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S I G N É

HACKETT LONDON PRESENTS

THE LEADING MAN Starring Pierce Brosnan Photographed by Terry O’Neill

INSPIRED CHARITY THE TREVI FOUNTAIN GETS A FASHION FORWARD RESTORATION

THE ART OF HAT MAKING A BEHIND THE SCENES LOOK AT THE WORK OF CHRISTYS’ & CO


NEW DAVIDOFF NICARAGUA O U R TO B A C C O M A S T E R S T R AV E L L E D U N FA M I L I A R PAT H S I N T H E I R SEARCH FOR A MORE COMPLEX CIGAR BLEND WHICH COULD STIMULATE B OT H T H E SW E E T A N D B I T T E R TAST E B U DS

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T H E Y FO U N D I T I N T H E

F I E R Y E A R T H O F N I C A R AG U A’ S F O R T Y VO LC A N O E S

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FROM THERE

ROSE THE LEAVES WHICH DAVIDOFF’S UNIQUE EXPERTISE WOULD TURN I N TO N E W DAV I D O F F N I C A R AG U A

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TO D I S C OV E R T H E M YO U R S E L F

WILL NOT TAKE YOU ON SUCH AN EXOTIC JOURNEY UNDOUBTEDLY WILL

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BUT THE TASTE

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D I S COV ERED BY AND APPRECIAT ED BY T H O S E I N TH E M OO D TO EXP LO RE


T I ME B E AU TIF U L LY F IL L E D

SURGEON GENERAL WARNING: Cigars Are Not A Safe Alternative To Cigarettes.

Davidoff nicaragua is available in three sizes: toro (5 1/2 inches by 50 ring), robusto (5 by 50) and short corona (3 3/4 by 46). The packaging format differs from size to size. All three cigars are available in 4-packs, however only the short corona is coming packaged in boxes of 14. The toro and robusto come in boxes of 12.

davidoff.com

Nicaragua.davidoff.com


TRUE LUXURY SINCE 1922

Via MonteNapoleone, 7 Milano larusmiani.it


Offer the excellence of chocolate

La Maison du Chocolat at The Dubai Mall Ground Floor, Fashion Avenue, Dubai lamaisonduchocolat.com


Large sofa Ferruccio Laviani505 system/ed.2011 Nicola GalliziaD.153.1 armchair Gio Ponti 45째/tavolino small tables Ron Gilad


AI Ittihad Road P.O. BOX 118508 Dubai United Arab Emirates T +971 (4) 2971777 www.finasi.ae

molteni.it


CONTENTS

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NEAPOLITAN TRIO Young men with an eye for Italian style, the founders of Delvero showcase a

MARKET EVOLUTION

new perspective on modern menswear

General manager of the JW Marriott Marquis Hotel Rupprecht Queitsch, gives his insight on Dubai’s luxury hotel market

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THE PEN IS MIGHTIER

A KNIGHT’S TALE

Montblanc’s storied history is that of innovation, revelation and the manifestation of beautiful products

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A look at the infamous exploits of the world’s greatest living explorer, Sir Ranulph Fiennes

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CONTENTS

S AV O I R FA I R E

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THE ART OF HAT MAKING Millinery done in the tried, tested and traditional way with Christys’ & Co.

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SUIT YOURSELF Ermenegildo Zegna’s custom suits display perfection down to the last thread

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STRATUM What it is, how it’s made and where to get it – everything you need to know about leather

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WHEELS OF FORTUNE Inspired by the past, looking to the future – a look at Dutch sports car producer Spyker

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TRULY YOURS Maison Corthay’s exclusive, handcrafted shoes are perfect for any occasion

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HAUTE CREATIONS S.T. Dupont’s exceptional accessories epitomise a luxurious art-de-vivre

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реклама товар сертифицирован

App Store

Available on the iPhone

design AndReA BOnini ADV gonnellI&assocIatI


CONTENTS

S IGN É S E L EC TION

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A CUFF ABOVE Tateossian is known as the ‘King of Cufflinks’ with a wide range of sublime pieces

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GENERATION GAMES William & Son is London’s premiere purveyor of luxury goods and services

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EDITOR’S PICKS FOR HER Signé brings you a selection of exquisite products that convey heartfelt appreciation

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A RETURN TO FORM ‘I am Dandy’ is the perfect coffee table companion for the well-groomed gentlemen

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RUGGED REFINEMENT American brand Ghurka has made a name for itself thanks to its fine leather products

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SOUND INVESTMENT Bang & Olufsen introduces its latest range of high quality wireless speakers

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CONTENTS

PHIL ANTHROPY 098

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The secret of ZwyerCaviar’s Oscietra lies in the balance of human care and scientific control

Al Barari offers lavish living with a soul and is Dubai’s only truly organic and sustainable development

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Fendi comes to the rescue of a much-loved piece of Italian heritage, the Trevi Fountain

The ‘Only Watch’ auction unites the world’s leading watch brands in a charitable endeavour

LE PREMIER CAVIAR ETHIQUE

INSPIRED CHARITY

A DIFFERENT APPROACH

VITAL TIME

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DOPPIO SOGNO Ring in white and pink gold with a central drop-cut pink diamond and white and pink brilliant-cut diamonds

MILAN Via Tommaso Grossi, 1 - Milan (Park Hyatt Milan) +39 02 72080077 www.giovannettijewellery.com


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OBSESSION

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Hackett London’s A/W 14’ collection sets the tone for modern British menswear

MB&F’s LM2 is a wondrous reinterpretation of the greatest horological inventions of the past

1858 Limited provides impartial advice on all aspects of the art collecting process

THE LEADING MAN

OUT OF TIME

ARTFUL INVESTMENT

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CONTENTS

H E R I TA G E

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Jaquet Droz celebrates its anniversary, revelling in the avant-garde spirit of its founder

A. Lange & Söhne continues to make meaningful contributions to fine watchmaking

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Riva’s reputation for producing some of the finest pleasure craft and yachts is unsurpassed

The Golden Era is regarded the most revolutionary period of modern European art

275 YEARS OF FINE WATCHMAKING

LA DOLCE RIVA

PRECISION WATCHMAKING

LA BELLE éPOQUE

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BOND FOR LIFE The man and his noble machine – a look at the bond between 007 and Aston Martin

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CONTENTS

L A D O L C E V I TA

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The C Club at the Zabeel Saray is a safe haven for those who enjoy a good cigar

The Gstaad Palace offers a luxurious destination in Switzerland’s Alpine heartland

The Orient Express’s Royal Scotsman lets guests experience the best of what Scotland can offer

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Horseracing takes an icy twist at the annual White Turf equine spectacular

The weekend away is made easy with Ralph Lauren’s sleek and stylish apparel

The Gulfstream G650 private jet is the gold standard in private aviation

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Bulgari Bali Resort is one of the most exclusive destinations on the planet

Tod’s special project offers a new shopping experience for fans of its exquisite Italian footwear

SMOKE & MIRRORS

THE WHITE TURF

JEWEL OF BALI

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THE WINTER PALACE

HOW TO TRAVEL IN LUXURY

SARTORIAL TOUCH

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FLOWER OF SCOTLAND

CHARTING A NEW COURSE


PUBLISHERS’ LETTER www.signemagazine.com info@signemagazine.com MANAGEMENT Managing Director Daniel Giacometti Managing Partner Shama Tholot Marketing Director Roshin Rahman EDITORIAL Luxury Editor Francesca Foley Assistant Editor Ketevan Chartolani Creative Director Muhammad Jamal Siddiq Senior Artist Serafino Rudari Cover Art Qasir Z Khan

This issue of Signé is an exposé on luxury products and lifestyle, the success of which is absolutely dependant on an unwavering attention to fine detail. Within the pages of our second edition, we look at a number of illustrious makers and producers of bespoke watches, shoes and fashions who understand that perfection only comes with dedication to craftsmanship. Hackett London is one such maker, and its ‘Leading Man’ campaign is our main fashion feature. We take an in depth look at the English kit-makers sartorially beautiful Mayfair line as

Additional Images by Getty Images ADVERTISING for advertising Inquiries advertising@admaioramedia.com CONTRIBUTORS Cameron Bailey, Elizia Volkmann

well as telling the story of the campaign’s illustrious photographer, the legendary Terry O’Neill. There are also plenty of other features on travel, business and lifestyle to keep you thoroughly entertained. We look at the history of James Bond and Aston martin, as well as tell the story of illustrious Italian boat master Riva. Travel is taken care of with a couple of winter retreat options that combine lavish luxury with unique surroundings. So pull up a chair, sit back, order a coffee and enjoy.

AD MAIORA MEDIA (Europe) Via Lungadige Catena 15 37138 Verona, Italy EU

D an ie l & R os h in

AD MAIORA MEDIA (EMEA) 2520 Shatha Tower, Dubai Media City P.O.Box 502473 Dubai, U.A.E info@admaioramedia.com

All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilised in any form or by any means, without written permission from the Publisher. Signé does not take any responsibilities for incorrect information. The advertising appearing within this publication reflects the opinion and attitudes of their respective brands and not necessarily those of the publisher or Signé.

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& SERAFINO RUDARI

WWW.SIGNEMAGAZINE.COM/WEBFEATURE/SERAFINORUDARI

SCAN ME

Scan the QR Code to view the digital content on your smartphones or tablets.


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N E A P O L I TA N T R I O

Neapolitan Trio Three young and ambitious men with a passion for

Italian menswear have made it their mission to take the bespoke Italian fashion and tailoring experience to the next level.

      Delvero may be somewhat of a new kid on the block in fashion terms, but there is a huge amount of experience and heritage backing up this young firm. The history of the company began with a young Italian designer named Oscar Bencivenga. The Bencivenga family has owned and operated one of the finest ateliers in Naples for three generations, producing both bespoke and ready-to-wear men’s fashion and luxury goods. From a young age it was clear that Oscar would inherit his family’s talent and passion for the business. “Since my childhood I have always been fascinated by fashion and design. I vividly remember the feeling of excitement I would get while running around my parents’ design studio. When I got into the industry, I started working in the family business (which I currently manage), and I learned the basics of fashion, and the craftsmanship needed to create outstanding outfits.” Oscar’s budding design talent was honed working at Bencivenga and he became a thoroughly accomplished designer and tailor, but it was a brief stint in the UK and his discovery of the British style sensibility that set Delvero’s wheels in motion. “I moved to the UK to experience British style and develop my skills as a designer. I was very inspired by my stay and returned to Italy with lots of new ideas for my next collection. On my return to Naples, I met my now business partners Mario Nobile and Terry Seraphim and together we came up with the idea of starting Delvero.” In his partners Oscar found two likeminded individuals who both shared his passion for design and tailoring. Mario Nobile had begun to make a name for himself within the Naples luxury segment, working as a clothing and accessories designer. He had previously designed jewellery and watches for Lucifer and Alessandro Baldieri as well as creating his own brand of clothes which have been sold in both Italy and the United Kingdom. “I have always had an eye for creativity and design with over ten years experience in designing exquisite clothing and accessories. Designing is my passion and I cannot imagine a day going by without sketching something.” Perhaps most importantly to the Delvero story however was that Mario was already familiar with Oscar having worked with the Bencivenga atelier in the past. While the connection between Oscar and Mario seems to have been obvious, Terry Seraphim’s involvement with these two young,

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DELVERO LENDS A FRESH PERSPECTIVE TO THE CRAFT CARRYING THE WEIGHT OF ITS ITALIAN HERITAGE AND STRONGLY DEVIATES FROM THE ENGLISH ARMORIAL STYLE OF POWER DRESSING

