Le cercle #17 by City News Publishing

Venice Talking The language of modern architecture Behind the scenes a t B & B It a l i a H Q In the closet A peek inside the world's best wardrobe The high life Alpine retreats for the A-list London Cool The best of Frieze 2014

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a world-class wish-list

Let Le Cercle fill you with inspiration and provide you with the ultimate wish-list. For our 17th edition we have pulled out all the stops to compile a compelling gift selection, and while on a high, the ideal slopes for a ski getaway. Elsewhere opulent Oriental hotelier Raffles has taken our breath away with its latest project in Istanbul: a hotel with a bird’s eye view of the Bosphorus and the central bazaars from an oasis of calm within the ultramodern Zorlu Center. In Britain’s capital Le Cercle ventures to the heart of the metropolis for a visit to Frieze London while at the city’s Barbican we revel in a retrospective of the enfant terrible of avant couture, JeanPaul Gaultier, and at the Bulgari Hotel we sample Alain Ducasse’s : new Rivea restaurant. We zoom in for a look at City News Privilege on behalf of Le Cercle Hitti Citterio’s ground-breaking Backstage wardrobe concept for : Maxalto, a made-to-measure Anastasia Nysten rotating portal into a private universe where everything is : accessible simultaneously. B&B Genia Kodash Italia and Maxalto are successfully redefining space : and blurring the boundary CHAMAS between outside and inside, and www.3achamas.com the Renzo Piano-designed test : lab and international showroom Owen Adams near Milan is where the vision is Vincenzo Albano realised. Miriam Dunn Finally, Roche Bobois pays Michelle Frangieh homage to Jean Cocteau’s Merlin Fulcher artistic legacy, converting his Nour Harb original drawings and Nadine Khalil manuscripts into embroidered John Ovans cushions and elaborate throws India Stoughton and upholstery. Rich Thornton Here’s what dreams are : made of and may all your dreams come true at this sales@citynewsme.net t: +961 3 852 899 special time of year.

PARK VIEW BUILDING, BOULEVARD DU PARC - BEIRUT T. +961 1 99 21 16 CHARLES MALEK AVE., ELLIPSE CENTER - ASHRAFIEH, LEBANON T. +961 1 20 00 01 W W W. W S A L A M O O N . C O M

European manufacture.

Chronos dining table, design Giusy Mastro. Chistera chairs, design Marcello Ziliani. Pattern sideboard, design Cedric Ragot. BEIRUT DOWNTOWN 33, Rue Weygand Tel. +961 1 985 888/999

See www.roche-bobois.com for collections, news and catalogues.

lâ&#x20AC;&#x2122;art de vivre by roche bobois

the WINTER

wishlist

goes window shopping for some of this season’s must-have purchases.

Roseauvase

FETISHCoupe

Noé Duchaufour-Lawrance

Blown Glass, Porcelain

Ceramic vase with brilliant slip

H. 28 cm x Ø 17 cm

Small: H. 450mm x Ø 22 cm,

Vanessa Mitrani

large: H. 60 CM X Ø 29 cm Ligne Roset

IRONVOTIVES

HELIUM,DOUBLE-LAMP

STUDIO POLS POTTEN

Blown glass, leather, wood

Metal, copper plated

H. 35 cm

and gold leaf coating

Vanessa Mitrani

Ø 11 x H. 11cm Pols Potten

BALL

GRAVITY, CUBESCULPTURE

Blown glass, marble

H. 30 cm x Ø 35 cm

H. 45 cm

Vanessa Mitrani

accessories

BluetteCollection – DondoloeSbiecovases

BluetteCollection – DottoeDottinovases

Paola Navone

H 40 cm x ø 10 cm, H 35 cm x ø 7,5 cm,

H. 30 x ø 12 cm, H. 35 x ø 13 cm

H 25 cm x ø 10 cm, H 30 cm x ø 12 cm

and bowl H. 13 x ø 23 cm.

and H 25 cm x ø 15 cm

Handcrafted silk-screened decoration

Handcrafted silk-screen decoration using

with raised 980/1000 silver.

shiny enamels, crystal sands

Egizia

and 980/1000 silver. Egizia

LaceCollection Vaseandbowl

CILINDERGLASS,WISKEYGLASS ANDTWOHALVESBOTTLE

Paola Navone

STUDIO POLS POTTEN

Vase: H.40 cm x ø 20cm

Glass

White triple thickness encased mouth-

H. 45 cm x ø 32, H. 50 cm x ø 47 cm,

blown glass. Hand-crafted silk-screened

H. 75 cm x ø 25.3 cm

decoration with 980/1000 silver.

Pols Potten

Bowl: H. 12,5 cm x ø 21 cm Clear glass, handcrafted silk-screened decoration with raised 980/1000 silver. Egizia

CANDLEHOLDER FOLDING NICKELBALL

PELOTE – COLORS COLLECTION

STUDIO POLS POTTEN

Blown glass, copper

Nickel plated metal

H. 20 CM X Ø 20

W. 150 X D.13 X H.101 CM

VANESSA MITRANI

Pols Potten

LesOiseaux Pascale Mourgue Vase in white moulded enamelled ceramic with black motif W. 15 cm x D. 22 cm x H. 33 cm Ligne Roset

accessories

GenevaModelSWireless Geneva Sound

Offrandeoccasionaltable Pascale Mourgue Enameled earthenware H.38 cm x Ø 54 cm Ligne Roset

ModelL

Conicooccasionaltable

Walnut, with floor stand

Kensaku Oshiro

Geneva Sound

Medea stone, black Marquinia marble or white Carrara marble S: H. 15 cm x Ø 45 cm, M: H. 15 cm x Ø 45 cm, L: H. 24 cm x Ø 35 cm Ligne Roset

GenevaWorldRadioDAB+

Dado

Geneva Sound

Studio Kairos Wood fibre, satin or glossy painted W. 51.1 X D. 55 X H. 45 cm, W. 76.5 X D. 55 X H. 45 cm B&B Italia

ModelL

ALTDEUTSCHECABINET

Red, with floor stand

STUDIO JOB

Geneva Sound

Solid pine and pine veneer, hand painted W. 125 X D. 56 X H.174 cm MOOOI

accessories

Parachute

RandomLightlamp

Nathan Yong

Bertjan Pot

Satin black lacquered steel wire or transparent

Fibreglass soaked in epoxy resin, matt chromed steel

lacquered copper-plated steel wire.

base, semi gloss black powder coated base (black),

Composed of 3 pieces.

