly impossible to control the quality of the finished pieces that return, which is why some, like Luk,

Soaring rents and a dwindling demand have made it difficult for all but the most upscale and illustrious shops to survive

moved to his roadside stall the next day, assuming control from its ill and retired owner. “Eighty per cent of my customers come with new clothes that don’t fit well or old ones that are coming apart,” says the man who has spent most of his life dressing gentlemen in garments made to order. Until two or three years ago he still sometimes undertook the laborious process of creating, from scratch, on the narrow counter of that stifling green stand, a suit. Patrons would choose among the swathes of wool, cotton and heavy tweed that hang behind him, trapped in glass. “Not anymore,” says Luk. “Now they’re just for decoration.” Hong Kong’s esteemed tailoring trade has, over the past few decades, been in steady decline. Or, as Luk puts it: “This industry is dying.” Soaring rents and a dwindling demand for all things tailor-crafted have made it difficult for all but the most upscale and illustrious shops to survive. To cope with labour costs, those smaller, lesser-known tailors left standing

have chosen to avoid the mainland. “I refuse to ruin my reputation to make a few extra dollars,” he says. Beyond retirement, the only other option for these sifus, or technical masters, is to turn almost entirely to alterations. Yum Kuen Tsu can recall a time when tailor’s shops lined King’s Road and their foremen regularly enlisted his skill. But by 1997, the year of the city’s handover from British to Chinese rule, they had started to close. “The last time I made a shirt from start to finish was 10 years ago,” he says from a seat inside his stand, the only alterations stop in the neighbourhood. The makeshift booth, cobbled together from wood scraps and striped with black and white paint, clings to the residential building next door. It is easy to miss. What began as a lone potted plant has climbed the wall and burst over the top of the stall, obscuring it in a fit of leafy greenery. Tsu, stooped over his old, black Singer machine, his watch and two calendars dangling overhead, is shortening a pair of blue jeans


YUM KUEN TSU AT WORK IN HIS BOOTH IN CENTRAL HONG KONG

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with an elastic waist. A full-length mirror tacked to the kiosk’s facade invites customers to use the street as a fitting room. On the rough plank of one sidewall, an advisory in green lettering reads: “The Moment Which Is Lost Is Lost Forever.” The work of patching holes, of letting fabric out and taking fabric in, is nowhere near as time and materialconsuming as bespoke tailoring. And it is regular, dependable – so long as people purchase ready-made clothes, they will need to have them altered. Tsu is ageing quickly – “I can’t see clearly anymore,” he says, his words slow and cracked, his legs emaciated in denim cutoffs – but these are tasks he can still well manage. With earnings of about $13 a day, he is able to come up with the annual government fee that occupying such a stall necessitates. By law, these outdoor stands can only be registered

in a single name and cannot be passed on. When Tsu goes, the stand will go, too. In any case, there is no one in line to lay claim to it – or the trade its tenant belongs to. That the youth of Hong Kong have no interest in inheriting, or resuscitating, the tailor’s craft is the final blow. The most recent generation of apprentices are now in their mid-50s. Their children, who are increasingly prolonging their studies, find the pay and the protracted

In Hong Kong, young people want to outfit themselves in suits of the highest calibre, not piece them together

training that come with the calling unattractive. In this, Asia’s economic and financial nerve centre, their aim

THE PAINSTAKING NATURE OF THE BUSINESS HAS PUT OFF POTENTIAL NEW RECRUITS

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is to outfit themselves in suits of the highest calibre – not to piece them together. “They don’t have our patience,” says Mabel Wu, who for two decades has owned a workroom on the seventh floor of an apartment building in the congested hotel mecca of Tsim Sha Tsui, a high-rise district that juts out into the harbour. At 20, Wu answered a newspaper ad and came to learn under a Mr Wong, master of women’s apparel. She stayed on for eight years; for the

first two she could do nothing but observe, sweep the floors and answer the phones. “He was so skilled,” she


remembers of her teacher, “he didn’t even need the help of a paper pattern in order to cut.” The tailoress sits cross-legged in the tiny studio, her age belied by a pixie cut, short gauzy skirt and earrings like bunches of silvery grapes. In the corner by the door is her collection of miniature sewing machines; trinkets save for one that actually stitches and doubles as a working phone. Behind a square cutting table draped in white cloth are three life-sized machines, spaced just inches apart, for the seamstresses who share in her work. Mostly they perform alterations; only occasionally will they fashion a skirt or a blouse. It is hard to imagine four women in the room at once. “People are set on buying from the boutique or the internet,” Wu says, “even if it’s more expensive that way.” (Once, she tells, a man brought in two identical pairs of ill-fitting designer jeans and asked that they be used to make a single pair of well-fitting ones). She is still hoping to pass her knowledge on to an apprentice, even though, as she says, “there are no youngsters joining us; they think it is a useless trade.” But Wu won’t advertise for a trainee. “I’m leaving it up to fate.” Across the waters of Victoria Harbour, another dressmaker contemplates her age. Avon Lo runs Margaret Court Tailoress in Lan Kwai Fong, the renowned strip that at night becomes a haven for inebriated, barhopping tourists (Margaret herself is retired). Her shop is perhaps the best known of a fast-diminishing number with an expertise in women’s custom clothing. But a loyal client base may not be enough to save it. Old buildings in the neighbourhood of the kind the

REELS OF THREAD IN AVON LO’S WORKSHOP (ABOVE) AND (BELOW), SOME OF THE TOOLS OF THE TRADE

atelier inhabits are being razed at an unsettling rate to make way for more watering holes. And every two years, Lo’s rent shoots up. When it climbs

again in 2012, she may not oblige. “We are getting... old!” she sighs. “When you do one thing for so long... Everyone is tired. We need rest.” She


HONG KONG’S TAILORS

has been working with the same few seamstresses for nearly three decades. They came to Margaret Court together, 18 years ago. Lo shuffles, small and bespectled, from one attraction to the next. Here, swatches of Thai silk and chiffon are purchasable by the metre. There, a stack of yellowing style books, the tome at the top is from 1996, filled with ladies in patterned vests and bold skirt suits. She pulls from a stuffed plastic folder sheet after sheet of her own hand drawings – sketches done in blue pen and sometimes stapled to the magazine images her customers have asked her to recreate. “See this?