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OSCAR BENCIVENGA

MARIO NOBILE

T E R RY S E R APH I M

aspirational men happened somewhat more by chance. A Brit of Greek-Cypriot descent, Terry, like Oscar, grew up around the industry, learning skills from his father who is a master tailor.   “For as long as I can remember I have always loved fashion and tailoring. I can remember watching my father as a young boy, making and cutting patterns and being amazed with how much work goes into a finished garment.” Terry has worked in and around the fashion industry for many years at the coalface of the design process, working in menswear and in leather design but also as visual marketer, buyer, sourcer and retailer. At one time, he ran a luxury menswear boutique in London’s fashionable Sloane Square that carried very high-end luxury brands as well as his own brand, Rio Seraphim. It was while on a visit to Naples to source fabric for his collections that Terry met Oscar and Mario, forming something of a dream team – each bringing a valuable perspective and knowledge to what would eventually be their new collaboration. “We worked fantastically together and each had the same passion for style. We all knew the industry inside and out and had the same ethos for tailoring. All three of us worked on some great collections and thought how about doing this for ourselves.” Terry explained. The trio then set about pooling their considerable knowledge and fashion resources and founded Delvero, taking the unprecedented step of setting up shop in London. Trading out of Mary St. Axe and Fleet Street, Delvero became the first made-to-

measure Italian suit maker in the city. It seems absurd that it took so long for Italian suit design to find a home in British capital – known globally for its mastery of bespoke

tailoring. The lighter and more relaxed representation of menswear, promoted by Italian fashion has become more the norm and is being championed by these three young maestros. The Delvero cut is both modern and strongly Neapolitan. Jackets are constructed with a narrower cut and less padding in the shoulder than an English suit, with high armholes, narrow tapered sleeves, flexible hand-stitched chest canvasing, close-fit chest and waist and shorter length. Trousers are low-rise, fitted, and narrow in the leg and ankle and not overly long - all the better to display what are sure to be the finest Italian leather footwear that pairs so wonderfully with this style. As well as suits, Delvero also offer and produce Neapolitan-inspired separates, including shorts, trousers, shirts and jackets, both casual and formal. Built on a foundation of excellence in cutting, construction and materials, Delvero employs masters of the craft to create individual patterns for each customer from master pattern blocks, which are unique to Delvero and were created and refined in its Naples atelier.  All Delvero suits are constructed with full floating canvasses, which mould to the body over time - softly-rolled lapels, elegant buttonholes and pad-stitched collars. All are stitched completely and painstakingly by hand, as would be expected from a luxury tailor.   But the Delvero experience is a one to one affair. By appointment only, the customer is consulted and guided through the custom tailoring process.

“SINCE MY CHILDHOOD I HAVE ALWAYS BEEN FASCINATED BY FASHION AND DESIGN.” menswear, and the trio’s sensibility in Italian style has received critical acclaim for its contemporary look and intricacy of design. These are not your father’s suits! Delvero lends a fresh perspective to the craft carrying the weight of its Italian heritage and strongly deviates from the English armorial style of power dressing. Heavy, rigid and architecturally sharp suits designed with wide shoulders, stiff chest, tapered waist, a long line in the jacket and reasonably roomy arms and trouser legs that were de-rigueur in the early 20th century are no longer considered the norm. In the past, the fabrication of the traditional English suit was characterised by densely packed internal structure, using materials like strong horsehair, thick shoulder pads, and heavy, upstanding woollen fabrics. Beautiful though this style may be, the formality of design and construction aren’t really suited to the needs of the modern man as they don’t leave much room for spontaneity. Traditional techniques of English tailoring have evolved somewhat thanks to the introduction of new methods of lightening fabric and a new contemporary approach to structural design, but these evolutions originated in Italian

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MONTBLANC

THE PEN IS MIGHTIER

Today, Montblanc is a multinational trendsetter at the forefront of the elegant and practical luxury accessory market, but it was the focus and foresight of three German entrepreneurs with an eye for new technologies and new ideas that laid the foundations for what is now a world-beating brand.

   

  There are few names in high-end writing instruments that can m a t c h M o n t b l a n c ’s q u a l i t i e s o f u n c o m p ro m i s i n g c r a f t s m a n s h i p a n d excellence. The maker has its origins at the turn of the 20 th century – a golden age of innovation and ingenuity. Hamburg based banker Alfred Nehemias and engineer August Eberstein saw the technological improvements in the field of writing implements, particularly the developments in fountain pens, and recognised a distinct gap in the market for beautifully styled, simple and elegant writing instruments for a discerning clientele. To fill this gap, in 1906 the pair conceived and developed the “Simplicissimus” pen. Literally meaning “simple”, the pen was a masterstroke.

But the Simplicissimus would be the only product offering from Eberstein and Nehemias. A short time after the pen came to the market, the business was taken over by Wilhelm Dziambor and Christian Lausen. The third member of the trio, Claus Johannes Voss joined the company in 1908 and the three set about laying the early foundations of what would eventually become Montblanc. The initial name for this new company was the Simplo Filler Pen Co. in reference to the Simplicissimus, and sold itself as “manufacturer of high-class gold and fountain pens”. A year after the Simplo Filler Pen Co. was established, the ‘Rouge et Noir’ safety fountain pen was launched. It was to be the first major success for the budding entrepreneurs. Cleverly marketed as a pen

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that would not blot your Sunday best, the pen became exceptionally well known as being one of the best of its day. This was also the year in which Simplo adopted the Montblanc moniker. Rumour has it, that it was at a card game when an unknown family member of one of the partners quipped that the ‘Rouge et Noir’ had become the pinnacle of the writing instrument world, drawing a comparison between it and Mont Blanc – the tallest mountain in the Alps. Inspired by the analogy, the company trademarked the name a year later for use on all future pen products and the rest, as they say, is history. Simplo released its first pen to carry the company’s new name – the technically improved “Montblanc” pen in 1910. It


ALFRED NEHEMIAS

featured for the first time a white tip on its cap – a forerunner of what would eventually become its world-famous white star. The subsequent years saw the brand expand into Europe with new Montblanc stores opening in Paris, London, Hamburg Berlin, Leipzig, Breslau, Hanover and Bremen. With this expansion, the company grew in confidence. In 1924, the brand leapt to the vanguard of the industry, thanks to the release of the now legendary Meisterstück fountain pen. As its name proudly proclaimed, it was a m a s t e r s t ro k e , e p i t o m i s i n g p re c i s i o n craftsmanship. Its now famous “4810” engraving began appearing in 1929 – a representation of the height of the great mountain in metres and has been engraved on all Meisterstück fountain pens ever since. Montblanc has never shied away from innovation. In the latter part of the 1920’s the brand capitalised on the triumph of its successful new pen, becoming an early adopter of new techniques in advertising. Montblanc was one of the first companies to advertise in the “third dimension”, branding the sides of aeroplanes and fitting cars with oversized fountain pens, garnering unprecedented attention and acclaim. In 1934, the Simplo Filler Pen Co. was mothballed and officially became Montblanc-Simplo, marking the beginning of a new chapter in the history of the business. The company expanded to include notebooks, pen pouches and writing cases –

AU G U S T E B E R S T E I N

C L AU S J O H A N N ES VO S S

“May I help you Mr. Adenauer?” John F. Kennedy assists German chancellor Konrad Adenaur by offering him the use of his Meisterstück 149 fountain pen.

all of which carried the new Montblanc name. Since then, the company has continued on its innovative path, going from strength to strength and in the process, setting ever higher benchmarks for the brand. Used by businessmen and heads of state alike, the brand’s qualities of reliability, form and function are still its calling card. The company was acquired by Dunhill in 1977, signaling a shift in its product offering,

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and taking Montblanc outside the office, with watches, leather goods, fragrances, eyewear and jewellery added to its portfolio. However, the focus on quality and detail has never wavered. Striving since its inception, the brand has wholeheartedly pursued innovation and creativity and in the process has cultivated a respect for the brand and its products that is virtually unrivalled anywhere in the world.

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MARKET EVOLUTION

MARKET EVOLUTION

Luxury has become something of a buzzword when it comes to Dubai’s hotel industry. We sat down with the general manager of the JW Marriott Marquis, Rupprecht Queitsch to get his take on the conventional luxury model and how the Dubai hospitality market is changing.

      Dubai’s hotel industry has always prided itself on its luxury offerings to both tourists and residents, and there is currently a host of different options to choose from. The JW Marriott Marquis is the most recent large-scale hotel to venture into this highly competitive segment. A key project within the Marriott organisation, the Marquis is quite uniquely positioned in the Middle East and, with many hotels promising a luxurious experience, it is setting itself apart by taking an approachable style to its guest relations. General manager of the Marquis, Rupprecht Queitsch, believes, that the luxury sector in Dubai is in the process of a change in attitude. “I think luxury today comes down to time – what you want to do with it, how you want to fill it and how you want to enjoy it. Tastes are changing as people are becoming better informed as to what defines luxury. Consequently the luxury market is becoming more educated and much more diverse to suit.” How Rupprecht, and hotel as a whole, have approached this already crowded market has been an important factor in the establishment of the Marquis within the city and the industry. “The JW Marriott Marquis is essentially a large conventional hotel, but the last thing we want is to treat anyone like a number. Our goal is to individualise and personalise the level of service available.” Rupprecht acknowledges that the diversity of the clientele also informs the hotel’s service offering. “Dubai is obviously a hub and we receive guests from across the world. Our Russian guests will have a different appreciation for luxury than our Indian guests,

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for example. What we try to offer is an intuitive service where our staff, through rigorous training and role-playing, can anticipate the needs of the individual guest.” With decades of experience in the hospitality industry, Ruprecht has worked his way up through the trade in some of the world’s finest hotels from Bermuda and Prague to New York and Paris but he believes that Dubai’s unique geographic position as a travel destination and transit hub, makes a hotel like the Marquis essential. The hotel has been cleverly designed to be spacious without being overcrowded with guests with each floor having a maximum of 14 keys. Being so tall, the rooms boast high ceilings and a loft like atmosphere. Catering to customers day and night is a key element of the hotel’s master plan with 24-hour service from its nine world class restaurants, its business centre and fitness club. “Having 24-hour services available is very important because the more rooms a hotel has, the more likely we are to have a guest who is awake in the middle of the night and it is important that we can cater to every guest no matter their needs.” Ruprecht has a clear enthusiasm for working in Dubai’s highly competitive luxury hotel market. “I thrive on getting the best out of our staff and give the guests the finest possible service. “I love working in hotels and I love to learn about the business. I learn something new every hour of every day and I find it makes you richer. The diversity of people you meet in this industry is unique.” The first tower of the hotel is currently fully operational with the second tower slated for opening in February 2014.

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General manager of the JW Marriott Marquis, Rupprecht Queitsch.

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A K N I G H T ’ S TA L E

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A KNIGHT’S TALE Sir Ranulph Fiennes has, for the last fifty years, been the world’s preeminent explorer and adventurer, embodying the spirit of determination and force of will.  His exploits have won him plaudits, honours and title, and also lost him a few extremities but his indomitable spirit continues unabated.  If his story weren’t true, you’d never believe it.

   

  It takes a certain strength of character to consistently challenge oneself to the outer limits of human endurance – to ask more of yourself than even you think is possible. This is precisely what Sir Ranulph Fiennes has done time and time again, breaking numerous records and flipping expectations on their heads.  His exploits from climbing the world’s most treacherous mountain peaks, to traversing the barren and frozen polar tundra are the stuff of legend.  He is, according to the Guinness Book of World Records, the world’s greatest living explorer. Born with the tongue twisting title of Sir Ranulph Twisleton - Wykeham Fiennes, 3rd Baronet of Banbury, the young Sir Ranulph was not traditionally academic. After returning from South Africa at the age of 12, he attended some of the finest schools in Britain - first Sandroyd and then Eton, only to finish with no qualifications and no real career prospects. It is therefore no great surprise

that Ran followed in his late father’s footsteps enlisting in the British army and joining his father’s former regiment, the Royal Scots Greys (Lieutenant-Colonel Sir Ranulph Twisleton - Wykeham Fiennes, was killed in action at Monte Cassino shortly before Ranulph’s birth in 1943). The military it would seem was made for him and climbing the ranks at a phenomenal rate, Ranulph was seconded to the Special Air Service (SAS). Here he qualified as a military demolitions expert, and in so doing became the youngest captain in the British Army. It was however his impressive skill in demolition that would eventually see his dismissal from the SAS.   After making his name as something of a prankster within his regiment, Sir Ranulph and a fellow officer hatched a plan to destroy an ugly dam that had been erected in Castle Combe (widely regarded as the prettiest village in England) by 20th Century Fox for the filming of the classic movie ‘Dr. Doolittle’.