matt aluminium heat sink and opal glass

Overall dimensions H. 49 cm x Ø 80 cm

Ø 50 cm, 80 cm or 105 cm

Ligne Roset

Moooi

constructionlampl

Campanule

joost van bleiswijk

Daniel Debiasi

Die cast powdercoated aluminium

Satin lacquered textured metal structure

m: Ø 67 cm x h. 139 cm

W. 14 cm x D. 15 cm x H. 32 cm

moooi

Ligne Roset

Heracleum the Big O Bertjan Pot Metal wire frame, poly carbonate lenses ultra thin suspension wire H.23 cm x Ø 210 cm Moooi

lighting

Febo

Metropolitan‘14

Antonio Citterio

Jeffrey Bernett

Tubular steel and steel profiles,

Tubular steel and steel profiles frame, flexible cold

flexible cold shaped polyurethane foam,

shaped polyurethane foam, fabric or leather cover

fabric or leather cover

W. 100 cm x D. 84 cm x H. 95 cm

w. 25 cm x d. 75 cm x h. 77 cm

B&B Italia

Maxalto

BaloonCollection Florence Jaffrain Bi-stretch fabric cover, flexible foam shell, filling polystyrene beads S: H. 70 cm x Ø 50 cm M: H. 100 cm x Ø 70 cm L: H. 120 cm x Ø 80 cm YouNow

HuskSofa

Tulipani

Patricia Urquiola

Roderick Vos

Tubular steel and steel profiles, flexible

W. 44 cm x D. 42 cm x H. 85 cm

cold shaped polyurethane foam, die-cast

Linteloo

aluminum feet, fabric or leather cover w. 261 cm x d. 102 cm x h. 87 cm B&B Italia

Cossesofa

PRADOSOFA

Philippe Nigro

CHRISTIAN WERNER

Structure in mechanically soldered steel.

Polyurethane foam, epoxy mat

High resilience polyurethane Bultex

lacquered steel base, fabric cover

foam, clad in polyester quilting

Medium settee

W.175 cm x D.99 cm x H.82 cm

W. 200 cm x D. 100 cm x H. 87 cm

Ligne Roset

LIGNE ROSET

Seating

Area

Hive

Paolo Piva

Atelier Oi

Painted MDF wood fibre panel

Multilayered wood panel chromed drawn steel

glossy or satin

frame, leather

W. 108 x D.108 cm x H. 35.3 cm

W. 61 cm x D. 53.5 cm x H. 42.5 cm

B&B Italia

W.58 cm x D.57.5 cm x H. 25 cm W. 40 cm x D. 40 cm x H. 51.1 cm B&B Italia

Antonio Citterio

commoncomrades merchant

Glossy painted MDF wood fibre panel or

Neri & Hu

Pathos

black shellac, Calacatta, Marquina or

solid birch

Guatemala marble top. Drawn steel bright

H.40 cm x Ø 40 cm

chromed, painted or copper finish frame

Moooi

Ø 43 cm x H. 64 cm Ø 80 cm x H. 65 cm Maxalto

IsolaTable

ASHERA NOÉMIE ROGNON

roderick Vos

Solid wood structure,

W.170 / 220 cm X H. 32cm

toughened ‘cristal’ glass

Linteloo

W. 130 cm x D. 80 cm x H. 26.5 cm LIGNE ROSET

Low-TideTable,

Urbanhike

Roderick Vos

Marcel Wanders

w. 120 cm x d.120 cm x 34 cm

Chromed steel, decalized aluminium

Linteloo

wood transfer H.76 cm x Ø 44 cm Moooi

Tables

Electrumcollection

LesPrestigieusescollection

Kheops

Encre de Chine

fragrance note: Cistus, Camel Leather

fragrance note: Century Wood, Jasmin

Khephren

cuir de russie

fragrance note: Cologne, Chypre

fragrance note: tanned hide

Mykerinos

pierre de lune

fragrance note: Acacia, Myrrh

fragrance note: white tea, frozen mint

Baobab

JungleSafarilimited editionCollection

Fragrance note: Amber, Grapefruit

zebrino

Baobab

Platinumcollection

giraffina ghepardino fragrance note: patchouli, cinnamon, candied lemon Baobab

Dialogue

teamspirit

gardeco

Dialogue

birdonwoodframe

gardeco

accessories

Make yourself at home Le Cercle offers up some inspiration for creating ideal interiors

ALMORA DOSHI LEVIEN

B&B ITALIA

TABANO PATRICIA URQUIOLA

B&B ITALIA

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TOGO MICHEL DUCAROY

LIGNE ROSET

@-CHAIR TOSHIYUKI KITA

LIGNE ROSET

EXCLUSIF SOFA

PARCHUTE LIGHT

DIDIER GOMEZ

NATHAN YONG

LIGNE ROSET

OTTOMAN NOÉ DUCHAUFOURLAWRANCE

LIGNE ROSET

TABANO

HUSK SOFA

PATRICIA URQUIOLA

B&B ITALIA

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TOBI-ISHI

PAPILLIO

EDWARD BARBER AND JAY OSGERBY

NAOTO FUKASAWA

B&B ITALIA

FLAT C. WALLSYSTEM ANTONIO CITTERIO

B&B ITALIA

CONVIVIUM ANTONIO CITTERIO

MAXALTO

DIVES ANTONIO CITTERIO

MAXALTO

PATHOS

FEBO

ANTONIO CITTERIO

MAXALTO

DIVES

RECIPIO

LOTO

ANTONIO CITTERIO

MAXALTO

Piet Boon Paris APARTMENT

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Piet Boon Paris APARTMENT

LE CERCLE Zouk · Zouk Highway · Tel. +961 9 21 77 44/55 Beirut · An Nahar Bldg · Martyrs Square · Downtown . Beirut · Tel. +961 1 97 14 44/555

www.dedon.de

Husk gets honours Designed by Patricia Urquiola in 2011, the Husk armchair received an honourable mention from the International Jury of the 23rd awards of the Compasso d’Oro, after originally being nominated alongside the Tobi-Ishi table by Edward Barber and Jay Osgerby, and Beverly chair by Antonio Citterio. The Husk is available in two versions: indoor and outdoor, the latter of which was first presented during Milan Design Week. As with the indoor version, the Husk Outdoor is a semi-upcycled product, constructed from recycled, and recyclable, materials, with its components easily separated to reduce environmental impact. The hard white shell – made from a resistant ‘technopolymer’ material called Hirek – which encases it is intended to reflect strength, countered by the presence of soft, fluffy pillows inside. The chair itself is available in white, black, orange, lime green and blue painted finishes. From June 26 to October 5 a retrospective at MAXXI in Rome was dedicated to the world-famous designer, architect and artist Gaetano Pesce—bound by the theme of diversity, something that along with randomness and predictability, informed much of his work. Design for Pesce was never just for design’s sake, with the conceptual and allegorical aspect to his work celebrated via seven thematic paths, entitled ‘NonStandard’, ‘Person’, ‘Place’, ‘Defect’, ‘Landscape’, ‘Body’, and ‘Politics’. The exhibition itself was

structured using 40 mobile panels delineating sketches, drawings, and original models from the 1960s right through to the present, with visitors expected to ‘choose’ their own experience. At the end they arrived at a piece of Pesce’s most celebrated work— 1969’s ‘UP5_6’, a giant anthropomorphic armchair reminiscent of a prehistoric facility goddess, typical of his ability to subvert the normative language of design by breaking taboos, as well as of his inference of the human body.