Look here! See this?” Soon, all of the jobs done over the past months are before her, in paper form. Lo shields the mound with her slight frame to keep it from toppling. The women who have worn themselves out with her are also at work; one marks gold tissue for cutting with a fragment of blue chalk. The base rate for an evening gown of the kind she is crafting, fabric

To lower prices, they would have to delegate to the factories in mainland China, which is something that they will not do

AVON LO WORRIES HIGH RENTS WILL FORCE HER OUT OF HER LOCATION IN THE CITY’S CENTRAL DISTRICT

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not included, is $230. A wedding gown, like the one draped between the two curtains of an improvised fitting room, strapless and gossamer white, is significantly more. To lower prices, they would have to delegate to mainland factories. “And I won’t do that,” Lo says. Neither will the operators of WW CHAN & SONS, one of the last


HONG KONG’S TAILORS

tailoring establishments in the city rooted firmly in the Shanghainese tradition. WW Chan, now 90, was a pupil of the legendary ‘hongbang’ (literally ‘red group’) tailors, so-called, it is said, because the foreigners they catered to in the Shanghai of the 1920s and ‘30s were often redheaded. Many of those garment men were natives of Ningbo, in the eastern coastal province of Zhejiang, and no small number of them would eventually flee to Hong Kong to escape the political turmoil on the mainland. A graduate of China’s earliest tailoring school, Chan opened a first shop in Hong Kong in 1950, relocating to the second floor of Burlington House, a high-rise in Tsim Sha Tsui, 15 years later. The place is there still, insisting on a standard of quality that only the biggest names can aspire to. Blocks from Burlington House, two Indian men jog back and forth, pursuing potential customers across Nathan Road, waving fliers with an urgency. “Need a tailor? Ladies’ shirts! Cheap suits! Free tie!” Frenzied touts peddling electronics and plugging restaurants are a permanent fixture of Kowloon, and they have not overlooked the tourist tailoring business. As with every market they have tried to corner, the hawkers, typically members of Hong Kong’s large and long-established South Asian population, trade in package deals. It is unlikely that the goods they have made up, mostly in Shenzhen, ever quite match in calibre the men’s doggedness in chasing sightseers and shouting prices. WW CHAN & SONS, on the second floor of the old, elevatorless building, is a world apart from the city stirring 84

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THE LAST TIME TSU MADE A SHIRT FROM START TO FINISH WAS 10 YEARS AGO


ALL IMAGES: GRISCHA RÜSCHENDORF

HONG KONG’S TAILORS

ARTISANS IN WW CHAN & SON’S WORKSHOP PIECE TOGETHER SUITS

outside. The shop is outfitted in the deep mahogany of a cigar lounge, its vast countertops fronted by rose velvet chairs. Tailors cut in the centre of the elegantly sparse space, pinning paper patterns to fabric with marble slabs. Generations of bankers and lawyers have been fitted here and asked to admire themselves in dressing rooms paneled on all sides with mirrors. “After you go bespoke, if you can afford it, you never go back,” says general manager Patrick Chu, who has been with the company for over 20 years. By Shanghainese custom, every stitch is done by hand save for the suit’s main seam. Chu gently lays out a charcoal jacket of thick wool. 86

Minute black dashes process over the lapel and across the borders of its glossy sapphire lining, every one a testament to manual labour. Even the buttonholes, ringed in silk thread, are the products of nothing but a few nimble fingers. In a workshop one flight up, those fingers are flying. Half of the 20 artisans employed by WW CHAN & Son’s are sewing through the current shift, just about all of them T-shirted men between the ages of 50 and 60. Some stand, some sit on wooden stools, half-finished suits of mixed English and Italian design – sleeveless or lining-less or patterned with white thread — hanging above them. Amid the clutter of material scraps and

spools of thread, of irons rigged with slim hoses to suspended water jugs and the noise of a Cantonese radio programme, they seem suspended in time. One is fashioning a small black pocket. Another is flattening the navy cloth of a jacket – just one takes close to 60 hours to complete – against a rigid pillow that is meant to simulate a man’s chest. And in the backroom, a boy in his 20s, almost startling in his youth. Time starts up again. There is much to learn, and though he may be alone, he is there, measuring fabric with a wooden ruler, ready to receive it. Hillary Brenhouse is a freelance writer based in Hong Kong.


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THE 1967 GUIDE TO GETTING AHEAD IN STYLE, LIFE, LOVE AND BUSINESS, BY EDITH HEAD

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INTRODUCTION In your search for success, of course, clothes cannot take the place of the essential qualities needed for that success. Looking like a super-efficient executive secretary may help you get the job, but it won’t help you punctuate the letters. Looking like a perfect homemaker may impress the eligible bachelor you invite for dinner, but it won’t disguise the fact that your coffee tastes like mud. Clothes can make you look the part you want to play, but they can’t replace the ability to play it. So don’t make success impossible by wanting something for which your skills, abilities and talents are hopelessly inadequate. Don’t set your heart on a job or a man which you can’t handle, or can’t get. Aim high — but keep your goals achievable.