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Under cover of darkness, the offending dam was brought down using military grade explosives he had acquired from various training exercises. Despite his success in bringing down the dam, Fiennes did not escape consequence.  After being ordered to pay a substantial fine for his part in the dam’s downfall, Fiennes was dismissed from further SAS service. But it would not be the end of his military exploits. After leaving the SAS and re-joining his former regiment, Fiennes was deployed to Oman and became commander of a reconnaissance platoon for the Muscat Regiment. Here he saw extensive service in the Marxist Dhofar Rebellion and led several highly dangerous raids into Djebel Dhofar. For his service in the Sultanate, Fiennes received the Sultans Bravery Medal.  His foray into the Omani and Yemeni deserts would signal the end of Fiennes’s military career, but would not to be the end of his adventures. It would prove only to be a

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matter of time before Fiennes the captain, became Fiennes the explorer. Since the latter part of the 1960’s, Fiennes has dedicated himself to the pursuit of human exploration, setting himself unbelievably difficult and thoroughly dangerous challenges of human endurance, while simultaneously fundraising millions of Dirhams for numerous charitable organisations through sponsorship.  To go through his accomplishments with a fine tooth comb would require more than an article (Fiennes has written several books on his exploits that do his deeds far better justice than an article possibly could). His

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obsession with polar exploration led to him being the first man to reach and cross both poles unassisted, the first to cross both the Arctic and Antarctic oceans and the first man to circumnavigate the world along its polar axis (feats achieved alongside fellow expeditioner Charles Burton). Fiennes also has the record for being the first man to complete an unsupported crossing of the Antarctic continent (with Mike Stroud). This was the longest unsupported polar journey in history, and is a feat yet to be surpassed. But while Fiennes is exceptionally well known for his polar exploits, he has also undertaken other less well-known, but no

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less impressive challenges. He famously led the first ever hovercraft expedition up the Nile and headed up the successful expedition to discover the lost city of Ubar on the Omani/ Yemeni border. Seven previous search expeditions over a 26-year period had tried and failed to find this city and it was Fiennes’s knowledge of the area accrued during his time stationed in Oman with the British military that is thought to have been a key factor in the mission’s success. But he hasn’t had it all his own way and has failed in his record attempts almost as much as he has succeeded. He famously undertook a solo trek to the North Pole in


2000 which ended badly when he got terrible frostbite in his hands from dragging his sledge out of near freezing water when it fell through the ice. The injury forced him to abandon the attempt. He would eventually lose the top third of all of his fingers and half of his thumb on his left hand, but in an unexpected and somewhat unconventional manner. On doctors orders, Fiennes was instructed to let his fingers heal as best as they could before having them surgically amputated. However, becoming impatient with the constant pain he took matters into his own hands – quite literally; by taking the frostbitten fingers off himself with an electric saw in his garden shed. As if this wasn’t enough to put him off attempting anything remotely adventurous

again, he also suffered a massive heart attack in 2003, which put him into a three-day coma. But never one to let a setback like losing a few digits or a double bypass get him down, it was not long before Sir Ranulph was back at it. A mere three and a half months after his coronary, Fiennes became the first man ever to complete 7 marathons on 7 continents in 7 consecutive days, a challenge he has since called his biggest and toughest. He followed up his 7x7x7 marathon by making two unsuccessful attempts at the summit of Everest in 2005 and 2007 (the first coming agonisingly close with Fiennes turning back a mere 300 metres from the summit) and successfully climbing the north face of the Eiger in 2008. His third attempt at Everest proved successful and by reaching

its summit, Fiennes became the first man in history to cross both the polar ice caps and climb the world’s highest mountain. He made all these extraordinary achievements despite having a terrible fear of heights and suffering from vertigo — a quite staggering feat of willpower and determination. Last year Fiennes set off once again on a polar trek in the middle of the Antarctic winter only to be stopped yet again by frostbite after taking his gloves off in minus 50°C temperatures to attend to ski bindings that had come loose. Many would assume that at the grand old age of 69 we may never see Sir Ranulph set off on another g re a t e x p e d i t i o n , a n d y e t i t s e e m s impossible to rule it out - after all, he does seem to like a challenge.

TIMELINE OF ACHIEVEMENTS 1967 1969 1970 1971 1976–78 1979–82 1986–90 1990 1991 1992–93 2000 2003 2005–08 2007 2009

Jostedalsbreen Glacier Expedition The Nile Hovercraft Expedition 2nd Jostedalsbreen Glacier Expedition The Headless Valley Expedition Greenland: Hayes Peninsular Expedition The Transglobe Expedition The Unsupported North Pole, Canadian Expedition The Unsupported North Pole, Russian Expedition The Discovery of the Lost City of Ubar The Unsupported Antarctic Continent Expedition The Arctic Solo Expedition Seven marathons in seven days on seven continents Everest Tibet and Everest Nepal summit Attempts North Face of the Eiger Everest Nepal Summit

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Savoir Faire


S AV O I R FA I R E

T H E A R T O F H AT M A K I N G

THE ART OF HAT MAKING Christys’ & Co is a fine hats manufacturer with a truly impressive history. Once the largest hat and cap making factory in the world, today it continues setting the highest standards within the industry and creates new trends on the global scale.

      Few companies in the world can boast a history as rich and impressive as that of Christys’ & Co, the legendary London-based hat making firm. The family-run company was established by Miller Christy back in 1773 and since then its unique savoir-faire has been passed down over generations. When Prince Albert started to wear the company’s top hats in the 1850’s, it became clear that Christys’ place in history

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would be assured. Since then its hats have been favoured by nine generations of British royals and adorned the heads of some of the most distinguished personalities. The process of creating a Christys’ hat involves more than 190 separate procedures, including up to 45 operations done by hand. Each hat maker spends couple of years specialising in one specific operation to create precise bespoke products.

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Christys’ is among those handful of hat makers that still manufactures its own felting, also referred to as the wet side of hatting and blocking. Felt is the raw material with which the carcass of the hat is made. It differs from every other fabric in that it is made from a myriad of short single animal fibres that are interlocked and then manipulated with water or steam.


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The steamer is used on the first stages of the hat-making process and is responsible for adjusting the size of the felt. Once the hat is trapped within the size ring of the steamer, the steam rises up from the bottom, setting the hat into the desired shape.

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To create the felt fabric, the fibres must be cleaned and treated appropriately. The process involves blowing rabbit fur or sheep wool in two different machines. The first machine, which is considerably bigger in size, separates out the finest hairs, while the second machine is responsible for blowing the selected hairs onto a cone mould. As heat and moisture start to affect the material, the hairs start to bind together forming hoods, also known as blanks. The whole process of felting is done in

Stockport in the UK, where the Christys’ factory has been located since 1824. The next stage of hat making, called blocking, is carried out at another factory located in Witney, a small town just outside of Oxford. Here hoods created in Stockport turn into complete hats of different shapes and sizes. The process of blocking starts with the steaming of a blank in a machine that grips it and changes its size by adjusting the metal grips around the edge. The next step is to set the crown of the

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hat with the help of a bladder press. The hat is placed inside a metal mould located in the bottom of the press, with a rubber bladder lowered on it. As the bladder gets filled with air, it starts to push the crown against the mould creating the desired shape. The finishing of the crown is a three-step process. The first step is to shave the felt down. The crown is rubbed by fine sandpaper from all sides to avoid any inconsistency in length. Next, the crown of the hat is finished by rubbing the surface with waxed paper to

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T H E A R T O F H AT M A K I N G

achieve a silky texture. While the first two steps are performed by machines, the final stage is done by hand and the hat is spun around and brushed to guarantee that the excess felt is completely removed. The process of creating a brim is a procedure unto itself. It all starts with cutting the brim down so that its width is a bit larger than it is supposed to turn out in the end. After this, the brim is ready to undergo the curling and flanging processes that involve both, mechanical and manual techniques.

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After curling the edge with the help of the steam, the brim undergoes the flanging process. The hat is placed on a wooden flange of a specific shape and is covered with a white cloth tied firmly onto it. After damping the cloth, the brim is set with the help of a vintage iron. To make sure that the shape of the brim is set in place, the hat is placed under a heavy sand bag for a couple of minutes. Once the brim is fixed, it is shaved, waxed and brushed. The final stage is to sew the leather sweatband inside the hat and the grosgrain

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hatband outside of it. This is done on a flatbed sewing machine. The end result is a hat of the supreme quality that bears the legacy that was started by Miller Christy in England more than two centuries ago. The devotion to traditional hatting skills, unparalleled attention to detail and the use of modern techniques and machinery translates into the distinctive pattern emblematic to all Christys’ hats: contemporary design spiced-up with the air of vintage style.


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S AV O I R FA I R E

S U I T YO U R S E L F

SUIT YOURSELF Ermenegildo Zegna is a family run business with an eye for detail who take the creation of the best custom suits to an almost molecular level of perfection. We take a brief look at the history of the company and what makes it Italy’s flagship menswear tailor.

   

  A suit is only ever as good as its tailor, and when it comes to cut, fit and finish, there are few better masters of the craft than Ermenegildo Zegna. One of Italy’s most famous family driven enterprises, the business goes back to the second half of the 19th century. Angelo Zegna, a watchmaker by trade, decided to break from one artisan craft and start up another - opening a fine wool mill. Of his ten children it was the last, Ermenegildo born in 1892, who took over the business and

began to turn it into something more than just a mill – setting the foundations for one of the premier fabric producers in the world. It was however the third generation of the Zegna family, who sought to expand the company’s offering by adding a ready-towear collection in 1968 and made-to-measure service to its repertoire in 1972. Since then the brand has gone from strength to strength, becoming a preeminent name in Italian menswear synonymous with a pioneering

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spirit, excellence, quality and tradition.  Ermenegildo Zegna remains in family hands and the fourth generation of this fashion and fabric-producing dynasty continues to supply both fabric and finished garments to the world’s most discerning clientele.   Zegna’s extensive tailoring background has become something of a calling card in its fashion arm and it still offers a refined personalised service for customers to receive a bespoke tailoring experience.


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S U I T YO U R S E L F

This service is called Su Misura. Literally meaning “customised”, the Su Misura range takes customers on a fashion journey from start to finish and provides a fully comprehensive service. Zegna’s master tailors can make a range of items for clients - from individual suits and accessories, to entire wardrobes, all of which are skilfully constructed, meticulously hand stitched and imbued with a sense of craftsmanship and attention to detail only achieved in the most distinguished bespoke service.  The attention to detail does not stop there as all linings and accessories are made of natural fibres, such as superfine merino wool, cashmere or vicuna, cotton for breathability, horsehair for strength, and silk to ensure unparalleled softness. Their fashions are all finished by hand, down to the exclusive personalised label that bears the customer’s name sewn on each sleeve unit. Importantly however, the Su Misura service is much faster than that which other famous tailors can offer. Instead of a sixmonth litany of fittings and measurements, Ermengildo Zegna’s Su Misura service delivers its fully personalised garments within four to six weeks and with only two fittings.  Every garment that Zegna puts together is handled with the utmost care and are thoroughly tested during the sewing process to ensure durability. Not only that, each detail of the product, from the buttons, buttonholes and lapels are chosen specifically to best suit each client’s taste and reflect their character. They can even have their names woven into the fabric selvedge should they choose. The bespoke service that Zegna offers goes much deeper than the mere design of the suit. There is an overriding b r a n d a w a re n e s s t h a t w i t h o u t s o l i d foundations, the finished items will never attain true excellence. Consequently, Zegna puts tremendous focus on sourcing the finest raw materials to create very best fabrics available – hardly surprising given the company produces some of the finest fabrics currently available at its Italian mill. By developing techniques that expertly blend wool and raw material fibre into thread, Zegna has made a name for itself as a producer of extraordinary textiles. Zegna’s

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Ermenegildo Zegna has made a name for itself producing and perfecting fine fabrics at its Trivero mill.