Revolutionising rooms Five decades ago, a young German genius named Rolf Benz made it his mission to create a sofa which perfectly fused comfort and function, enabling users to discover the true art of ‘sitting back and relaxing’. During the years that followed, Rolf Benz’s instantly recognizable, premium upholstered furniture became sought after the world over, breathing new life into both personal and professional living space. The growing brand flew the flag for flexible, versatile furniture, with its luxurious individual sofas, recliners and occasional tables offering a stylish, modern alternative to static, traditional layouts. Rolf Benz chose to mark its 50th anniversary this year with a special sofa which paid tribute to the luxury brand’s iconic 1964 Addiform sofa and armchair programme. The firm teamed up with the designer Norbert Beck to create the clearly retro-inspired, yet indisputably contemporary, Rolf Benz 50 sofa.

The handcrafted, upholstered corner sofa comes in a choice of seven colours, complete with innovative relax functions, while its slender legs give it an almost surreal floating appearance. Aside from offering diverse layout options, the sofa harmonises beautifully with other furniture from the brand, including the Rolf Benz 50 armchair and bench with optional footrest. The Rolf Benz 950 floor cushions, together with coffee table options and rugs, complete the landscape.

Having wowed the crowds at the 2014 Milan Furniture Fair, Rolf Benz will now take its landmark sofa on a worldwide tour of 50 cities, giving admirers an opportunity to visualise just what it could bring to their living room.

From ducks to décor words M i r i a m Du n n

A to u r of B & B I talia ’ s headquarters gives a fas c inatin g insi g h t into j u st w h at ma k e s t h e fi r m ’ s fin e f u r nit u r e so v e r y s p e c ial

As a young, pioneering furniture designer who was keen to break new ground, Italianborn Piero Ambrogio Busnelli found inspiration in the unlikeliest of places. Never was this more evident than when, during a trip to a UK trade fair some four decades ago, his attention was caught by a rubber duck, or, more accurately, the polyurethane mix used to fill the inside of the bath toy. Around this time, the innovative Busnelli was searching for new ways of filling his luxury chairs and sofas. The designer believed that polyurethane, which gave the rubber duck its smooth curved contours, could be the filling of the future for his high-end furniture pieces. Back at his factory in Italy, he worked to recreate and fine-tune a suitable foam for his furniture, using trailblazing moulds which remain a key component of the process today.

Today, the B&B Italia team continues to push boundaries at its headquarters in Novedrate, north of Milan, creating award-winning design furnishings for the home and commercial spaces. The firm’s pieces have long championed the Made in Italy brand, boasting a combination of exceptional quality and timeless elegance. While a family-run enterprise, B&B Italia has constantly sought out some of the most exciting names in design as collaborators for its projects, from Renzo Piano and Richard Rogers, who designed the firm’s headquarters in 1972, to well-established partner Antonio Citterio, who was the brains behind the award-winning Backstage bedroom décor and coordinates the Maxalto sister line. B&B Italia’s prestigious list of partners also includes Naoto Fukasawa, Gaetano Pesce and Patricia Urquiola, who created the hugely popular Tufty-Time sofa.

Aside from its structural significance, B&B Italia’s headquarters is noteworthy for housing all of the firm’s operations under one roof. From design, and research and development (R&D), to the factory floor and testing space, the operations are carried out in an endto-end process here, as Le Cercle discovered when it was invited to visit the premises. Touring the site, it is immediately evident that B&B Italia’s manufacturing process is both complex and intricate. The R&D Centre, for example, is where the polyurethane mix has been created to exact proportions, while a huge hangar is home to the hundreds of moulds on B&B Italia’s inventory. The firm’s designs are known for their staying power; the vintage Coronado sofa, for example, which was designed by Afra and Tobia Scarpa, has been in production for over 40 years, and the mould remains proudly on site to prove the point. Other areas house the collection of fine fabric and leather upholstery.

Activity at the testing space reinforces just how stringent B&B Italia’s standards are, while its showrooms exude glamour and finesse. A Doyl chair by Gabriele and Oscar Buratti is a stand-out object, as is an Athos table by Paolo Piva. The Papilio chair, meanwhile, by Naoto Fukaswa, is pure Japanese elegance. Maxalto’s showroom, next door to the headquarters, gives the site an added dimension. Touring B&B Italia’s site provides observers with an opportunity to experience something of the journey undertaken by the firm itself, which has been fuelled by creativity, innovation and industrial know-how. Framed milestones adorn the wall, ranging from a photograph of Mario Bellini’s Cameleonda vintage sofa, which was the first to have matching chaise-longue and wall units, to awards and accolades, reflecting B&B Italia’s hard-earned and deserved success.

Hayek Roundabout, Sin el Fil, Beirut, Lebanon tel. +961 1 480520 www. geahchangroup.com

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Say what? Words M e r l i n Fu l c h e r

T h e V e ni c e A r c h it e c t u r e B i e nnal e e xamin e s t h e mo d e r n lan g u a g e of u r ban d e si g n

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This year’s Venice Architecture Biennale set out to break the mould. Rather than allowing individual participating countries to work around a loose theme as in previous sessions, the global summit of architectural culture – this year led by star curator Rem Koolhaas of Rotterdam-based OMA – focused exclusively on the impact of modernity across the world. After declaring an unprecedentedly long 18-month run-up to festivities, Koolhaas asked participants to present a detailed analysis of how modernism had been absorbed into their national cultures between 1914 and 2014. Koolhaas’ reasoning was both simple and highly political. The designer of such world-famous buildings as the CCTV headquarters in Beijing wanted to evaluate the common language of materials, fittings, doors, walls and ceilings which have enshrined a new ubiquity of architectural expression across the world. The influence of these elements, Koolhaas argues in an exhibition inside the biennale’s central pavilion, has not been properly understood by building designers and their users. The end result has been a blanket acceptance of the characteristics of modern building and startlingly similar visual outcomes across the world. The accusation, and its significance for future urban life, is somewhat bleak. Will the digitally networked building blocks of the all-encompassing smart cities proposed for the future also pass into normality without full consideration of their impact on space and culture?