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Women come in a vast variety of recognisable basic types: the cute type, the majestic type, the dainty type, the boyish type, the clingingvine type, the outdoor-girl type, the sexy type, and many others. Decide right now which basic type you are. Ask yourself how big a part your clothes have played in making you that type. Would you rather be a different type? Would you prefer being chic to being cute, looking dramatic to looking majestic, appearing more feminine, less mousey, more striking? What you wear, more than any other factor, can improve the type you are or change your type completely. Throughout my career I have used clothes to turn drudges into princesses, plain Janes into glamour girls, frumps into fashion plates. As one of my star friends

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insists, “If Cinderella had Edith Head, she’d never have needed a Fairy Godmother.”

IN BUSINESS Success in business means different things to different women. To some women and girls, their business lives are merely intervals between the time they leave school and the time they get married. To them a successful business career is a short one, leading not to the front office, but straight to the altar with a golden ring on the finger. If you are in this group we devote [the following] to you. But in the meantime we suggest you make the most of your success story at the office by reading this chapter too. Who knows, you might marry the boss!

What you wear for that interview will also depend to some extent on the calibre of the job you’re after. It is obvious that if you are being interviewed for a secretarial position that pays from $65 to $100 a week, wearing a $5,000 mink coat or lavish jewellery will not be good judgment even if your father is a millionaire. We talked to numerous personnel directors, and their consensus of opinion is that in hiring young people for secretarial or other clerical work, they want people that fit in with the general character of the organisation and with the other personnel. Obviously a girl with a millionaire’s wardrobe could only incur envy and animosity among a group of girls less richly endowed. The basic elements of any business woman’s wardrobe should rely on this trio: simple casual suits, tailored


DRESS FOR SUCCESS

What does getting ahead mean? Ending up a private secretary to the president?

dresses and good separates (shirts, blouses, sweaters and other tops). Before you are interviewed for the job you want, try on the complete outfit you intend to wear. Look at yourself in the mirror from every angle, including sitting down which is the way you will look most of the time to the person who will make the decision. Ask yourself these questions: (a) Do I look well groomed? (b) Do I look neat? (c) Do I feel comfortable and at ease? (d) Does my skirt ride up too much? (e) Have I worn too much (or too little) (f) Does this outfit really fit the image of the position I hope to fill? We have known instances where extremely capable women failed to get a job because they looked too elegantly put together. One personnel director confided to us in a specific case: "I didn’t hire her simply because I felt anyone that looked that attractive 92

would have a date every night of the week and would never be free to stay until 5.15pm in an emergency." This doesn’t mean that dressing to get a job should be an effort to make your self less attractive. It means you should look your best — but your business best rather than your beau-catching best. Vast changes have taken place in the past 20 years in ‘types’ of dressing. Remember when the word ‘schoolteacher’ conjured up a vision of a hard-bitten, flat-chested, flatheeled, bespectacled female with no more sex appeal than a dishpan? Gone are those days. Schoolteachers today look as pretty and fashionable as other businesswomen, but they don’t come into the classroom done up like 'Sex Goddesses'. Today men expect this same kind of authenticity in theatrical costuming — and they expect the

same kind of ‘fitness for the occasion’ in everything you wear too. In Hollywood we call this aspect of costuming the ‘acceptance look’ a good term to have in your own wardrobe vocabulary.

ON HOW TO DRESS Again you have to have a specific goal in mind. What does getting ahead mean — merely getting a $5 raise every six months? Or does it mean moving gradually or quickly up the ladder to genuine career status? A private secretary to the president? A private office of your own? Or whatever is your goal? No doubt you will have noticed that the female executives in your chosen field make a point of dressing a little differently from the run-of-the-mill office girls. Where the girls in the


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DRESS FOR SUCCESS

stenographic pool come into the office in sweaters and skirts, the executive in charge wears a completely co-ordinated costume. Where the receptionist may go to lunch with a scarf over her head and no gloves, the executive-to-be wears a smart hat and gloves, if only to set her apart from the crowd. She eschews ‘faddy’ here-todaygone-tomorrow styles for things that reflect quality and taste. She resists the desire to have a lot of changes in her wardrobe in order to concentrate on fewer, more elegantly fashioned costumes that do more for here, and which are not the lookalike wardrobes of the other girls. She invests in clothes which are not strikingly different but which are intrinsically finer. The appearance you make on your rise to success must be in keeping with both where you are and where you want to go. This imposes some hardships on you, perhaps, in comparison to the carefree little file clerk who nobody sees. She can be stockingless, girdleless, gloveless, hatless and shiftless with far less danger than you can. You have something to live up to: your future success in the exciting job you want most. When you reach the top run it’s a different story. The eccentricities of 94