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techniques of spinning wool to almost miraculously fine levels means that threads measuring a mere 19 microns (for a quality extra fine fabric) and 11.5 microns (for a superfine wool) can be created. Take into consideration that a human hair measures 50 to 60 microns and the most flexible of Scottish tweeds measure 35 microns and you get an idea of just how fine a product is being produced. It is this atomic focus - down to the last micron that truly sets Ermengildo Zegna’s tailoring apart.  And yet, the search for perfection does not stop there. The company has established the Golden Fleece trophy or ‘Vellus Aureum’ which is a global search for the finest wool. The winning fleeces are spun and woven into a supremely exclusive made-to-measure fabric from which approximately fifty garments can be made. Such is the Vellus Aureum’s exclusivity, that its offering is only made available to invited clients once a year. This material is truly the best available and shows Zegna’s dedication in creating the finest products in the world. Ermenegildo Zegna is still the only brand globally to offer such a refined product for tailoring to the most discerning clients’ tastes and desires. The fabric produced at the Ermenegildo Zegna mills are widely regarded as some of the best and not only supplies the Zegna fashion design arm, but also several of the leading bespoke suit makers in the world, including some of the most renowned tailors in London’s Saville row. The light and modern fabrics that Zegna produces have played a significant part in revolutionising the tailoring industry. Instead of the tried and true old methods that have been used for centuries, tailors have been forced to rethink the way they design bespoke products, finding more efficient ways of constructing garments, through lighter linings and canvas.  As a consequence, modern tailoring offers clients a much more comfortable product that still retains its cut and amplifies the sense of form and function that all bespoke suits should. And it seems that Zegna’s clients agree. Over recent years they have seen a 10% worldwide growth in its made-to-measure division and it has become an integral component to the growth and development of the brand as a whole.

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S T R AT UM

SKIN DEEP Leather has, and will always be synonymous with the very best products. Favoured by garment manufacturers, fashion aficionados and rugged outdoorsmen alike, its durable, adaptable nature and alluring visual impact has classic appeal.       The process of making leather has been honed and perfected over centuries. Created by the tanning of animal rawhide and skin, it can be produced in both small and vast quantities at cottage and industrial scale levels. What is less commonly known however, is how the processing of the raw materials can result in a variety of grades of finish. In total there are four classifications of leather, which can all be produced from a single hide. Full-grain leather is the best material available on the market and comes from the top layer of the hide. The natural surface of full-grain leather burnishes and patinas the more it is used. It can be utilised in the making of multiple high quality objects, from leather furniture to footwear. Full-grain leather comes in two finishes, aniline and semi-aniline. Aniline leather is coloured exclusively with soluble dyes that permeate the skin surface without leaving a topcoat of insoluble pigments. This preserves the hide’s visible pores, allowing the leather to age and evolve the more it is used. Semi-aniline leather is produced

through a very similar process, but has a thin protective topcoat added to safeguard from wear and staining. Slightly below full-grain leather comes top-grain leather, which is split from the top layer of hide, sanded and refinished. It does not age as nicely with use and has a more synthetic appearance and feel but is a strong and durable material and has greater resistance to stains than full-grain leather. At the bottom end of the spectrum comes corrected-grain leather and split leather. Corrected-grain leather has an artificial graining applied to its surface and is often coloured to help hide any corrections or imperfections in the finish. Split leather is made from the fibrous part of the hide left over once the top-grain of the rawhide has been separated. During the splitting operation, the top-grain and drop-split are separated. The drop split can be further split into a middle-split and a flesh-split. It then has an artificial layer of ground up leather offcuts applied to the surface and is embossed with a leather grain.

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S T R AT UM

THE PERFECT STITCH Hand-stitching leather can require a certain dexterity. The sewing clam gives craftsmen a much needed grip to produce fine leather products.

    Working with leather demands the utmost care and attention and the best leather products are often handmade. Despite technical advancements in production, no industrial scale manufacturing techniques can currently match the quality and durability of handcrafted leather products. As in most artisanal crafts, leather stitching has numerous approaches and techniques, however a vital part of the process is a piece of equipment known as the stitching clam. When properly utilised, it can dramatically speed up the process of saddle stitching leather while maintaining requisite levels of accuracy, by freeing up the hands of the user. Stitching clams also go under the names of sewing clams, stitching clamps, saddler’s clam and saddler’s clamps. In a seated position, the clam is placed in the users lap, with its

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jaws resting on the opposite leg to the users dominant hand (i.e. if you are right handed the jaws will rest on the left leg). The other leg rests on top of the clam, closing the jaws and creating a vice which gives the user a better angle in which to sew. Alternatively, it can be clamped to a bench to provide better visibility. The jaws themselves are very long, making it easy to hold bigger items such as bags in place without folding or rolling the leather. These clams also have an angled foot, which helps to stabilise it. The clam jaws are covered with soft leather to protect the integrity of the products, and the natural leather strap and stirrup provide additional tension to hold the leather in place as you stitch. Screws at the bottom can adjust the tension and there is an additional footrest for better stability.

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IL CUOIO DI FIRENZE There are a wide variety of top quality leathers available in the market, however Italian leather is widely regarded as the absolute best. The region of Tuscany and particularly Florence are world renowned for their mastery of leather goods fabrication.       From bags and shoes to wallets and jackets, Tuscany has made itself the heart of the Italian leather industry. The region certain has plenty of credentials, with top Italian brands, such as Gucci and Prada among others, producing their leather goods here. Leather tanned in Florence is highly prized and has its roots in the Italian middle ages. People from the Tuscan area have been working with leather for centuries and over time have perfected and mastered the craft. The industry in Florence sprung up in the artists’ neighbourhood of San Frediano and top Italian fashion retailers have been sourcing their leathers from here since the 1920’s. So important is the industry to the region, that in the 1950’s the local government set up the Sculoa del Cuioio to teach and preserve the industry in the area. Thanks to the foresight of local administrators, the region is full of fantastic craftsmen so if you want to pick up a few leather essentials - a wallet or belt perhaps, or maybe a pair of soft moccasins - you are not limited merely to established designer labels. A tour of the city will

uncover a slew of unassuming and perfectly delightful artisans selling an array of gorgeous well-crafted leather items. Boutiques and designer shops can be found a five-minute walk from the Via Tournabuoni, or on the narrow streets of the old city between the cathedral and the Arno River. Here you are guaranteed genuine leather goods in the latest styles. There are also some leatherwork schools like the Piazza Santa Croce that offer one-of-a-kind leather items. There are also leather markets where stalls, shops and factory outlets are concentrated. The most famous is San Lorenzo Market, but better quality may be found at Mercato del Porcellino. Furthermore, some of the factories that manufacture leather goods also have showrooms attached to them allowing you to get the very best directly from the source. It is important to note however, that to get the best quality you must make sure the source is genuine. Avoid buying from street vendors as currently Florence’s leather industry is being denuded by poor-quality, cheap imports targeting the tourist trade.

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S AV O I R FA I R E

WHEELS OF FORTUNE

WHEELS OF FORTUNE OF WHEELS SPYKER HAS MADE A NAME FOR ITSELF AS A MANUFACTURER OF NICHE SPORTS CARS FOR THE OWNER THAT HAS EVERYTHING, BUT WANTS MORE THAN AN “AS STANDARD” EXPERIENCE.

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Spyker designed and built fighter planes that were used in the First World War.

   

  The Netherlands isn’t exactly famous for its automotive industry, and doesn’t possess the same pedigree of say Italy or Germany, but its history in automotive production goes back to the motorcar’s most embryonic stage of development. The Spijker firm was founded in 1880 by two Dutch brothers by the names of Jacobus and Hendrik-Jan Spijker. Blacksmiths by trade, the brothers initially set out as builders and servicers of carriages but aspired to greater things in the automotive world. They eventually achieved their goal in 1898 with the creation of one of the world’s first cars. The brothers won tremendous acclaim for the vehicle by demonstrating the same skill and artisanship normally seen in their coach building business and transferring it into the bodywork of the Benz-engined vehicle.

Such was the skill of the Spijker brothers in their coachwork; in 1901 the pair was commissioned to produce the opulent ‘Golden State Coach’ to the court of Queen Wilhelmina of The Netherlands. The coach is still in use by the Dutch royals to this day. But cars were to be the new focus of the business and in 1903, the newly named company Spyker (the ij exchanged for a y for better international appeal), produced the 60 hp Grand Prix racer – the first car to be fitted with a six-cylinder engine, permanent fourwheel drive and four-wheel brakes. The brand’s international recognition was on the rise and Spyker became especially popular in Britain, where they rather condescendingly referred to the brand as the “Rolls Royce of the continent”. But ever ambitious, Spyker was determined to be the

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equal of any other and began a campaign of breaking records and winning races in order to prove the superiority of its vehicles and its 14/18 PK finished second in the 1907, 15,000 km Peking to Paris race. The outbreak of the First World War in 1914 saw Spyker briefly switch from wheels to wings, producing engines and early fighter planes for the war effort. This foray into aviation would come to inspire Spyker designs for years to come but post-war, Spyker returned to setting and breaking records. Its Tenax model broke the world endurance record by 6000 km, completing 30,360 km in just over a month – a record previously held by Rolls Royce, and in 1922 took the average speed record with the C4 hitting an average 120 km/h during two 12-hour periods.


Spyker‘s heritage in aviation can clearly be seen right down to the company logo.

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But just as the brand was in its ascendancy, it went bust and shut its doors for what seemed to be the final time – seemingly resigned to the automotive archives as a bright star that shone brilliantly, but all too briefly. However, the closure would prove to be the end of a chapter – not of the story. Since 1914, the Spyker company motto has been “Nulla tenaci invia est via” - for the tenacious no road is impassable - a motto that would prove incredibly apt. In the year 2000 Spyker would get a second chance at a first impression and has spent the last 13 years carving a small but

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extremely lucrative niche for itself as a manufacturer of refined and stunningly beautiful cars with innate exclusivity and beautiful fabrication. Taking design cues from its history of aviation and also the finest handcrafted materials, Spykers are not for the man that wants for nothing, but rather more for the man who has everything – a supremely exclusive and elegant style statement for people who appreciate the very finest things in life. Since its return to the market, the brand has released four cars - the Spyker C12 La Turbie and C12 Zagato, and the C8 Aileron and C8 Aileron Spyder. This may seem a

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small number, but careful positioning of the new brand in an increasingly crowded market has been vital to Spyker’s success. Its latest offerings are two new compact, 2-door mid-engine sports cars that will offer the discerning driver of the highest standards an alternative take on the segment – the B6 Venator and B6 Venator Spyder. Technically concepts, the hard top is slated for full production early next year and the Spyder in late 2014. The Venator, which means hunter in Latin, is heavily influenced by Spyker’s heritage of racing, luxury and aviation. Power in the new concepts comes from a 375 horsepower transversely-mounted


The brushed aluminium dash and console design echoes Spyker‘s aviation pedigree.