The response from participating countries was varied. Britain’s Clockwork Jerusalem installation described how the nation’s love of landscapes had created a unique form of modernism both socially progressive and visually rooted in the past. This short-lived and highly-charged period in British design history should be remembered not for its failures, the pavilion curators Sam Jacob of FAT and Wouter Vanstiphout of Crimson argue, but for its experimental spirit which needs resurrecting now more ever. In contrast, the Irish pavilion looked at grand infrastructural projects such as motorways, dams and bus stations which facilitated an escape from the country’s colonial past. The Korean pavilion meanwhile focused on the collective impact of modernism either side of the world-famous 38th parallel and won the biennale’s coveted Golden Lion award – equivalent to being named ‘best in show’.

Ai Weiwei’s Forever Bicycles

As always with the Venice Biennale the fun doesn’t stop with the national pavilions. This year London’s Lisson Gallery continued its long-standing presence at the festival with a series of site-specific installations by world-famous artists – including Richard Deacon, Anish Kapoor and Santiago Sierra – responding to public realm and the built environment. The crown jewel among them was Ai Weiwei’s Forever Bicycles installation in the riverside courtyard of Palazzo Franchetti. Containing some 1,179 stainless steel bicycle frames welded together to

Are these bicycles like other Chinese goods, such as smart phones, further elements of the ubiquitous modernism Koolhaas describes?

create a modular series of geometric shapes, this dizzying structure, like much of Ai Weiwei’s work, is immensely provocative. By referencing the Forever bicycle brand – manufactured in Shanghai since 1940 – the artist reminds us of the complex systems of design, production and supply which are very often invisible to contemporary consumers but have had a profound cultural impact on our lives and on the politics of modern China. Are these bicycles like other Chinese goods, such as smart phones, further elements of the ubiquitous modernism Koolhaas describes?

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 Shopping 20 21 22 23 24 25 26 Interiors 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Heinz Mack, The Sky 46 47 Oven Nine Columns News 48 Photo: Reginals Weiss 49 50 Mönchengladbach 51 Architecture 52 53 54 55 56 57 58 59 60 61 62 63 Living 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 Art 108 109 110 111 112 113 114 115 Fashion 116 117 118 119 120

German artist Heinz Mack offers a refreshing solution to the conundrum with his installation featuring nine shimmering and symmetrical golden columns in the church square of San Giorgio.

Views of The Sky Over Nine Columns by Heinz Mack

German artist Heinz Mack offers a refreshing solution to the conundrum with his installation featuring nine shimmering and symmetrical golden columns in the church square of San Giorgio. By repurposing the most ancient and universal of architectural elements – the column – Mack reminds us that site-specific responses to modernism will remain the most culturally sensitive and artis-

tically relevant for a very long time to come. Decorated with more than 800,000 tesserae, the pillars’ golden mosaics echo a traditional local craft well displayed on the Basilica of San Marco across the water. Their playfully reflected light reminds passers-by at day, evening and night of the beautiful possibilities still existing within modern architecture, suggesting a brighter future for us all.

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A walk-in wonder Words M i r i a m Du n n

With its ingenious use of s p a c e , c u tt i n g e d g e d e s i g n and elegant facade, the new Backstage wardrobe s y s t e m by A n t o n i o C i tt e r i o f o r B & B It a l i a i s , u n d o u bt e d l y , a f r o n t l i n e phenomenon

When the Italian furniture designer Antonio Citterio hit a stumbling block in his quest to create attractive, space-saving storage solutions for clients, he came up with a new wardrobe system which proved to be not only groundbreaking, but also prizewinning. Titled Backstage, and produced by the leading Italian design company B&B Italia, Citterio’s ingenious idea took the walk-in wardrobe concept to an entirely new level. The system’s innovative use of internal space, together with its revolutionary door-opening system and ability to integrate seamlessly into a bedroom, earned Backstage the prestigious Wallpaper magazine design award 2014 for ‘best wardrobe’.

Wallpaper magazine design award 2014 for ‘best wardrobe’

below:

Antonio Citterio

right: Backstage, Wardrobe

In its praise for Backstage, the magazine said Citterio had successfully rethought the concepts of storage, use and planning of internal space, while also reinventing the relationship between the bedroom and dressing area. The centrepiece of the Backstage wardrobe system is the full-height door, which disappears into the wall where it is mounted, retracting when opened. The revolutionary, B&B Italia-patented ‘re-entering’ opening system ensures easy and complete access, while the layout inside can be reconfigured to suit the user’s taste. Space is used brilliantly on the inside, with luxurious leather shelves positioned cleverly on top of bronzed, nickel-finished drawers. Additional features, such as accessory trays, belt and jewellery holders, together with an adjustable mirror, are conveniently mounted on the inside of the doors. Energysaving LED luminaires, placed on the shelves, light up when the doors open.

It offers solutions that allow you to create different layouts in the bedroom Aside from its technical prowess, the Backstage system is also beautiful to look at, exuding B&B Italia’s signature craftsmanship and attention to detail. The door, which comes in a choice of widths, is finished in sucupira, otherwise known as Brazilian chestnut wood, or a choice of lacquered colours in matt or sheen, while the handles, in leather or bronzed-nickel inserts, are hallmark B&B Italia. When talking about Backstage, Milan-based Citterio explained that the wardrobe concept evolved from the challenges he regularly came up against in his residential and hospitality projects. “It offers solutions that allow you to create different layouts in the bedroom,” he said. Citterio’s determination to overcome a hurdle by creating something pioneering, yet sublime, also helps to explain the success of his partnership with B&B Italia. Founded in 1966 by Piero Ambrogio Busnelli, the company, which is also located in Milan, has played a key role in shaping modern Italian design, combining creativity, innovation and industrial knowhow. The Backstage system, surely, is a prime example of all three, and more besides.

Backstage, Wardrobe

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Warm meets cool The art of Dori Hittiâ&#x20AC;&#x2122;s latest venture blends coziness with style Words M i c h e l i n e Fr a n g i e h Photographer M a n s o ur D i b

Renowned for bringing forth brilliant interior designs, Dori Hittiâ&#x20AC;&#x2122;s Studio never ceases to fulfill the craving for a timelessly welcoming ambience. This project, in particular, serves as no exception. This unique apartment located in the heart of the Achrafieh is the epitome of minimalist chic with an edge. Marked by a classic yet contemporary blend of calm and fresh elements, the finest details encapsulate the optimal balance of coming home to a cozy environment while still enjoying the energy of an eclectic city. Upon entering the walls of this sophisticated residence, modern and long-lasting touches can be spotted on virtually every corner.