Your appearance on the rise to the top must be in keeping with where you want to go

the genius who is top man (or woman) on the totem pole of tycoonery are not only condoned but admired. What you wear when you sit in the president’s chair is entirely up to you. At that point you can give this to your assistant and make notes on what you’ll wear as chairman of the board. There is one rule that must never be overlooked. It is simply ‘Get Organised.’ First, organise your purchases. Don’t be carried away by that cute little orange dress when you have no suitable shoes, bag, gloves or hat to go with it, unless you can afford a complete set of accessories for every outfit. Work out your colour schemes carefully before you buy so that accessories can be interchanged and every costume you wear presents a complete picture from head to toe. Second, organise yourself for each day’s activities. It only takes a few minutes every night, but often

makes the difference between giving an impression of thrown-together carelessness or a look of perfection. A mad scramble in the morning, wildly pulling things out and dressing like a house on fire will get you nothing but high blood pressure. And speaking of a house on fire, who ever heard of a fireman not laying out his clothes before he goes to bed? He just jumps into them and slides down the pole. You might not be able to match him in speed, but you can arrive at the office every morning calm, cool, collected and on time. A good way, by the way, to keep from being fired. How do you do it? First, review what your next day’s activities are going to be. Business before pleasure of course, but consider also your lunch date, cocktail date and dinner date, if any. Pick the basic dress or suit or costume that will work for all three. Lay out the shoes, handbag, hosiery, jewellery, gloves – everything you will need for the office. If there is any doubt about how the costume fits you or the length of the skirt, try it on to make sure. It’s better to switch the night before than to start all over in the morning. If you have after-hours activities on that day, select something right for the


office that can be dressed-up for your date. It’s amazing what a softer blouse and pretty jewellery can do for a simple suit. Carry with you dressier gloves and a glamorous cocktail hat, and you have it made. The extras will all fit neatly into your hatbox or tote bag, so you can switch on the glamour after five.

KEEPING A MAN The contents of this may be a shock to the woman who feels that the less she wears in pursuit of a man the better. To her we can only say that while the boys ogle and applaud the charms of Venus Unadorned in art galleries, night clubs and between the covers of some magazines, it’s the covered girls rather than the Cover Girls they invariably marry. Man is a possessive animal by nature and cares little about sharing his wealth of wifely treasure with the wolf-pack. And corny as it may seem in our free-wheeling society where topless bathing suits, bottom-revealing pants and above-the-knee skirts abound, most men shudder at the thought of their wives as striptease artists – beyond the master’s bedroom, that is. When you place yourself on the launching pad, pointed towards the great adventure of matrimony, please be realistic and pick a goal you can reach. Falling in love with a man so famous, so rich or so handsome that you’re unlikely ever to meet him is propelling yourself toward heartbreak. Even if you did manage to get into orbit with such a paragon, consider the difficulties of keeping up with him as you fight off the competition. Look all around you for a man to marry rather than

star-gazing. Count the available men you see every day – at the office, at church, at the railroad station, at the skating rink, the country club or the beach. One of them may be just for you. Ask yourself if you measure up to the challenge of attracting him with what you wear every day. In spite of the oft-repeated phrase mouthed by everyone’s Aunt Tillie that ‘all men are alike,’ we urge you to start on your husband quest by discarding this notion instantly. The only way all eligible men are alike (regardless of size, shape, personality, financial standing) is in their desire to stay in the lead and to avoid the altar while being chased by some woman, or more likely, several. Men, dear reader, are very much in demand. Statistics prove (1) women outlive them by at least

three years, leaving a growing residue of eager widows to add to the already sizeable population of mate-hungry women, and (2) there are 3,617,545 more unattached women then men in the United States (single, separated, divorced and widowed). In Australia the picture is in reverse, in case you want to go there.

THAT FIRST MEETING Before advising you on how to dress to get a husband we must, of course, assume that you already know an eligible man – a man you would like to marry. We have shed tears over the laments of girls who spent an entire year’s savings at plush resorts where the huntresses outnumbered

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DRESS FOR SUCCESS

the quarry ten to one. Our advice to women is very practical. If you just can’t meet any men in your own town or city, pack up your vacation wardrobe and go to a convention hotel. Pick the convention where you’d be likely to meet the kind of man you think you’d like. Bankers, lawyers, doctors, dentists, plumbers, printers, publishers and advertising men all attend conventions by the hundreds. If this doesn’t appeal to you, you might try spending your vacation travelling back and forth on a train or plane that plies between two points well traversed by businessmen. For example, you could take any non-stop flight between New York, Chicago, Los Angeles or San Francisco. But you may say, ‘why would any man want to meet me? I’m far from beautiful, and just not the type they turn around to look at.’ Our answer is simply that very few women are sensationally beautiful. If you can make yourself interesting to look at and interesting to be with your attraction to the opposite sex will be more than satisfactory. Frequently at parties and premieres attended by Hollywood stars, visitors are shocked when they see the wives of our handsomest film stars. These men, who work constantly, with women who are the epitome of glamour, very often marry girls who are quite ordinary to look at. The unknowing are inclined to comment, ‘How on Earth did she ever get him?’ I can tell you, because I know. She interested him more than other women. It’s obvious that you can’t really show how interested you are in a man unless you know something about him. This is the second step, once you’ve met him. 96

GETTING TO KNOW HIM You’ve spotted your game now, and you want to bring him back alive – with an engagement ring in his paw. What’s the bait that will make him follow you to the ends of the earth or propel you down the aisle to the strains of Lohengrin? Getting to know him, getting to know all about him, as one of the lovely songs from the King And I so aptly put it. Draw him out; discover his interests, idiosyncrasies, likes and dislikes. If possible try to find out who his favourite actresses are in motion pictures, television and the theatre. This might be the clue to the type he likes. Ask him why he likes these stars. Is it the way they look, the way they talk, the parts they play? You’ll learn a lot about that man simply by listening. Don’t forget however, that a much too aggressive attitude and too many pointed questions might scare him away. Be interested, not inquisitive. Now let's consider the first date – inevitable outcome of the successful meeting. Here’s where what you wear comes into play even more importantly. If he tells you exactly where he is taking you, the solution to the question of what to wear is quite simple. But suppose he invites you to have dinner with him on Saturday night. You can’t ask him ‘where?’ or ‘how much money do you plan to spend?’ This is the time where good judgement takes over. If you consider all the possibilities for dressing for that first date, you can be perfectly dressed for almost any eventuality. This is called playing it safe.