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S AV O I R FA I R E

WHEELS OF FORTUNE

HIGHLIGHTS OF THE EXTERIOR INCLUDE A NEW HEADLIGHT DESIGN WITH LED LIGHT RAILS AND REAR LIGHTS AKIN TO THE IRIS-TYPE PROPELLING NOZZLE OF A JET ENGINE FROM A MODERN FIGHTER AIRCRAFT GIVES THE CAR AN AGGRESSIVE SOPHISTICATION

3.5-litre V6, which delivers power to the rear wheels via a 6-speed transmission. Highlights of the exterior include a new headlight design with LED light rails and rear lights akin to the iris-type propelling nozzle of a jet engine from a modern fighter aircraft gives the car an aggressive sophistication. The new models have a sharper, more concise theme and the designs have been pulled into line somewhat with other brands on the market – the chrome trimmed air intakes that punctured the side panels of previous models have been reigned in a little and are now integrated to fit more comfortably with the car’s overall aesthetic. With that said however, it still retains its individuality and design craftsmanship. Few cars on the market can compete with its exterior appeal. While the exterior sings with a mature and definite exclusivity, Spyker’s major calling card has always been the quality of its interiors. The inside of the car reads more like a gloriously incongruous union of gentleman’s club and a fighter plane cockpit. And yet despite its obvious idiosyncrasies it works in a seamless fashion. It makes one wonder why all sports cars are not treated

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with the same respect and care. Fabricated from the finest materials, its unusually airy and ergonomic arrangement of the “cockpit” allows plenty of light into the cabin, as does its enormous aerodynamic glass roof in the hardtop. Leather is used throughout in an unusually sumptuous way and is sourced from the Litano range from the Royal Hulshof Dutch Tanneries in Lichtenvoorde. Hulshof uses only West European first choice bull hides, which are put through a special tanning process in order to produce the beautifully rich colour palette available here. Spyker believes in using authentic materials of true quality and substance for all surfaces that can be seen or touched. Plastic is deliberately avoided to ensure the highest possible use of ‘pure’ materials. Spyker’s trademark diamond stitched quilted finish is available as an option, as is contrast stitching, and an Alcantara interior. Customers looking for the ultimate in personalisation can be provided with design proposals to help make an informed choice. The standard dials can be upgraded to milled dials, bezels and switches for an even higher level of tactility. Customers benefit

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SPYKER’S TRADEMARK DIAMOND STITCHED QUILTED FINISH IS AVAILABLE AS AN OPTION, AS IS CONTRAST STITCHING, AND AN ALCANTARA INTERIOR from knowing that the skills employed in exquisite watch making are being applied to their automobile. As a unique Spyker feature, you can opt to have a turned aluminium fascia. Seen on planes in the 1920’s and 30’s, the original effect was achieved by hand, ‘turning’ metallic ‘dust’ or fine shavings into the dashboard with a cork. But the interior’s show stopping centrepiece is Spyker’s trademark exposed gear linkage. In technical terms, today gear changes can be completed with the twist of a dial or the click of a mouse, but Spyker believes that the pleasure of seeing and navigating a car through the gears should not only be preserved, but celebrated. To further emphasise the brands focus on exclusivity and beauty in design, the brand has been teaming up with select designer brands that share Spyker’s values, including Louis Vuitton who have designed a range of bespoke luggage that come with each new purchase. Spyker has also teamed up with Ralph Vaessen eyewear, Koga Miyata bicycle design, and Chronoswiss watches to create ranges of limited edition Spyker themed products befitting the spirit of the brand. Currently, Spyker is still a cottage industry type manufacturer, but it has great ambition. For the moment it has found its niche, and it is sticking to a message of customised, refined elegance. With a specific emphasis on craftsmanship and a visually arresting aesthetic that retains the core values of the brand – reliability and exclusivity, there is nothing on the market quite like the defiantly contemporary style of a Spyker, which is exactly the appeal.

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T R U LY Y O U R S

TRULY YOURS Maison Corthay has always been associated with prestige, uniqueness of design and quality. Their exclusive handcrafted shoes are marked by sleek and sophisticated style and are perfect for any occasion.

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In 1990 Pierre Corthay embarked on his entrepreneurial adventure and founded a workshop in the heart of Paris, at 1, rue Volney

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T R U LY Y O U R S

      Pierre Corthay, the founder and artistic director of Maison Corthay, started his career in shoemaking industry as a young apprentice at the illustrious Compagnon du Devoir’s sixyear training program. Since then he had perfected his trade by working with some of the greatest names, spending two years with John Lobb and five years with Berluti as a senior craftsman. The knowledge Pierre accumulated throughout these years resulted in founding his very own company in 1990. A new atelier set in the heart of Paris, at 1, Rue Volney, close to Place Vendôme, soon gained the

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reputation of one offering bespoke and sophisticated service. After six years, Pierre’s younger brother, Christophe Corthay joined him, turning Maison Corthay into a family business and expanding its markets and revenues. The beginning of another chapter was marked in 2010 as new CEO, Xavier de Royere delivered a fresh, more international vision to the brand. Today Maison Corthay’s stores can be found in the most exciting and vibrant cities in the world, including Paris, Tokyo, London and Dubai, and Pierre is recognised as ‘Maitre d’Art’ – a distinction granted

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by the French Culture Ministry. He is the only gentlemen’s boot-maker individual fantasy creation, is executed without the help of machinery. to have received this prestigious award. For the craftsmen of this small and highly traditional atelier the To go through the process of having Maison Corthay’s bespoke knowhow, whether for simple or complicated endeavors, is always shoes made is an unforgettable experience. For Pierre the art of paramount, from the cutting of each component to the stitching of the shoemaking resembles that of haute cuisine – in both cases ingredients upper to the welt, and the attaching of the welt to the sole. Each shoe need to be chosen carefully as they ultimately determine the end is continually and minutely adjusted to guarantee a perfect, individual result. This is the reason why at a Rue Volney atelier the process of fit. This is why Corthay’s every creation moulds around the foot and creating unique shoes always starts with the client carefully choosing carries the marks of supreme quality. the leather that best expresses his personal style and individual taste. Once the first pair of bespoke shoes is made, the lasts To make sure that the client’s hopes and expectations are fully (individually made, 360 degree model of the foot) are named and met, personal consultation is set at the atelier or at a location chosen archived so at any time in the future, the client can place subsequent by the customer. At the meeting, either Pierre, his brother Christophe, orders without the need to revisit the measuring process. or the brand’s chef d’atelier Christophe Algans (also know as The intricacy of the Maison Corthay’s bespoke service makes it Toulouse), make sure that the client’s vision and ideas are discussed impossible for the brand to satisfy the increasing number of people in detail. Designs and styles are mooted and who are eager to own a pair of Corthay shoes. THE NUMBER 1 SERVICE t i m e f r a m e s a re e s t a b l i s h e d . P re c i s e To solve the problem, Pierre located a Maison Corthay goes one step further measurements are then taken from the client workshop at Neuilly-Plaisance, in the when it comes to its ready-to-wear by adjusting his various pressure points and outskirts of Paris, where his team started collection and strives to offer even more exclusive experience: the Number 1 the muscular density. These measurements producing ready-to-wear collections that service. Named after 1, Rue Volney, the are used to create a model from which all adhere to extremely precise specifications of original home of the Maison, the service is future shoes can be made. quality, style and above all design. a reflection of the brand’s desire to be the best and create the world’s finest shoes. The process of creating 100 per cent Through the atelier, one is given the Number 1 is as close to the bespoke handmade shoes is anything but fast. The opportunity to handpick a model from the experience as it gets. The service entails bespoke service takes a minimum of 20 weeks ready-to-wear collection and alter the the creation of one’s very own pair of shoes with the first class expertise and and consists of dozens of stages, each specifications to their tastes. By choosing from advice of the atelier’s craftsmen and requiring utmost attention to detail and refined a variety of options in Corthay’s exceptional sales assistants. Here, the client can skill. Any design and decoration, be it the catalogue, the client is entitled to adjust the modify the ready-to-wear collection on an unbelievably large scale, as he is able punched pattern of a brogue, the remarkable colour of the shoe, the inner lining, or request a to alter every detail, from the material colouring of a ‘flame’ finish or even a completely rubber sole. and colour to the last. The exclusivity of the service is also emphasised by the fact that all Number 1 shoes are overseen by the artistic director of the brand, Pierre Corthay.

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S AV O I R FA I R E

H AU T E C R E AT I O N S

HAUTE CREATIONS Since 1872, S.T. Dupont, the prestigious French luxury maker of premium accessories, has created exceptional products for exceptional people. As the 21 st century dawns, the company is still inventing new ways of expressing its one-of-a-kind savoir-faire.

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In 1947, Humphrey Bogart ordered from S.T. Dupont an elegant lightweight duffle bag that would make it easier to travel by plane. The corners of the bag were reinforced in cognac leather to match the handle, and the beige canvas was finished with a tricolour band, recalling the brand‘s French identity, on which appeared the initials of its illustrious owner.

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H AU T E C R E AT I O N S

BY THE EARLY 20TH CENTURY, SIMON TISSOT DUPONT, ALREADY KNOWN AS THE ‘KINGS’ TRUNK-MAKER’, HAD ACQUIRED JEALOUSLY GUARDED EXPERTISE IN CHINESE LACQUER WORK.    

  S.T. Dupont’s extraordinary journey is inextricably linked to the history of a period that it helped define. By setting standards in the art of stylish travelling, and creating objects that epitomised a luxurious art-de-vivre, S.T. Dupont has left its mark on three centuries. In the 21 st century, the legend lives on, in perfect harmony with its roots and in a future full of promise. In 1872, Simon Tissot Dupont decided to create the most amazing luggage sets of the time. His sumptuous trunks, with their finely-worked finishing, rapidly became ‘de rigueur’ for kings and princes as well as the world’s great and good. The company’s reputation continued to grow in the 20th century when Simon Tissot Dupont’s sons, André and Lucien, took over the company. The brothers opened a workshop in Faverges, Haute-Savoie that brought together the very best craftsmen from across France. Henceforth, all house creations, monogrammed with their double D, were produced here by leather workers, gold and silversmiths, gild and veneer specialists, polishers, gem setters, tailors and glassmakers of the highest order.

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To this day, S.T. Dupont’s expertise and know-how is emblematic in three areas, each representing a unique element of the fabrication process. These techniques include fine leatherwork, Chinese lacquer work and precious metalwork. The valuable ‘living heritage’ craftsmen who bring these workshops alive are trustees of an expertise handed down through the generations, and still shape the creations using skills that might otherwise have disappeared. Fine leatherwork True to the house’s origins, modern master trunk-makers select the most exquisite skins for their leather products. Calfskin, full-grain lambskin and buffalo hide - natural, supple skins that gain in beauty over time - are chosen exclusively from tanneries in France, Italy and Spain, and must meet the quality standards for evenness, solidity and finesse. Befitting an haute-couture piece, the artisan seeks out the optimal way to present the material by touching it with the palm of the hand. The leather is then trimmed to prepare it for sewing and assembly of the completed article. Next step is dyeing. The artisan dyes the leather seven times by hand and by machine

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one last time to bring out the shine. To put the article together and shape the final form, three types of stitching are used: cut-edge, turned-edge and double-edged. Once the leather article is assembled, it is hot stamped with a fine silver film bearing the traditional seal of S.T. Dupont. It is then polished with a soft cloth for the leather to shine through. Palladium or platinum brings a final touch of finesse and quality to the accessories that dress the leather goods. All the operations, from cutting to sewing, are performed by hand with masterful attention paid to every detail, ensuring that every leather product is equal to the expectations of its prestigious customers. Chinese lacquer Chinese lacquer, with its pearl-like shimmer and its fascinating shine and depth, is one of the finest materials to adorn S.T. Dupont’s objects. Learning to handle and work lacquer, a living substance, is no easy task and requires years of practice. It is the art of transforming the sap of precious and legendary Rhus Ve r n i c i f e r a , R h u s S u c c e n d a n a a n d Melanorrhea Laccifera trees into a durable, lustrous and deeply coloured product.


An S.T. Dupont pen is first and foremost a work of goldsmithing excellence, with many of the procedures requiring almost surgical precision in the application of the guilloche, chasing and engraving. Each nib is handcrafted, hand-polished and tested by experts who hold the secret of the perfect pen. The process entails up to 150 operations and 200 quality control tests.

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H AU T E C R E AT I O N S

Jackie Kennedy loved her Dupont lighter so much that in 1973 she ordered a pen to match and another Dupont icon was born: the ‘Classique’. The first luxury ballpoint became a symbol of modern design.