Clean shapes and wooden panels enveloped by serene tonalities have been selected to ascertain the quality of a hospitable layout ideal for family life as well as for the entertainment of guests. Distinctive sections of the home are subtly separated, as visible by the meticulous placement of assorted lighting. Itâ&#x20AC;&#x2122;s difficult to choose just one aspect alone that commands the attention, as each separate piece has its own character, yet exists in harmony with the rest. The eyeâ&#x20AC;&#x2122;s focus is drawn to the large, centered spherical ceiling light whimsically hovering over the contrasting dark brown, charcoal leather chairs from Minotti and square-shaped Maktabi carpet. The round, overlapping centre tables brilliantly mirror a split reflection of this peak of illumination, serving as one of the many examples of the designerâ&#x20AC;&#x2122;s exceptional vision for cleverly linking distinct dimensions.

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Pleasing to the eyes and relaxing to the soul, white walls encase the mix of round-based accents and more protruding edges with volume. Even the marble floors are masked by shades of white and beige, more closely resembling the anomaly of snowy white sand. Natural tones are ever-present, and the finishing touches to the lit-up atmosphere are curtains in pristine white as smooth as a flowing river of milk, with alternate panels complementing the furnishingsâ&#x20AC;&#x2122; shades.

Classily furnished with exquisite designs from B&B Italia’s Maxalto line, Minotti, Dedon, and Ligne Roset, each living space has a life of its own. Focusing on the glass and chrome bar again brings to the fore the convivial essence of the home’s theme while maintaining a cool façade. You can’t miss the contemporary sources of lighting dropping over the bar like slimmed, elongated tubes, providing an aesthetically intriguing nuance to the harmonious ambience. This is a superb example of a versatile home at its best, fit for all seasons and moods.

Stylish to a tee Words J o h n Ov a n s

Architecture meets golf on the southern Korean peninsula

South Korea may not spring to mind as the ultimate golfing destination, but a spectacular new South Cape Owners Club, on the coast of Namhae Island in the country’s South Gyeongsang province may just change that assumption. The luxury golf resort community, which is the brainchild of fashion magnate Jae Bong Chung, is located right on the southern tip of the Korean peninsula, and comprises a beautiful, 40-suite boutique hotel and 130 private luxury seaview villas – as well as an on-site spa. The dramatic setting supplied by the South Cape coastline is married to the club’s equally impressive architecture, which was created at the hands of architectural firm Mass Studies. While largely minimalist and splashed in a neutral palette, the interiors, from wine bar, cafeteria, and restaurant to the plush suites, are peppered with Ligne Roset furnishings. Replete with a sweep of futuristic concrete, wrapping around the perimeter of the clubhouse, the sculpted roof notably interplays with the landscape, with

opposite page bottom:

South Cape Owners Club interior. Ploum sofa designed by Ronan & Erwan Boroullec for Ligne Roset Mobidec stool designed by Pierre Chrpin for Ligne Roset

Circles pedestal tables by Maria Jeglinska for Ligne Roset Fifty outdoor/indoor armchair designed by Dögg & Arnved Design Studio for Ligne Roset

opposite page top : South Cape Owners Club interior. Ploum sofa designed by Ronan & Erwan Boroullec for Ligne Roset

the membrane-esque curves embracing the hill that they stand on, cossetting a central courtyard which enables panoramic ocean views. Beneath the roof stand several threemetre canopies that function as shades. Paramount to the design as a whole, meanwhile, was a sense of visual continuity for the club’s guests. The golf course itself, the heart of the complex, was designed by internationally acclaimed Californian golf course architect Kyle Phillips. Set amidst bentgrass greens, the 18-hole course interfaces with the contours of the landscape, which are perfect for both everyday games and championship tournaments, with a rating of 75.2 and slope of 138. Perched on the coastline, the golfing experience is cited by players as unrivalled, with each hole enjoying its own fabulous viewpoint. Tee up in South Korea? Don’t mind if we do.

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Home sweet home Words M i r i a m Du n n

T h e l e a d i n g l i f e s ty l e a n d fine furniture company, Luxury Living, has taken up residence in a palatial s e tt i n g p e r f e c t l y s u i t e d t o showcasing the fine brands it represents

Where better to showcase a selection of exquisitely-crafted furniture than in a majestic Italian palazzo, dating back to the baroque era and steeped in history? The decision-makers at the leading, high-end lifestyle and furniture company Luxury Living may well have come to the same conclusion when they chose the sumptuous Palazzo Orsi Mangelli as their new headquarters. Located in the Italian cultural hub of ForlĂŹ, the splendid 17th century building, boasting a magnificent facade, complete with stone balcony, has many a tale to tell.

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Mr Vignatelli and Jacques Grange

Once the home of Cardinal Paolo Orsi Mangelli, the palazzo has changed hands and roles over the years, most recently housing the University of Bologna’s Secretariat and Faculty of Political Sciences. Today, following an extensive renovation, the building is proving to be the ideal setting for Luxury Living’s collaborative ventures, celebrating and promoting fine furniture and furnishings from several of the world’s most desirable brands. The move marks a milestone for the Luxury Living Group, coming some four decades after Alberto Vignatelli first set up Club House Italia SPA to launch his inaugural furniture range. In preparation for the new chapter in its history, Luxury Living was actively involved in returning Palazzo Orsi Mangelli to its former glory inside and out, working closely with the famed French designer Jacques Grange, who breathed new life into the building’s interiors. Unsurprisingly, the latest collections of the big brands now in residence at Luxury Living’s new headquarters look entirely at ease in their new home.

The colour palette for the latest collection is dominated by natural and pastel shades

Sophisticated and subtle, the home collection, created by the definitive British luxury car company Bentley, sits beautifully in its new surroundings. Sumptuous comfort and sensuous quality are cleverly combined with functional performance in the furniture and accessories, which range from sofas and armchairs in tactile leather â&#x20AC;&#x201C; a signature of the interiors of all Bentley models - to elegantly crafted tables and sideboards. The colour palette for the latest collection is dominated by natural and pastel shades, such as mocha, taupe and camel, set against burgundy and blue, while hints of male attire, including pinstripe and houndstooth, feature in sophisticated velvets.

Fendi’s latest collection brings Palazzo Orsi Mangelli to life

Marrying the best of Italian luxury and New York aesthetics with a hint of British elegance, Fendi’s latest collection brings Palazzo Orsi Mangelli to life in a way that only one of the world’s most admired luxury brands could manage to do. Its long established range of home furnishings, which features sofas, cabinets, ottomans and bookshelves, is designed and manufactured using the finest materials and exclusive finishes. Created almost exclusively by Italian artisans using traditional techniques, Fendi’s sofas come in leather or luxurious material, adorned with exclusive buckles and embroidery. New, exciting colours have been introduced to the latest collection, led by soft French blues and deep burgundies, which are set against greys, bronzes and quartzes.