But let’s face it, a soft dark dress and a soft pastel suit don’t make a wardrobe. These are the staples that belong in every woman’s closet. The building of the right wardrobe for every occasion depends on the man. Men fall into five categories:

THE SPORTSMAN

unassuming manner, his soft-spoken voice, his solid colour neckties, definite opinions and the relaxing fact that he doesn’t proposition you on your first date. With this man, anything overt or obvious in your actions, conversations or wearing apparel will send him scurrying back to the serenity of his lonely pad and all the trappings of bachelorhood.

If he’s a rugged sportsman, women are taboo on fishing trips, anathema on the golf course and excess baggage on a bear hunt. He’s one of the strong men who likes his women weak. He wants to pursue his game with the boys and come home to a little woman who is waiting, wide-eyed, to hear how he caught the swordfish, made that hole-in-one or stalked that grizzly. Such men want their women feminine and the only pants they want to see you in are sexy hostess pajamas.

What would be the shy man’s chloroform is this man’s meat. He’s a long hair and doesn’t mind if you wear yours down your back. Conservatism in any form is just plain corn to him, so don’t be square enough to wear conventional-looking costumes for his sake. He goes for Pop Art, Op Art, modern ballets – and girls who make the scene with him can look as kookie as they wish.

MAN ABOUT TOWN

THE EXECUTIVE

He is aware of everything that’s in, from the latest discotheque dances to the hit musical shows. He has read this month’s best seller and knows the head waiter in the best restaurants. Invariably he is articulate and entertaining as a conversationalist. This makes it essential for you to be a good listener. But don’t think you can get away with dumb, adoring silence forever. He expects an intelligent comment once in a while.

THE INTELLECTUAL

He’s the man who has it made. If you are lucky enough to have latched onto one of this rare species, work fast. You can be sure plenty of other women have a bead on him too. He is a very definite man. He knows what he likes and makes fast decisions. He is neat and well organised and can’t abide sloppy, lazy, disorderly females. Don’t giggle, sit up straight, and be on time! Well, you’ve met your man and landed him. Next step the honeymoon.

THE SHY TYPE How To Dress For Success is out now on

You will recognise him by his quiet,

V&A Publishing. www.vam.ac.uk 97


98


: ?< < ;H ;D J  ME H B :I The former Soviet Embassy, Havana, Cuba, 2009

99


COSMIC CONSTRUCTIONS

100


I AO M7 H :I!

C;;J?D=FE?DJ

The Institute of Robotics and Technical Cybernetics (Architects: S Savin, B Artiushin), Saint Petersburg, Russia, 1987.

Institute of Research, Kiev, Ukraine, 2007


COSMIC CONSTRUCTIONS

102


:;IEB7J ? ED Monument to the Battle of Bash-Aparan. (Architects: R Israelyan) Armenia, 1979.

 FE? DJI E< L? ;M! The Ministry of Highways, Tbilisi, Georgia, 2003.

103


COSMIC CONSTRUCTIONS

: ;I?=DI<EHB ?< ; The Architecture Faculty at the Polytechnic Institute of Minsk and its succession of overhanging lecture theatres. (Architects: V Anikin, I Yesman) Belarus, 1983.

104


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COSMIC CONSTRUCTIONS

106


B7 A ; FB79? : Crematorium (Architect: A Miletski) Kiev, Ukraine, 1985.

 9? H9KB7 HJ >? DA ? D=! The Druzhba sanatorium (Architect: I Vasilevsky, Y Stefanchuk) Yalta, Ukraine, 1985.

Cosmic Communist Constructions Photographed by Frederic Chaubin, $58, is published by TASCHEN and is available at www.taschen.com


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EMIRATES NEWS

EMIRATES HAS ANNOUNCED THAT Rome and Kuala Lumpur will be the next destinations for its flagship A380. As of December 1, the doubledecker superjumbo will make daily flights to the Italian city, and will be the first A380 service to fly to Malaysiaâ&#x20AC;&#x2122;s capital city. These new destinations follow on from the A380s continued expansion, which sees flights to Johannesburg as of October 1 this year and Munich from January 1 2012.

ROME & KL NEXT UP FOR A380 NEW FIRST CLASS LOUNGE

110

EMIRATES HAS OPENED ITS SECOND DEDICATED First Class Lounge at Dubai International Airport. The lounge has been kitted out with plush leather armchairs, two dining areas, shower facilities, wireless LAN connectivity and a quiet zone. Located on Concourse 1, it will facilitate easy and seamless travel for First Class passengers departing from any of the 14 gates located on the concourse.


About Malaysia Geographically, Malaysia is as diverse as its culture. From cool hideaways in the highlands to warm, sandy beaches and rich humid mangroves, the capital city of Kuala Lumpur also offers a lively nightlife scene and a fascinating art and performance culture, which blends contemporary and traditional styles from many backgrounds. One of Malaysia's key attractions is its extreme contrasts. Towering skyscrapers look down upon traditional wooden houses built on stilts, and five-star hotels sit several meters away from ancient reefs.

About Prince Court Medical Centre Prince Court Medical Centre is a 300 bed private medical facility located in the heart of Kuala Lumpur. Born of a Malaysian vision to be the forerunner in the provision of clinical services and patient care delivery, we are internationally accredited by Joint Commission International (JCI). We aim to be the leading healthcare provider in Asia. We provide a comprehensive range of family-centred healthcare services.