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Precious material work and application of Chinese lacquer are both signature features of the brand’s writing instruments. Once held, an S.T. Dupont pen is never forgotten.

Once the sap arrives in S.T, Dupont’s workshops, it is transformed into a translucent, dark-brown resin. After filtering the resin, it can be used as it is or mixed with other compounds in order to obtain a coloured paste. To achieve the latter, the resin is roughly mixed with Tung oil, first by hand and then by a colour grinder until the coating of the resin is perfect. Once the lacquer is ready, the layering process starts. The first step is to hollow out the metal surface, which will undergo mechanical and chemical preparation. Then the lacquer is applied in up to ten layers. After drying, each layer is smoothed with charcoal and then polished. Precious metalwork The art of goldsmith and silversmith has always played an important role in the creation of S.T. Dupont’s objects.

Metal became a means of decoration at the beginning of the 20th century. With this new craze, sumptuous travel bags adorned with luxurious gold and silver accessories, together with lighters, pens, knives and other functional objects made of brass, bronze and precious metals, became works of art. Since the beginning, S.T. Dupont’s master goldsmiths have engraved crystal and precious metals by hand with a chisel and a mallet. Later on, sophisticated tools and machines mechanised and changed the craft, but the artisan’s know-how still remained essential. One of the main techniques of the house that is now done mechanically is the guilloche. The chisel and the object are fixed on the guilloche wheel where simultaneously one undergoes a rotating movement and the other a to-and-fro movement, producing perfectly regular engraved lines and curves that are typical for S.T. Dupont’s creations.

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Today the finest lacquerers, goldsmith and trunk-maker masters, along with renowned craftsmen, continue to express their artisanal skills in the haute creation collections that transform dreams and imagination into unique and exceptional objects. In the moder n era of advanced technological breakthroughs, S.T. Dupont no longer hand crafts objects one by one out of necessity, but to set itself apart. It has chosen the exceptional over the standard and personality over uniformity. This manifests itself in every single piece. Holding an S.T. Dupont pen means to share in the company’s legacy. The intense workmanship is evident in the smallest details of every piece. Travelling the world with a diamond leather trunk gives life to the ambitious dreams of a man who wanted to create beautiful luggage sets for the most illustrious personalities of his time.

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SIGNÉ SELECTION

A CUFF ABOVE

A Cuff Above TRUE GENTLEMAN’S STYLE DICTATES A CERTAIN PANACHE IN DRESSING. SINCE 1990, THIS IS EXACTLY WHAT JEWELLER TATEOSSIAN HAS BEEN OFFERING IN THEIR RANGE OF SUBLIME CUFFLINKS - BEAUTIFUL PIECES WITH A KNACK FOR SETTING AN ENSEMBLE APART.

Tateossian is known as the “King of Cufflinks”, but the piece featured above could quite possibly be dubbed the king of kings. Reflecting Tateossian’s design credo of using beautiful materials in unexpected ways, the RT Gold Leaf cufflink is striking to the eye, featuring individually placed flakes of 22-carat gold leaf encased in glass and mounted in Tateossian’s signature diamond pattern rhodium plated case.

      Cufflinks are an excellent way for gentlemen to accessorise while maintaining an important sense of practicality in their outerwear. There are few cufflink designers currently in the market that blend contemporary and classic styles with an unquestionable sense of practicality better than Tateossian - a London based jewellery house of international renown, famous for creating ranges of quite stunning baubles.

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Founded in 1990 by its eponymous founder Robert Tateossian, Tateossian is internationally renowned as being the “King of Cufflinks”. Previously working in banking, Tateossian noticed a gap in the jewellery market - his colleagues wore many different designer shirts each week, and yet the cufflinks remained the same. They often inherited their cufflinks from their fathers, and consequently the pieces looked somewhat tired and

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Handcrafted to the highest standards, these thoroughly whimsical and intricately made cufflinks include a working watch-like movement which causes them to spin within their rhodium plated case. The Skeleton Mechanical Round cufflinks again feature Tateossian’s signature diamond pattern running round the outer case, it is finished in gunmetal plating.

dated. At that time choices were limited and there were no really unique alternatives in the market. There was certainly room for a little innovation, and Tateossian jumped at the chance to enter the fashion world by adding a little flavour to the gentleman’s jewellery sector, designing links that utilised unusual materials, such as colourful semi-precious stones, fibre optic glass, crystals and even USB sticks. Since its inception, Tateossian has expanded its collection into other areas and now has a full range of products for both men and

women and is currently sold in 50 countries at over 1,000 outlets, including the finest department stores on earth: Tsum in Moscow; Bloomingdales, Saks Fifth Avenue and Harvey Nichols, as well as in Selfridges and Harrods in London. They even offer a bespoke cufflink service with optional designs specific to customer tastes. The cufflinks function with the use of magnets and are made with interchangeable discs that allow the wearer to remove engraved disc and replace it according to their desired style.

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G E N E R AT I O N G A M E S

GENERATION GAMES

William Asprey is a seventh generation member of the famed Asprey family and grew up with a strong sense of the traditions of retailing the finer things of life. His now 14-year-old company William & Son is London’s premier purveyor of luxury goods and services.

      William & Son has not been involved in the luxury product game for a tremendously long time, but the family to which its founder, William Asprey, belongs, most certainly has. Since 1791, the house of Asprey has become one of the most sought after brand names in global luxury but after corporate takeover by new owners in the late 1990’s, William Asprey exited the company that bears his family name. Never one to rest easy, William Asprey subsequently opened

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William & Son - a new luxury goods store in the heart of London’s highly prized Mayfair district in 1999, expanding to a second facility a few doors down some five years later. The retailer is a champion of fine luxury items for the avid connoisseur. A Royal Warrant holder, the brand’s two stores offer a wealth of luxury goods and services specialising in the unusual, eclectic and somewhat eccentric and, where possible, products crafted within the United Kingdom.

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The shop at number 10 Mount Street sets the standard, offering customers a myriad of luxury home furnishings and personal items for men and women, from fine china, to cufflinks, crystal glasses and silverware, photo albums and fine watches. No. 10 is famous for its range of high-end timepieces from the likes of Piaget, Breuget, Audemars Piguet, and Jaeger-LeCoultre but takes pride in selling highly collectible top-end watches and clocks from smaller independent


WHERE POSSIBLE, WILLIAM & SON SPECIALISES IN SELLING PRODUCTS CRAFTED WITHIN THE UNITED KINGDOM AND THE RETAILER IS A CHAMPION OF FINE LUXURY ITEMS FOR THE AVID CONNOISSEUR.

GAMES MAKERS

makers, such as FP Journe, H Moser & Cie and Charles Oudin. William & Son is the only place in the UK where they are available for sale. Celebrated by collectors, these independent watch brands are owned by their makers, who enjoy the freedom to develop and create exceptional watches. William & Son is the only place in the UK where these brands, which display breath-taking attention to detail and meticulous craftsmanship, can be seen and appreciated.

William & Son’s whimsical nature shines through in their beautifully crafted, handmade leather board games. Featuring delightful inlaid leathers coupled in rich and bright colours, they are pieces of art that happen to be quite a bit of fun! All of the games are crafted to customers specific request from backgammon, to noughts and crosses, chess, poker, cards, dominoes and its pièce de resistance games compendium. All the games can be made in a range of beautifully finished colours. William & Son’s games are made by the same artisans who create the company’s other premium leather goods, and can be ordered online.

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While four doors up at number 14, the most avid of countryphiles can get their hands on the finest outerwear from tweeds to dog whistles and shotguns. Gunsmith Paul West presides over the running of No.14 and its range of world-class rifles and shotguns is superb. Each gun on sale requires at least 1000 man-hours of painstaking labour and there is an approximate waiting time of 18 months for each bespoke piece’s delivery.

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EDITOR’S PICKS

LIENS RINGS BY C H AU M E T

Chaumet’s Liens rings are a collection of twelve unique pieces inspired and based on two designs. Using subtle geometric themes to create the illusion of floating precious stones, the pieces are beautifully constructed using gloriously sculptural lines and luminous diamond studded ribbons of interwoven baguette and round diamonds. While the pieces draw heavy use of diamond, there are also an array of other beautiful precious and semi-precious stones including sapphires, aquamarines and tourmalines mounted and displayed in elegant white gold. The pieces have a bold elegance and classicism that is often found in truly Parisian jewellery.

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EPIC BY A M O UAG E

The house of Amouage perfumier has released its latest range of his and hers fragrances. The Epic collection draws inspiration from the orient and the heyday of the Silk Road, combining essences that would have been plied along the ancient trading route. The perfume for her carries a rich scent embracing the rarest and most highly prized ingredients, blending the strength of its base notes provided by sweet amber, vanilla, frankincense orris, patchouli and oud, with the delicacy of oriental flowers and spices, such as damascene rose, geranium and jasmine, cumin, pink bay, cinnamon and Chinese tea. Epic for men is a woody oriental fragrance that has complex infusion of pink pepper berry, cardamon, saffron and nutmeg in the top notes blended with geranium and myrrh, oud, patchouli and castarum and the house’s signature frankincense. Both the deep jade coloured perfume bottles come trimmed with Swarovski crystals.

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EDITOR’S PICKS

LINEA DAY & NIGHT BY B AU M E & M E RC I E R

Baume & Mercier has produced a beautiful pair of ladies watches for its Linea range called Day and Night. Produced in a limited numbers of just a hundred examples each, they are inspired by a Baume & Mercier piece produced in the 1950’s. These two exclusive new watches are designed to be worn at different times of the day. The first, pictured on the left, is the daytime piece. Crafted in iridescent white mother-of-pearl, and representing daylight over water, the waves and rays of this design are set with 65 diamonds (0.34 ct). Its champlevé design begins on the dial and continues in a soft ripple beyond the frame decorating bezel of the piece, which is mounted on a pearl white calfskin bracelet. Its partner, pictured on the right, is worn in the evening. With its satin steel polished frame, and large depiction of the lunar cycle on its midnight blue mother-of-pearl display, its face beautifully illustrates the night sky. Sprinkled with stars, which are painted or embellished with hand-riveted indexes, the piece includes 83 diamonds (0.33 ct) and is mounted on a satin midnight blue bracelet. Both watches come with an alterative satin-finished polished steel bracelet, which is included in the case.

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A RETURN TO FORM The perfect coffee table companion for the well-groomed man, ‘I Am Dandy: The Return of the Elegant Gentleman’ shows that the men who adhere to the values of the Dandy style are as varied as the style itself.

      The spectrum of men’s style is as fantastic as it is diverse and the gamut is ever widening. The Dandy movement celebrates the idea that men can too appreciate male grooming and high fashion in an often arresting, but always immaculate manner. The resurgence of this mode of male s a r t o r i a l e x p re s s i o n h a s b e e n w e l l documented, but never quite so beautifully or eloquently as in the pages of ‘I Am Dandy: The Return of the Elegant Gentleman’ by Rose Callahan and Nathaniel Adams. Elaborating on the look through the eyes of over 50 prominent and highly dedicated followers of the fashion, Callahan and Adams have spent years exploring the well crafted and often fascinating phenomenon of Dandyism. The diversity of the men portrayed in ‘I am Dandy’ is striking. They come from different countries, cultures, and social circles and make their livings in a range of occupations and vary from the exceptionally put together to the almost eccentrically well groomed. But all of the men included in the book march to the beat of their own stylistic drum, eschewing conventionalism wherever it rears its ugly head. Each subject featured has his very own history, a very personal take on life and the living of it. Within the pages of the book readers discover that Dandyism isn’t some Wildian fetishisation of the effete, but rather has distinct perspectives within its own genre. Some men are very slim and delicate, while others are bold, tattooed and bearded; some wear frock coats, make-up and spats, while others just draw inspiration from the past and adapt it to the moder n day. Regardless, all of these characters are inspirational. By showcasing their styles and philosophies, the book reveals that Dandyism today is an attitude and a calling that can be cultivated.