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The modern, yet discreetly elegant, made-in-Italy collection from the luxury brand Trussardi could also have been tailor crafted for the palazzo’s interiors. Trussardi’s furnishings, which have been created in conjunction with the architect Carlo Colombo, include beautiful beds, sofas, saddle chairs, lamps and coffee tables. Lovingly made from prized fabrics and wood, combined with the brand’s favoured leather, the collection is completed with a handcrafted finish. The collection makes use of a variety of natural, earthy tones, including sand, tan and ivory, while the bases have a contrasting, clean-line finish. The city of Forlì has long been a magnet for lovers of fine Italian craftsmanship, be it architecture, art or design, which helps to explain why the Luxury Living Group has slotted into its new surroundings with ease. Indeed, the firm’s decision to take up residence in Palazzo Orsi Mangelli could be viewed as not only a new phase in Luxury Living’s history, but, also, a homecoming of sorts.

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Beyond the Ottoman Words Rich Thornton

For decades, hospitality in Turkey meant faded fezzes and tarthick coffee, but in September 2014, Raffles finally gave Istanbul the luxury modern hotel it truly deserves. If Istanbul hotels are known for one thing, it’s their cliches. Whether it’s “Ottoman heritage fused with Turkish hospitality”, or “the original crossover of East and West” - all luxury hotels in Istanbul invoke the same banal insistence on the city’s ancient history and culture. Not so with Raffles, the brand new hotel so utterly now that it welcomed Lady Gaga as one of its very first guests.

Raffles Istanbul bucks the boring trend of “Ottoman inspired” and relishes in Turkey’s modern, cutting-edge present: its truly cosmopolitan opulence stands strong, and without need of crutches from the past. First, the hotel is proudly situated in the Zorlu Centre, Istanbul’s newest shopping and entertainment complex. Towering above the Bosphorus and the Old City alike, Raffles is the perfect enclave for the discerning traveller who wants to shake off the tourist crowds and plan their own independent adventure.

The hotel’s contemporary essence hits you as soon as you enter the lobby: Martin Dawe’s Henry Moore-esque abstract sculpture and dreamscape photo-artist Jean-Francois Rauzier’s surrealist vision of Istanbul show that Raffles is here to celebrate the city’s dedication to the new. In the rooms, art is omitted in favour of soothing minimalism, a theme only intensified by the subtle hints of Turkish architecture hiding in the furniture and elegant division of space. Even the lighting is intelligently modern - it changes automatically according to the time of day.

What’s more, the service is impeccable. Each guest is assigned a personal butler on arrival, and every review of the hotel confirms that the staff are attentive but never obsequious. True to their commitment to the international ambiance, the hotel’s prime attraction is Sergi’s Arola’s two-Michelin-starred tapas restaurant featuring a Catalan-inspired menu that will have the elite of Barcelona travelling east to taste the finest of their own cuisine.

One of the biggest surprises at Raffles for the seasoned luxury traveller is the size of the rooms - nothing is smaller than 60m2, and each is equipped with a personal espresso machine for those moments when ringing room service is just too much of a chore. If you’re tired of the thickly upholstered hospitality that suffocates you at Istanbul’s more traditional hotels, Raffles is your new Istanbul port of call.

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Fullflavoured continental chic served in style Words J o h n Ov a n s

Il Ristorante

Time was when you had to make a grand entrance before dinner, and whether you’re wearing an elegant ballgown or not, descending the beaded sweep of staircase of London’s Bulgari Hotel recalls a more exciting way to rustle up an appetite. Once at the bottom, you’ll have set foot in Rivea, a basement restaurant helmed by chef Damien Leroux, Alain Ducasse’s protégé, who’s proving he’s got the mettle to match his master. The interiors are striking: an oval room designed by Italian architects Antonio Citterio and Patrica Viel, who’ve lit up the subterranean space via a sea-blue and cream pearlescent palette reminiscent of the Riviera. There’s also a swathe of geometric carpets, scatterings of B&B Italia furniture, and Scandinavian-influenced tables and crockery – while, clad in cardigans and Converse, the waiting staff look cool and casual, jiving perfectly with the relaxed atmosphere that comes to characterise the restaurant. In chef vernacular, it’s a generous dollop of luxury and a pinch of the unconventional.

©pierremonetta

Smart crockery and stylish waiters aside, what we were really interested in was the food. The menu – made up of small plates – propagates the vivid tastes and colours of Riviera, yet with most of its ingredients sourced within the British Isles. Seafood is the first order of the day: with its tight rhythm of flavours, the octopus and potato salad makes a brilliantly delicate start, as well as sea bass carpaccio and pine nuts, and red mullet with conﬁt of tomatoes and olives. Wines include a full and expressive 2006 Chateaux Vignelaure, introducing the robust flavours of some classic Rivea dishes, including a tender and juicy roasted duck, turnips and

©pierremonetta

above:

Rivea seasonal vegetable crudites

right:

Chef Damien Leroux

above and left: The Rivea dining room

©pierremonetta

beetroots, followed by a dainty John Dory, Riviera style. Italylovers are also catered for by an artichoke and borage ravioli, as well as a potato, sage and parmesan gnocchi, where a thin leaf of parmesan is first “jumped” on the pan and then put in the oven to achieve the ideal consistency. The desserts, meanwhile, include a thin gianduja palet, a plate of delicious rhubarb and strawberry, and salted caramel ice cream. The Rivea is probably the ideal stop-off for an experienced palate seeking simple flavours, disguising a swirl of meticulously orchestrated combinations. Leroux is undoubtedly proving he’s got a handle on French and Italian cuisine like no other.

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Lodge Park

Situated in the beautiful mountainside village of Megeve, Lodge Park – a self-styled ‘trendy trapper’s retreat’, and named Tatler Magazine’s ‘Best Winter Hotel’ last year – offers contemporary alpine hospitality with a meaty twist. With parquet floors, Scottish-inspired tartan wallpaper, animal skin throws and log furniture, the rooms’ interiors have a distinct, deliberate ambience, and most also boast a well-stocked fireplace, meaning at the very least you’ll have somewhere to dry your socks

when you’re done with the adjacent slopes for the day. Vegetarians should probably shy away from the aptly named ‘Beef Lodge’, but if you’ve packed your steak knife and have somehow managed to sneak it through customs, it’s a restaurant that can only be described as a carnivore’s paradise. Aside from its flesh-centric menu, it’s also replete with trophies from the hunt: antlers and more skins adorn the walls, and even smokers can stay warm in the special heated outdoor area by donning, you guessed it, furs.