International Business Lounge Prince Court Medical Centre is fast becoming a hospital of choice for our international patients. Over the years, we have seen a steady increase in patients coming from all over the world. Our International Business Center is specifically designed to ensure all the needs of our international patients are met. A dedicated team has been appointed to respond to requests, co-ordinate with agents, arrange the admission and discharge of patients and follow up post-discharge to ensure our services are of the highest possible standards. Services for interpreters and visa extension can also be arranged on the patient’s behalf.

We are here for you It’s difficult to decide when it comes to your health as there can be no compromise. Latest technology and modern procedure will save your life but it can’t bring a human touch to your heart. You may see us as just another hospital that provides services for you and loved ones. You may also see us as just another hospital that only invests latest technology. This is where Prince Court Medical Centre is different from the rest. We invest in the latest technology so you can be assured of the best result. We incorporate our Asian hospitality to ensure you and loved ones feel at home in a foreign land.

24 Hours Toll FREE :1-800-88-PCMC email: ibl@princecourt.com website: www.princecourt.com Prince Court Medical Centre 39 Jalan Kia Peng 50450 Kuala Lumpur, Malaysia Tel: +(60)3 2160 0000 Direct line: +(60)3 2160 0124 Fax: +(60)3 2160 0010 Services -

. ONCOLOGY . HEART & LUNG . WOMEN & CHILDREN . PLASTIC RECONSTRUCTIVE, DERMATOLOGY & BURNS CENTRE . UROLOGY, NEPHROLOGY, MEN’S HEALTH AND WELLNESS . EMERGENCY ROOM . EXECUTIVE HEALTH SCREENING . RADIOLOGY & NUCLEAR MEDICINE . DIGESTIVE DISEASE UNIT . PHYSICAL & REHABILITATION MEDICINE . LIFESTYLE MODIFICATION CENTRE . PATHOLOGY . MEDICAL SPECIALTIES . SURGICAL SPECIALTIES Managed by VAMED and Collaboration with Medical University of Vienna International

Joint Commission International Accreditation 2008

Malaysian Society For Quality in healthcare 2010

Asian Society for Quality in Healthcare

Winner Best Brands Wellness Hospital 2009 - 2010

Frost & Sullivan Healthcare Services Provider of the Year 2010

Member of Association of Private Hospitals of Malaysia

Member of Medical Tourism Association

Halal certification for Food & Beverage Category


EMIRATES NEWS

F E AT U R E

The Best Table in the Sky A SIX-COURSE MEAL WITH A RANGE of mezze, canapés and wines may sound like a feast for a special occasion, but as of last month it is simply the norm when flying Emirates’ premium classes. On August 1, Emirates relaunched its new premium dining service for First Class and Business Class. Refurbished and equipped with bespoke Royal Doulton crockery made from bone china and Robert Welsh cutlery designed exclusively for Emirates, this is a serious statement of luxury. “We wanted to ensure we have flair and restaurant culture in the flying experience,” explains Robin Padgett, Vice-President of Aircraft Catering for Emirates. “The idea was to completely redefine what Business Class dining on Emirates meant for our customers, and for that we went back to the basics,” says Padgett. “We had to establish what type of restaurant service we wanted. If First Class was a ‘Dine on Demand’ fine-dining service, then we wanted Business Class to be more of a bistro-style service.” A quick look over the Dubai-to-

112

Sydney menu sees meals such as grilled tenderloin steak and seafood biryani on offer, as well as the new additions of a soup service and a ‘light bites’ menu that offers comfort foods (a beef steak pie or Thai chicken skewers) should you want a little something if you are feeling peckish. When establishing the new service, the rule of thumb was ‘would you get this in a restaurant?’ Padgett says that this was applied to every decision taken. “In a restaurant, they don’t have trolleys — so we stopped using them, and now the service is done with restaurant style trays. In fine dining restaurants they have elegant glasses — so we have replaced

order to ensure it retained the highest quality bespoke service. “We wanted to refine the service and make sure that whilst you are tucking into your chicken consommé or caviar, you know you are in First Class — a first rate fine dining experience with all the bells and whistles,” says Padgett. Emirates varies its menu depending on its routes. “We have five highly experienced chefs who take a lot of time devising menus,” says Padgett. “We design as far as we can down to specific cities. In some countries, such as the UK, there aren’t huge regional differences, but it is a lot more accented in India for example. The difference between Hyderabad and Delhi is massive, so we can design destination specific menus.”

With bespoke cutlery and fine bone china, this is a serious statement of luxury

traditional airline style with stylish restaurant glassware.” In First Class, the emphasis was less on revolutionising the dining service, and more on tweaking it in

It is by combining the use of this regional knowledge with a restaurant mind-set that is making premium dining on Emirates one of the most sought-after tables in the sky.