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RUGGED REFINEMENT

Rugged Refinement When it comes to both durability and style, few materials can match up to enduring appeal of leather. American brand Ghurka’s master artisans have been hand making leather bags and accessories of superb functionality and timeless quality since 1975 and few other brands can match its dedication to traditional craftsmanship or its evergreen style.

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NORWALK BLACK TWILL COLLECTION Travel luggage is all too often a triumph of substance over style, but Ghurka’s Norwalk Black Twill collection proves that it is not impossible to have the best of both worlds. Designed for clients with a “quiet confidence and adventurous spirit”, Ghurka’s travel bags are its signature calling card. These limited issue black-on-black canvas pieces bring a classic American style sensibility to the fore, offering a perfect blend of classic shape and modern utility. They are the perfect option for either business or pleasure. The stylish and durable travel luggage has excellent functionality inside their elegantly retrospective design and the largest piece in the Norwalk Black Twill collection, the Kilburn III No. 157, is a prime example of this. With its side cargo handles and full-length interior zippers, the bag is finished with sleek brass hardware offering maximum impact and absolute function. The Express No. 2 weekend travel also features sleek and thoughtful touches such as an ingeniously placed umbrella loop and adjustable shoulder strap, and has been carefully sized to meet most airline standards as a carry-on. The appeal of this bag has endured for the last 37 years and its quintessential charm is certainly worthy of the brand’s fantastic reputation. Ghurka’s luggage range is available in a variety of colours, materials and finishes.

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RUGGED REFINEMENT

PARTIDO No. 214 As any aficionado of fine tobacco products will be fully aware, the preservation of cigars is hugely dependent on atmospheric conditions. The best way to make sure that your favourite Cohibas are well maintained until they are ready for consumption is to store them in a humidor or cigar case.   This simply allows for a controlled airflow and maintains humidity within the optimal range of between 68-74%. Failure to maintain optimum environmental levels can quite simply ruin your cigars, causing uneven or too rapid a burn, a harsh or bitter taste, broken wrapper, difficulty in lighting or in keeping the cigar lit, and even mould.  Ghurka’s beautifully handcrafted cigar case is the perfect tool to keep your cigars in prime condition. Using natural hardwood wrapped in fine full-grain leather, the Partido is fabricated in Italy in the classic tradition and features a Crystal Humidity Device. This bespoke piece features a 3/4” thick solid body, with 1/4” genuine Spanish cedar interior panels capable of storing up to 35 of the finest cigars.

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NEWPORT UMBRELLA No. 90 The idea of needing an umbrella for this part of the world may seem somewhat absurd, and while rain is something of a rarity in this climate, when it does roll in, it is known to hit hard and fast, leaving little or no time to run out and try to find any umbrella, let alone anything with a modicum of style. Thankfully Ghurka has a solution that is perfectly suited for use all year round the Newport umbrella No. 90.  Handcrafted by Italian artisans since 1864, Ghurka’s umbrellas are built from chestnut and are designed to stand the test of time. The No. 90 Newport umbrella is new to Ghurka’s collection and is made in Italy. It has a hand carved and assembled three-piece design.   For use all year round, come rain or shine, the piece triples up as a wet umbrella, portable sun shield and picnic shade that can be staked into the ground at your next garden party or Polo match. It features a beautifully burled wood handle and shaft and offers sumptuous detailing and perfectly smooth movement. With its heavy gauge waterproof canopy and coordinating carrying case, it is an ideal option for this region.

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SOUND INVESTEMENT

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SOUND INVESTEMENT AUDIO INTEGRITY IS A KEY PRIORITY WHEN CHOOSING A SPEAKER AND BANG & OLUFSEN’S LATEST RANGE OF HIGH QUALITY WIRELESS SPEAKERS TAKES THEIR MINIMALIST DESIGN AESTHETIC TO NEW HEIGHTS OF EXTERIOR ELEGANCE AND SOUND QUALITY.

   

  Bang & Olufsen are an exceptionally well known as audio visual pioneers who have not only mastered sound engineering, but also incorporated an aesthetic appeal into their products outward appearance. This is true of their latest BeoLab offering. Building on the success of its iconic brand of column speakers, B&O’s BeoLab 18 features all-new components, a re-engineered digital sound engine with a beautifully clean appearance thanks to its classic and yet contemporary Nordic hardwood fabrication, which makes these speakers exceptionally versatile functioning pieces of furniture. BeoLab 18’s striking visual is highlighted by its lamella front, available in black and white composite as well as solid oak. They are mounted on a column of anodized aluminium, which give interior decorators a range of options in keeping with designer Torsten Valeur’s minimalist theme. BeoLab 18’s slender lines belie an impressive array of all-digital components specifically engineered to provide larger-than-life sound from a modest volume. Two custom-made four-inch midrange/woofer drivers run in parallel and are powered by separate 160-watt class D amplifiers and working in tandem with Bang & Olufsen’s distinctive acoustic lens tweeter, the audio quality does not waver no matter where listeners are in the room. The digital sound engine is custom-tuned to deliver convincing performance that brilliantly overcomes the complexities presented by placing the lamella in front of the two main drivers. The all-new engine also comprises thermal protection, Adaptive Bass Linearisation and a room position switch, so BeoLab 18 sounds amazing no matter what is being played on it or where it is placed. BeoLab 18 is one of three new speakers Bang & Olufsen is launching under its Immaculate Wireless Sound concept. With this system, Bang & Olufsen brings its tradition of reproducing authentic audio quality into the wireless age for the first time ever. The Wireless Speaker and Sound Association (WiSA) platform utilises the relatively uncongested 5.2–5.8 GHz range to avoid interference from other signals, and to provide enough bandwidth to stream 24-bit, uncompressed music at native sampling rates.

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Philanthropy


PHILANTHROPY

L E P R E M I E R C AV I A R E T H I Q U E

LE PREMIER CAVIAR ETHIQUE THE FUTURE OF CAVIAR LIES IN RESPONSIBLE AQUA FARMING, ALLOWING A MORE STABLE CLIMATE AND BETTER ENVIRONMENTAL CONTROL. THIS DELICATE BALANCE OF HUMAN CARE AND SCIENTIFIC CONTROL YIELDS THE SECRET OF THE FINEST OSCIETRA PRODUCED BY ZWYERCAVIAR.

“We have taken up the cause of heralding a paradigm shift. Today it needs responsible and honest action for the production and marketing of caviar. The claim to act ethically makes us verifiable as we see ethics more as a process of development and less as a result.” Alexander Zwyer, president and founder of ZwyerCaviar LLC.

      Caviar has strong reputation as the quintessential culinary symbol of luxury. This delicate product, often referred to as “the food of gods,” has been favoured by the wealthiest personalities for more than 500 years. Despite its high price, sturgeon caviar has always been extremely popular and a ceaseless demand has recently led to overfishing and significant damage to the fishes environment. Water pollution, losses of habitat and hydro-engineering activities have caused a drastic decline in worldwide sturgeon stocks. Out of 27 existing varieties of sturgeon, 25 are already on the red list of the International Union for Conservation of Nature (IUCN), with two already considered to be extinct. Against this background, how caviar as a cultural asset and delicacy can be conserved has become a most pressing question for producers,

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fishermen, breeders and consumers. Concerned with this very question, the Zwyer siblings decided to set up a fishery that would offer prime quality ‘genuine’ caviar in accordance with ecological, social and economical values and make it accessible to as many people as possible. A f t e r t w o y e a r s o f h a rd w o r k Z w y e r C a v i a r L L C , a n independently owned enterprise situated in the heart of the Appenzellerland, Switzerland, was founded. The company soon gained a spotless reputation as a prime caviar producer in the highly competitive luxury food market across Europe. Its success has come through a sustainabile and socially responsible approach, taking ecological obligations into account at every step of the caviar production process.

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PHILANTHROPY

L E P R E M I E R C AV I A R E T H I Q U E

Alexander Zwyer, president and founder of ZwyerCaviar LLC.

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Aquafarm in Uruguay until the moment the roe are harvested. The aquafarm, hundreds of kilometres north Meeting the stringent criteria of a responsible Identifying the best possible location of Montevideo, was created with the help and eco-friendly company means that the for the aquafarm took decades of research, of Russian biology experts. Far away from civilisation, deep in the heart of Uruguay and sturgeon must be raised in unspoiled including the systematic investigation of surrounded with perfect natural conditions environmental conditions, and in humane and the landscapes. Rumour has it, that the for a healthy and controlled habitat, it is the species-appropriate ways. Conditions should current location was found with the aid of first and only aqua farm of its kind in the entire southern hemisphere. closely replicate what sturgeon would pictures from a spy satellite of the former experience in the wild without the presence Soviet KGB intelligence service, as in the of toxic pollutants. To achieve this goal 80’s the Soviets had already been thinking ZwyerCaviar has partnered up with the sturgeon farm Esturiones Del about the best place to breed sturgeon. Rio Negro, ERN, in Uruguay. The sturgeon farm in Uruguay is designed on the principles of ERN, the sustainably run aquafarm, meets the highest health and organic food production. The farming system is ecologically quality standards of today. The company’s efforts concentrate on conditioned to take advantage of local resources and Uruguay’s recreating ‘life in the wild’ from the beginning of the sturgeon life cycle unique climate.

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The black caviar is available in wonderfully designed small containers. The delicate box resembles a piece of jewellery that promises a touch of luxury and contains 10 grams of the prime delicacy.

Black River prides itself on its wildraised sturgeon farming techniques, where the fish live within unspoiled environmental conditions.

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ZwyerCaviar’s sturgeon live in a lake and artificial river system and have an average life span of ten years. A carefully formulated feed is provided four times daily to meet all the energy and nutritional requirements of the fish. They are constantly washed by thousands of litres of fresh water from the Rio Negro – one of the cleanest rivers in the world. This husbandry is truly unique as the traditional caviar businesses keep the sturgeon in standing waters almost without any introduction of fresh water, or keep them in sheds under artificial light. Cultivation and preservation ZwyerCaviar sturgeon are fed four times a day and receive food that is specially adjusted to their phase of life. Needles to say that no antibiotics, growth hormones, pesticides, biocides, biotechnology, ionized radiation, or fertilisers are used in the food. With the principle of aquafarming, ZwyerCaviar reduces negative environmental influences and stabilises climatic conditions. To help conservation of the species, ZwyerCaviar supports the cultivation of new sturgeon populations. The company is a member of the World Sturgeon Conservation Society and makes an important contribution to the recovery of the worldwide sturgeon stocks that are becoming depleted. Quality promise ZwyerCaviar produces caviar from Russian and Siberian sturgeon and

its Oscietra is called ‘Flor de Sal Malassol’. The word ‘malassol’ stands for ‘lightly soiled’. Each fish receives careful inspection by hand which means that the quality of the ZwyerCaviar roe can be guaranteed. Caviar roe is exclusively harvested at their height of maturity with respect to size, taste, colour, and consistency. This quality control, onsite in Uruguay, is the responsibility of the youngest of the Zwyer siblings, Roger Zwyer. He has lived in the country for many years and is in daily contact with the sturgeon farm. Yet another quality feature of the company is that its sturgeon pass through several cycles of sexual maturity without the roe being removed from them at the first available opportunity. The harvesting of roe of the highest quality is a time sensitive procedure, as the window for the removal of the fish eggs is only open for a few days a year. Naturally as with all quality products, the recipe of ZwyerCaviar is strictly confidential, but one thing that goes without saying is that it only contains precisely selected organic ingredients. The purest glacier water and an exclusive sea salt, Flor de Sal, from Portugal are used for its production. An absolute novelty in caviar production, the ‘flower salt’ consists of delicate crystals that settle on the top of the brine in still air. Just a few hours after their formation, the first salt layer is skimmed off and dried in the sun. The fine texture and balanced taste of this, the purest of all sea salts together with the fresh Patagonian glacier water give the ZwyerCaviar its unique character and inimitable taste.

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The recipe of ZwyerCaviar contains only selected organic ingredients. The purest Patagonian glacier water and an exclusive sea salt from Portugal give the caviar its unique character and inimitable taste.