Walig-Hut

Walig-Hut might sound like somebody grunting in the Neolithic period, but it’s got a lot going for it for a hut built in 1786: five stars, in fact. Originally home to farmers who would bring their cows up to pasture during the summer, the hut’s structure and simplicity are still intact, and

are integral to the site’s traditional charm. And with sheepskin rugs, Alpine decor, only one outdoor bathroom and no hot water, it’s traditional charm that guests will get – although any freezing cold night-time trips to the bathroom will be forgotten about when they wake up and

stretch to the fabulous morning views of wildflower meadows (in the summer) and of nearby villages Gstaad and the Saanenland. While it’s part of the Gstaad Palace, it’s actually a 15-minute drive away, and it’s this wonderfully rustic seclusion that vindicates the admittedly enormous price tag – oh, and the threecourse supper (accompanied by lashings of Champagne) that’s included.

After carving out successful careers in fashion, couple Stefano and Giorgia took the irregular step of moving to a hunting lodge in the Dolomites – now known as the stylishly furnished San Lorenzo Mountain Lodge, boasting original wooden panelling peppered with fox furs, antiques and gingham cushions. The hotel also has, rather incon-

gruously – but of course not unwelcomingly – its own floodlit 18-hole golf course. At 1200 metres altitude, you’re well-positioned to partake in all the regular winter activities, and there’s plenty more on offer here, too, including hikes to private mountain huts, trips to truffle farms, or, if that all sounds a bit too laborious, maybe you’ll settle for a

san Lorenzo Mountain Lodge

finger-wrinkling session in the heated outdoor whirlpool. Stefano and Giorgia take the sentiment ‘family-run’ very seriously, after wearing yourself out in the outdoors, you’ll be served a traditional Italian family recipe – you might even take a tour of the wine cellar, which used to be a goat stable.

La Sivoliere

Upon arriving at Courcheval’s La Sivoliere, you probably can’t fail to notice that there’s an oversized red chair sitting in the snow outside. It’s known as the ‘Sifel Chair’ and was designed by sculptor Caroline Corbeau, and typifies some of the surreal touches at this five-star luxury chalet – made characterful by some proudly chosen contemporary design pieces by designers such as Kevin Reilly and Gaetano Pesce, including a sofa

that looks like both a mountain and a waterfall. It’s not all simply psychedelia, though: its restoration has kept in with Savoy architectural styles, while a mixture of stone and raw and weathered woods are offset by custom-made Laliques. The rooms themselves are comfortable and spacious, and after a day out pounding the pistes and too much vin chaud, you’ll be glad of the peace and quiet and extensive spa facilities.

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On an exhibition, Trans|Form words Nadine Khalil

Karen Chekerdjian may not be your typical designer, having worked in film, advertising and graphic design before taking the path of industrial design. But her first solo exhibition at the Beirut Art Center is not only mature in its physical form and finishing, it is also highly conceptual and steeped in the history of the objects themselves. Le Cercle asked Karen Chekerdjian to tell us more. Le Cercle: You say that Trans|Form has to do with liminality and fluid situations that throw everything into question. What evoked this idea of change and transformation in this exhibition? Karen Chekerdjian: I wanted to work in a more conceptual manner, by showing movement in my work, especially since I’m not creating these objects for a showroom. I simply went to the objects I have produced in the past, which I felt I didn’t explore enough, and I worked on them. Maybe I would have liked them to be imprecise, as in how concepts or ideas can be imprecise, but they cannot be. As a designer, you can’t present something that’s unfinished.

LC: But even if your forms look precise or defined, it is their functions that seem to be undefined, no? KC: I guess you could say I’m focusing more on what the forms can be than what they are. What it means is there are gestures or imprints. Take my Disappearance of Object collection, which is limited to 10 pieces. I only had two left and I didn’t want to sell, so I found myself raising their prices.

Here, the Object 3 vases from the series are deconstructed and compressed so much that they aren’t even the same height as the original vases. They look more like sculptures or tables. Someone even remarked that the thinnest sheet could be hung up on the wall, like art. I liked that because it means the function has completely changed.

LC: There definitely is this sense that your objects embody hidden stories, that your work is as much about absence as it is about presence. So what remains, the imprint? KC: Yes, and I also believe some randomness in terms of effects that are arbitrary or unexpected. Like how my kids reacted to the space and the reflections of the objects. They thought it was a playground.

top: Full rainbow, stainless steel and copper, ø 250 cm

above:

Trans D, stainless steel. 164.5x104 cm

right: Trans A, stainless steel, 128x90 cm

LC: Yes, your platform rainbow has a bit of a circus feel to it. I find it interesting here how you are rendering the concept of a rainbow, which is natural, manmade. KC: That’s true though I think some people don’t see it. Maybe the arch is difficult to visualise as a handle. For me, it’s very obvious. This was a 3mm tube originally, without lights, stretching over the platform table – a representation of the cityscape. I thought to myself, what can I add to this? So I blew it up in order to play more with the space and engage with the geometry of the BAC. You know, it was Monday morning the day before the show and we had just finished this rainbow, me and my assistant, when we started getting all these new ideas. We couldn’t stop, you never stop. Design is a process, that’s the beauty of it.

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Ceramic celebrations: Roche Bobois honors Jean Cocteau Words I n d i a St o u g h t o n

“I am neither designer nor painter; my designs are writings untangled then re-tangled differently.” – J ean C octeau

Jean Maurice Eugène Clément Cocteau was one of the best-known and most respected artists of the 20th century. He was also a polymath. A poet, novelist, playwright, designer and filmmaker as well as a fine artist, the Frenchman moved in exalted circles and counted Pablo Picasso, Jean Marais, Yul Brynner, Marlene Dietrich, Coco Chanel, Igor Stravinsky, Amadeo Modigliani and Edith Piaf among his friends and lovers. Cocteau’s substantial legacy was honoured late last year when Roche Bobois unveiled a special line of new designs to pay tribute to the artist on the 50th anniversary of his death in 1963.

“I am neither designer nor painter; my designs are writings untangled then re-tangled differently.” Jean Cocteau

The sheer range and variety of Cocteau’s output, combined with Roche Bobois’ inventive designs, ensures that the colourful collection includes something for everyone. Playful pieces combine the beauty of modern art with the functionality of contemporary design, proving without a doubt that Cocteau’s work retains its power and relevance half a century on. Cocteau “embraced creativity in all its forms,” said Roche Bobois’ North America marketing director Jennifer Barre, adding that “it is an immense privilege and responsibility for Roche Bobois to be given the opportunity to contribute to promoting his work.”