EMIRATES NEWS

GREEN

LEADING THE WAY CONCERNS OVER CARBON EMISSIONS have long been issues in the aviation industry. Investing in ways to reduce environmental impact has become paramount for airlines such as Emirates. Emirates’ 2010-11 Environmental Report shows its fuel and CO2 efficiency level is 26 per cent better than the global airline average. With more than 90 per cent of its environmental impact coming from its fleet, this is a highly significant figure. The report also coincided with two test flights of a new flexible routing initiative called the INSPIRE programme. Results

50%

ION THE AVIATRGET TO TA ’S Y R ST U IND S REDUCE IT ONS ISSI EM N O B R A C BY ���� AERO W.ENVIRO. SOURCE: WW

from the test flights (from Dubai to Brisbane, and from Perth to Dubai) showed that over 6,250 litres of fuels could be saved, as well as 16,000kg of CO2 emissions, if aircraft are allowed to follow flexible flight paths over the Indian Ocean. Emirates’ long-haul flights to Australia are a frequent route with 63 weekly flights. Flexible routing will save 2.47 million litres of fuel and 6,850 tonnes of CO2 in 2011. “Emirates takes its commitment to the environment very seriously and strives to be an industry innovator and leader in fleet eco-efficiency” said Andrew Parker, Senior Vice-President, Public, Industry, International and Environmental Affairs.

AIRLINES LOOK TO ALTERNATIVE FUEL TEN AIRLINES HAVE PLEDGED TO INVEST in the development of biomassderived jet-fuel. The ten carriers have committed to buying fuel made exclusively from post-recycled urban and agricultural waste, as of when the biofuel plant is built in 2013. The plant, that is to be built by biofuel producers Solena Fuels, is expected to produce 16 million gallons of jet fuel, recycling 550,000 tonnes of waste from landfills. By 2015 the fuel output, which is likely to be a 50/50 blend of biofuel and petroleum, is expected to support operations at three airports. This latest announcement shows the growing trend of airline companies researching alternative means of jet fuel. Rising fuel prices have caused carriers to start looking into alternative means of reducing their costs. KGS OF ONBOARD WASTE RECYCLED BY

3.3mil EMIRATES IN 2010-2011

MOBILE SHOPPER

7 BILLION

TRANS-ATLANTIC BIOFUEL CROSSING

This smartphone app

The United Nations has

The US jet-

747-8 freighter

manufacturer, Boeing,

flew from Everett,

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SOURCE: EMIRATES

and ethical shopping. It

the world’s population

has completed the

Washington to Paris’

TREES PLANTED AT WOLGAN VALLEY

has a database of more

will reach 7 billion by

first trans-atlantic

Le Bourget Airport,

RESORT AND SPA

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October. According to the flight of a large

and by scanning a

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there are already 1 billion powered solely by

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reveal the company’s

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traditional kerosene jet

environmental history.

October 1999.

commercial aircraft

jet-fuel blend. The

using a 15% blend of camelina-based

fuel in all four engines.

175,000 SOURCE: EMIRATES

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L L E T S A C R E FAB

Y E K R TU L L E T S A C R E

FAB

“Today, Turkey is one of our best performing markets not only in terms of sales and market penetration, but in terms of profitability as well. Turkey is an exciting place for business with a great  potential and we are optimistic about the future of the country.” Count Anton-Wolfgang von FABER-CASTELL, Chairman & CEO

• A population of 74 million, half of which is under the age of 29 • Approximately 500,000 students graduate annually from more than 150 universities • Around 26 million young, well-educated and motivated labor force • Highly competitive investment conditions • A country with unique R&D incentives and tax deductions

• Access to Europe, Caucasus, Central Asia, the Middle East and North Africa • 17th largest economy in the world (IMF-WEO, 2010) • 15th most attractive FDI destination for 2008-2010 (UNCTAD World Investment Prospects Survey) • Fastest growing economy in the world with an impressive GDP growth rate of 11% in the first quarter of 2011


EMIRATES NEWS

BEFORE YOU R JOU R N EY CONSULT YOUR DOCTOR BEFORE TRAVELLING IF YOU HAVE ANY MEDICAL CONCERNS ABOUT MAKING A LONG JOURNEY, OR IF YOU SUFFER FROM A RESPIRATORY OR

IN THE AIR

CARDIOVASCULAR CONDITION. PLAN FOR THE DESTINATION � WILL

TO HELP YOU ARRIVE AT YOUR destination feeling relaxed and refreshed, Emirates has developed this collection of helpful travel tips. Regardless of whether you need to

rejuvenate for your holiday or be effective at achieving your goals on a business trip, these simple tips will help you to enjoy your journey and time on board with Emirates today.

SPECIAL MEDICATIONS? GET A GOOD NIGHT’S REST BEFORE THE FLIGHT. EAT LIGHTLY AND SENSIBLY.

AT TH E AI R PORT

SMART TRAVELLER DRINK PLENTY OF WATER

YOU NEED ANY VACCINATIONS OR

ALLOW YOURSELF PLENTY OF TIME FOR CHECK�IN.

TRAVEL LIGHTLY

AVOID CARRYING HEAVY BAGS THROUGH THE AIRPORT AND ONTO THE FLIGHT AS THIS CAN PLACE THE BODY UNDER CONSIDERABLE STRESS. ONCE THROUGH TO DEPARTURES TRY AND RELAX AS MUCH AS POSSIBLE.

REHYDRATE WITH WATER OR JUICES FREQUENTLY.

CARRY ONLY THE ESSENTIAL ITEMS THAT

DRINK TEA AND COFFEE IN MODERATION.

YOU WILL NEED DURING YOUR FLIGHT.

DU R ING THE FLIGHT SUCKING AND SWALLOWING WILL

MAKE YOURSELF COMFORTABLE

HELP EQUALISE YOUR EAR PRESSURE

KEEP MOVING

DURING ASCENT AND DESCENT. BABIES AND YOUNG PASSENGERS MAY SUFFER MORE ACUTELY WITH POPPING EARS, THEREFORE CONSIDER PROVIDING A DUMMY.

LOOSEN CLOTHING, REMOVE JACKET AND

EXERCISE YOUR LOWER LEGS AND CALF

GET AS COMFORTABLE AS

AVOID ANYTHING PRESSING AGAINST YOUR BODY.

MUSCLES. THIS ENCOURAGES BLOOD FLOW.

POSSIBLE WHEN RESTING AND TURN FREQUENTLY.

WEAR GLASSES

USE SKIN MOISTURISER

AVOID SLEEPING FOR LONG PERIODS IN THE SAME POSITION.

W H EN YOU ARR IV E TRY SOME LIGHT EXERCISE OR READ IF YOU CAN’T SLEEP AFTER ARRIVAL.

CABIN AIR IS DRIER THAN NORMAL THEREFORE

APPLY A GOOD QUALITY MOISTURISER TO

SWAP YOUR CONTACT LENSES FOR GLASSES.

ENSURE YOUR SKIN DOESN’T DRY OUT.

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CABIN L BE CREW WIL LP HE HAPPY TO D E IF YOU NE

EMIRATES NEWS

E C N A T S I S S A PLETING COM THE FORMS

TO US CUSTOMS & IMMIGRATION FORMS WHETHER YOU’RE TRAVELLING TO, OR THROUGH, THE UNITED States today, this simple guide to completing the US customs and immigration forms will help to ensure that your journey

is as hassle free as possible. The Cabin Crew will offer you two forms when you are nearing your destination. We provide guidelines below, so you can correctly complete the forms.

CUSTOMS DECLAR ATION FORM

IMMIGR ATION FORM

All passengers arriving into the US need to complete a CUSTOMS DECLARATION FORM. If you are travelling as a family this should be completed by one member only. The form must be completed in English, in capital letters, and must be signed where indicated.

The IMMIGRATION FORM I-94 (Arrival / Departure Record) should be completed if you are a non-US citizen in possession of a valid US visa and your final destination is the US or if you are in transit to a country outside the US. A separate form must be completed for each person, including children travelling on their parents’ passport. The form includes a Departure Record which must be kept safe and given to your airline when you leave the US. If you hold a US or Canadian passport, US Alien Resident Visa (Green Card), US Immigrant Visa or a valid ESTA (right), you are not required to complete an immigration form.

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OpenSkies_13 Luglio.pdf

ELECTRONIC SYSTEM FOR

WILL EXPIRE ALONG WITH

TRAVEL AUTHORISATION (ESTA)

YOUR PASSPORT.

IF YOU ARE AN INTERNATIONAL

APPLY ONLINE AT WWW.CBP.GOV/ESTA

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NATIONALITIES ELIGIBLE

VISA WAIVER PROGRAMME,

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ELECTRONIC AUTHORISATION

AUSTRIA, BELGIUM, BRUNEI,

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CZECH REPUBLIC, DENMARK,

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THE NETHERLANDS, NEW

THE ONLINE ESTA SYSTEM

ZEALAND, NORWAY, PORTUGAL,

WILL INFORM YOU WHETHER

SAN MARINO, SINGAPORE,

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THE NUMBER OF STAFF IN THE KITCHEN OF THE EMIRATES FLIGHT CATERING CENTRE AT ANY ONE TIME:

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EMIRATES NEWS

120


121


EMIRATES NEWS

122


AD 123


THE FLOENETTAINS

C OUR FLEET ADE 159 PLANESS. SMENGER PA UP OF 150 D9 PLANES AN ANES CARGO PL

For more information: www.emirates.com/ourf leet

AD

173 x 100 mm

125


EMIRATES NEWS

FLEET GUI DE

Boeing 777-300ER Number of Aircraft: 58 Capacity: 354-442 Range: 14,594km Length: 73.9m Wingspan: 64.8m

Boeing 777-300 Number of Aircraft: 12 Capacity: 364 Range: 11,029km Length: 73.9m Wingspan: 60.9m

Boeing 777-200LR Number of Aircraft: 10 Capacity: 266 Range: 17,446km Length: 63.7m Wingspan: 64.8m

Boeing 777-200 Number of Aircraft: 9 Capacity: 274-346 Range: 9,649km Length: 63.7m Wingspan: 60.9m

Boeing 777F Number of Aircraft: 3 Range 9,260km Length: 63.7m Wingspan: 64.8m 126


Airbus A380-800 Number of Aircraft: 16 Capacity: 489-517 Range: 15,000km Length: 72.7m Wingspan: 79.8m

Airbus A340-500 Number of Aircraft: 10 Capacity: 258 Range: 16,050km Length: 67.9m Wingspan: 63.4m

Airbus A340-300 Number of Aircraft: 8 Capacity: 267 Range: 13,350km Length: 63.6m Wingspan: 60.3m

Airbus A330-200 Number of Aircraft: 27 Capacity: 237-278 Range: 12,200km Length: 58.8m Wingspan: 60.3m

Boeing 747-400F/747-ERF Number of Aircraft: 4/2 Range 8,232km/9,204km Length: 70.6m Wingspan: 64.4m 127


L U X U R Y

next … month

M A N N E Q U I N S

AD

80 mm wide x 224 mm high

N

ext month is our Adventure issue and we will be climbing, exploring, inventing, dangling, trekking and generally enjoying ourselves as we take a walk on the wild side. We feature one of the best (and funniest) adventure books ever written and explore the mysterious side of Yemen’s enchanting capital, Sana’a. Our movie expert casts his eye over the adventure genre, while we map one of Emirates’ newest routes: Copenhagen. We also chronicle the life of one of the world’s greatest ever explorers. So sit back, buckle up, and enjoy the ride.

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Open skies | September 2011