Cocteau embraced creativity in all its forms

left:

The collection faithfully recreates Cocteau’s ceramics, which he considered works of art in their own right

The French design firm partnered with the Jean Cocteau Committee, responsible for the management of the artist’s estate, to create a 33-piece collection based around two independent ideas. The first was to faithfully recreate Cocteau’s ceramics, which he considered works of art in their own right, working with an Italian master potter and using a slightly different manufacturing process to ensure longevity. The second was to employ mediums that the artist himself never worked with,

such as textiles. The result is a collection of elegant, decorative pillows, bed linens and rugs, limited edition ceramic tableware, serving trays and vases, as well as lighting and pieces of furniture, all of which are inscribed with lines from Cocteau’s poetry and literary works in handwritten text, or adorned with his distinctive drawings, many of them capturing silhouetted figures.

A slice of cool stimulation Words N o ur H a rb

This year was the last time Frieze founders Matthew Slotover and Amanda Sharp managed the fair. They went out with a bang in the form of a super-curated frenzy that layered performance and sculpture with museum-class wall art Set in Londonâ&#x20AC;&#x2122;s majestic Regentâ&#x20AC;&#x2122;s Park, Frieze has become a model of what happens when you turbo-charge an art fair until it sort of surpasses itself. The running of the fair has now been handed over from cofounders Matthew Slotover and Amanda Sharp to the new director Victoria Siddall, who will be in charge of both the London and New York iterations from now on. The 2014 edition had more curated programmes running concurrently than ever before. The overall effect was primarily one of saturation and overstimulation. However, those with the stamina and curiosity to explore in depth could discover a palpable sense of the fair as a live and genuine arts hub that is relevant to contemporary creativity in London, as well as to the caprices of the global art market.

opposite page:

Frieze London 2014—SFEIR-SEMLER gallery. Photograph by Graham Carlow. Courtesy of Graham Carlow, Frieze

above:

Frieze Masters 2014—Agial. Photograph by Linda Nylind. Courtesy of Linda Nylind, Frieze

below:

Frieze Masters 2014—Lisson Gallery. Photograph by Stephen Wells. Courtesy of Stephen Wells, Frieze

The overall standard at Frieze always remains high, but distinguishing the good from the very good, and the predictable from the occasionally abysmal, can be a challenge amid such a carnival. That said, highlights could be discerned – and one wonderful thing about going to Frieze is that your eye quickly makes clear your personal taste as you realise you are subconsciously discarding an awful lot, but still managing to zoom in on those artworks that speak to you. Among such eye-catchers were the notable Lebanese artists Etel Adnan and Huguette Caland, showing at Sfeir-Semler and Agial respectively. The works of Indian sculptor Anish Kapoor were also undeniably strong and radiated their usual genius at Lisson. Frieze Masters has become like a fair of its own and it is fashionable to exclaim how much better its content is than what you can find in the main tents. It shows museumgrade art above soft grey carpets – so naturally it’s more pleasurable than the ‘cattle market’ ambiance elsewhere. But aside from its superior production qualities, it always has a few properly curated exhibitions, and

above:

Frieze Masters 2014—Helly Nahmad. Photograph by Linda Nylind. Courtesy of Linda Nylind, Frieze

right: Frieze Masters 2014—Hauser & Wirth. Photograph by Linda Nylind. Courtesy of Linda Nylind, Frieze

right: Frieze Masters 2014—Marian Goodman. Photograph by Stephen Wells. Courtesy of Stephen Wells, Frieze

this year the best was The Collector, staged at Helly Nahmand by Robin Brown and Anna Pank, with an accompanying essay by Sir Norman Rosenthal. This installation of an imaginary apartment set in Paris in 1968 was intended to question what it means to collect, considering personality, passion, and a driving desire to feel life’s poetry through art. Two other booths shone out in particular: the always-outstanding Marian Goodman exhibited beautiful pieces by Giuseppe Penone, while Hauser & Wirth spotlighted some Jean Tinguely favourites. The true triumph was this year’s sculpture park, curated by Clare Lilley, along with the Frieze Projects series, curated by Nicola Lees. Although they busy the fair with yet more content, the critical programming behind these works helps the viewer to break out psychologically from the repetitive booth format and to re-engage with art that actually relates to the context in which it is being exhibited. Nick Mauss’s ballet piece for Projects stood out, as did Martin Creed’s video Work No.732, which looked sensational shown outside on a big screen, muted when the sun shone and luminous in the rain.

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The glitz and glamour of Gaultier Words I n d i a St o u g h t o n

Jean Paul Gaultier. The Fashion World of Jean Paul Gaultier

Today he is one of the undisputed visionaries of the fashion word, but Jean Paul Gaultier never formally trained as a designer. As a young man, he bombarded the famous couture designers of the day with his sketches, until his talent caught the eye of Pierre Cardin, who hired him as an assistant. A controversial figure, Gaultier has been both loved and hated by the fashion elite since launching his first collection in 1976, taking the inspiration for many of his designs from urban street wear. The creative mastermind behind the wardrobes for film by directors including Luc Besson, Pedro Almodovar and Peter Greenaway, and the designer of choice for famous singers from Madonna and Kylie Minogue to Marilyn Manson, Gaultier was feted in 2014 in a comprehensive retrospective at the Barbican Art Gallery in London.

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The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk was organised by the Montreal Museum of Fine Arts, in collaboration with Maison Jean Paul Gaultier, and supported by design house Roche Bobois, for whom Gaultier designed an exclusive collection in 2010. The first major exhibition devoted to Gaultier’s significant contributions to the world of high fashion, the retrospective was conceived as a theatrical installation and included around 165 garments, both couture and ready-to-wear, dating from the 1970s until the present day. Among the items on display, many of which were exhibited in the U.K. for the first time, were the iconic conical bra and corsets the celebrated couturier designed for Madonna’s 1990 Blond Ambition Tour, as well as costumes featured in a number of cult films. Shots by well-known photographers and video footage of catwalk presentations, concerts

“It’s an honour for me, because it’s a wonderful gallery and a wonderful place with extraordinary architecture and I think that showing my work there will be beautiful”

left:

Tribute to Frida Kahlo collection (ad campaign). The Fashion World of Jean Paul Gaultier

and films helped provide a comprehensive overview of forty decades of output. Throughout the exhibition, which was divided into eight sections, visitors were given the chance to trace the influences behind Gaultier’s eclectic, boundary-pushing style, from Paris street wear to the edgy DIY aesthetic of British punk and the surrealism of science fiction. “It’s an honour for me,” Gaultier said of the Barbican retrospective, “because it’s a wonderful gallery and a wonderful place with extraordinary architecture and I think that showing my work there will be beautiful.”

above and left: The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk, Barbican Art Gallery, Credit Matthew Lloyd-Getty