Traceability ZwyerCaviar monitors each step of the caviar making process starting from the breeding, through the harvesting of the eggs and the final production and delivery of the refined product. “We don’t need to talk about transparency. For us it is a prerequisite for responsible action”, explains Alexander Zwyer. T h e re f o re , t h e c o m p a n y c a n a s s u re i t s c l i e n t s a v e r y det ailed traceab ility of the p rod uc t. W he the r y o u wa n t t o know the age of the sturgeon, the exact caviar production date, or even the kind of diet during a specific period, ZwyerCaviar has the answer. From the harvesting of the roe to the delivery to the customer, every process that takes place in the company is CO2-neutral and complies with the regulations of the myclimate foundation. The latter is among the world’s leading organisations when it comes to voluntary carbon offsetting measures.

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Packaging and recycling ZwyerCaviar strives to reach maximum sustainability even when it comes to the packaging of the product. With the help of designers of the Technical University of Rapperswil, the Institute for Product Design, Development and Construction, the company created recyclable packaging that keeps the storage temperature stable for a certain period of time. The packaging ‘Black Pearl’ presents itself in a refined appearance and with unusual functionality: It guarantees that the caviar to arrive at a customer is in a chilled storage. On re-ordering, the customer returns Pearl packaging and receives the next order in the re-used box. ZwyerCaviar places ecological responsibility at the core of its corporate philosophy. Their caviar comes from a sustainable, controlled and responsible aqua farming environment and meets the highest health and quality standards, so that its customers could enjoy caviar at its fullest, and what’s most important, without unwanted surprises.

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INSPIRED CHARITY Italian fashion house Fendi has come to the rescue of a much-loved piece of Italian heritage, the Trevi Fountain, and is determined to bring back the shine to the historic centre of Rome.

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      For decades the Trevi Fountain, the Baroque masterpiece situated in the heart of Rome, has been associated with the image of a gorgeous Swedish actress, Anita Ekberg, gliding through the fountain’s sparkling waters in a black evening dress, seductively calling out for Marcello Mastroianni, ‘Marcello, come here.’ This memorable scene from the Federico Fellini’s iconic film ‘La Dolce Vita’ starts with Anita’s discovery of the fountain. Charmed by this majestic sight, she exclaims: ‘My goodness!’ These very words perfectly express the emotion every contemplator of the Trevi Fountain feels. Nestled between the palaces of Rome’s historic centre, the fountain is indeed a true wonder that celebrates the incredible power of water. The central figure of the fountain, in front of a large niche, does not represent Neptune, as it is widely believed, but is actually an image of the ocean. It is the personification of an immense river that flows around the earth and from which all streams of water derive. The figure is riding two sea horses, one calm, the other restive, symbolising the fluctuating moods of the sea. Two female statues located on each side of the ocean represent health and abundance. The Trevi Fountain has been surrounded by enigmatic myths and legends from the very first years of its construction in 1736. This air of mystery has attracted all kinds of people, all in search of the genuine inspiration. Cinema has commemorated the monument on more than one occasion, including such well-known romantic comedies as ‘Roman Holiday’ and ‘Three Coins in the Fountain’. It was the Fountain’s ability to inspire people that attracted the famous Italian luxury house Fendi to come to its aid. The almost threecentury-old fountain showed its age in 2012, when chunks of plaster and stucco, measuring up to three inches wide, fell of from its ledges. The close examination of the damage made it clear that Rome’s most loved fountain was on the verge of collapse. The need to preserve the fountain stimulated Fendi to donate the impressive sum of money, €2.18 million, for its restoration. The money

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will be used to fund a 20-month project that involves a complete overhaul of the fountain, including cleaning the travertine façade and marble statues, replacing the gilded Latin inscriptions and rewaterproofing the main basin. The project will be carried out in phases, with the central section restored first. This will ensure that during the whole restoration process, which will last for more than a year, one of the most famous tourist attractions of Rome will stay open for visitors. Fendi, known best for its extravagant furs and chic baguette clutches, is remarkably humble in regards to this magnificent gesture. Silvia Venturini Fendi, a third generation member of the Fendi dynasty, sees this act of generosity as a mere gesture of returning the favour to the city that hosted the house since 1925. CEO of the house, Pietro Beccari explained the reasons that led to the decision: “Rome is the home of ‘Made in Italy’. There’s an incredible savoir faire, but as w e l l i t ’s a s o u r c e o f inspiration for many. We are proud of being tied to the city, and this is a great occasion to do something for the city that hosts us.” This is why it doesn’t come as a surprise that the only reference to the b r a n d ’s s p o n s o r s h i p o f the restoration will be a small plaque hung for up to four years near the fountain that will identify Fendi as responsible. The project named Fendi for Fountains doesn’t end with the rescue of the Trevi Fountain. It aims at preserving Rome’s other cultural heritages, including the Quattro Fontane, another notable attraction of the city. This exemplary project shows how luxury companies can help in the preservation of the cultural environment that not just surrounds them, but in many ways defines their essence. It is believed that tossing a coin into the Trevi Fountain not only ensures your prompt return to the eternal city, but also brings good luck and success. In this light, coins thrown by Fendi into the Trevi Fountain may mark the beginning of a new era of prosperity for the brand.

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Designers Karl Lagerfeld and Silvia Venturini Fendi, together with Fendi’s CEO Pietro Beccari, announced the restoration project of the Trevi Fountain at city hall in Rome.

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A DIFFERENT APPROACH

A DIFFERENT APPROACH Al Barari is a uniquely created real estate development with a passion for organic and sustainable development. We talk with its creative director Kamelia Zaal and discover what makes this place so special.

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As Dubai expands at its ever-frenetic pace, architectural design has responded in a somewhat utilitarian and cost efficient way, building large apartment blocks and cookie-cutter villas to supply the growing demand for real estate. But while these properties no doubt serve a vital purpose, they often lack a heart and soul approach to architectural design and the beautifully constructed and well thought out landscaping that should accompany it.

Al Barari offers a solution to this issue, providing a high-end luxury real estate to discerning clientele at its compound in Nad Al Sheba. How this development came about begins with the Zaal family and their search for a home that suited their need for a thoroughly green and spacious property with an eye on community living. Their search was ultimately unsuccessful as Dubai at that time could not offer what they were looking for.

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Not keen on settling for less than perfect, their solution was to build their own property that suited their passion for green and open space, offering beautiful scenery and a large luxurious villa. Not content at stopping with a single plot however, the Zaal family decided to exploit this distinct gap in the market by building a sustainable and beautiful greenliving development and inviting other likeminded people into their alternative vision – the development would become Al Barari

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and is currently one of the Gulf’s most exclusive and luxurious real estate projects with Sheikhs and dignitaries among its clientele. It is also one of the lowest density developments in the region. Despite its emphasis on greenery, Al Barari is a remarkably sustainable project and has set something of a benchmark in the region for this type of architectural and landscaping attitude. Kamelia Zaal, creative director of Al Barari and daughter of the developer Zaal Mohammed Zaal, explains that Al Barari does not alter the environment, but harness it to create a more manageable and sustainable output. “ Te m p e r a t u r e s a t A l B a r a r i a r e regularly 5°C cooler than found in the rest of the city.  Where possible we have used the natural topography on the site within

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Kamelia Zaal - creative director of Al Barari

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our master planning to harness the wind in order to manage the temperatures here, funnelling them through the gardens as they change direction. “What the micro climate means to the development in purely design terms, is that we can have plant life here that can be grown nowhere else because our climate is more optimal for their growth. We are not fighting our environment rather we work to manage it, which means that we can have a much wider variety of plants built into the landscape.” Kamelia doesn’t deny that the project utilises a great deal of water in both irrigation and in its 16 kilometres of waterway, but the project implements methods to re-use and recycle wastewater as efficiently as possible. “All of our water on site used for irrigation and for our waterways is treated sewage


water which we then run it through our own reverse osmosis pump to give it an extra clean. We also recycle water within our plant nursery - Greenworks.” The development of a community spirit is at the core of Al Barari’s ethos, and this is created at the heart of the community, the Farm café. “The Farm is a unique place, it is one of the only places where I can see all the people from Dubai come together in a single space, which shows the power that well thought out architectural design has.” Sustainable living is a new idea in architectural terms in the UAE and the appetite is rising. According to Kamelia, there is a growing market for people who crave a little more green space and scope for personalisation, particularly among Emiratis. This increase in demand has meant that Al Barari is now in

the process of expanding, continuing in its already established design philosophy with a second phase of Al Barari and a new project called The Reserve. “The Reserve is a different offering from a residential point of view – our clients were keen on having even larger plots and bigger villas which they want to customise themselves. In terms of sustainability, we have lear ned a great deal from the establishment of Al Barari in phase one. In our new projects we are going to implement further energy saving technology. There are many other options we will be looking at with the architects to really harness and bring in as many sustainability and eco-friendly options as possible.” Future development of the site will see ground broken on a new boutique hotel as well as the addition of retail space, the plans

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for which will be announced in early 2014. Given the success of the project on the whole, it might be safe to assume that the project will be replicated, but Kamelia adamantly shrugs off the suggestion. “We don’t want to replicate Al Barari, or the Farm. We’ve had offers to reproduce the format in Abu Dhabi, and in other places around the GCC but Al Barari succeeds because of where it is as much as what it is. The development is a representation of us as a family and we couldn’t hope to maintain the integrity of additional projects if they were established elsewhere. “I think a lot of the drive behind the creation of Al Barari comes from trying to create a sense of passion in the community and getting people passionate about where they live, how they live, the environment they live in, and who they interact with”.

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V I TA L T I M E

VITAL TIME THE WORLD’S 33 LEADING WATCH MANUFACTURERS HAVE UNITED TO DONATE UNIQUE TIMEPIECES CREATED SPECIALLY FOR THE FIFTH EDITION OF THE EXCEPTIONAL ‘ONLY WATCH’ CHARITY AUCTION. HELD EVERY OTHER YEAR SINCE 2005, THE CHARITY RAISES FUNDS FOR RESEARCH ON DUCHENNE MUSCULAR DYSTROPHY.

      Only Watch is recognised as the world’s first charity watch auction and brings together some of the most renowned watch companies around the world, uniting them in one extremely worthy cause. This year the grand auction was hosted by the Principality of Monaco, where 33 unique watches were sold under the hammer of Antiquorum Auctioneers. Numerous bidders from all over the world raised more than €5 million, making it the most successful benefit event organised by Association Monegasque contre les Myopathies to date.

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The auction was preceded by a month long tour, where Only Watch collection timepieces travelled throughout the world, making appearances in Singapore, Hong Kong, Shanghai, Beijing, New York and Geneva. The raised money will be used to accelerate research and find new therapeutic approaches for Duchenne Muscular Dystrophy, a severe degenerative muscular disease that affects one in every 3,500 children born around the world. The initiative makes it possible to finance more than a dozen teams around the world working on

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approaches to cell and gene therapy. Thanks to the five consecutive biennial charity auctions, up to €15 million have been collected for the cause and as a result, significant strides have already been made and there is a hope that finding the eventual cure can be a matter of time. The president and CEO of Antiquorum, a partner of Only Watch, stressed that all this would not be feasible without the

overwhelming generosity of the world’s leading watch manufacturers. Among the 33 brands represented at the auction were such renowned names as Zenith, Harry Winston, Louis Vuitton, DeLaCour, Jaquet Droz, and Hublot, just to name a few. Each of these companies donated a uniquely crafted timepiece, created and influenced by the highest artistry and the savoir-faire of the finest watch-making.

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TI-BRIDGE 3-DAY POWER RELEASE by CORUM One of the leading brands of the Swiss watch industry, Corum confirmed its commitment to the cause by creating a unique version of its Ti-Bridge with linear 3-Day Power Reserve indicator for Only Watch. This timepiece beats to the rhythm of a horizontal inline baguette movement, patented by Corum and held by four cross-bars. The model redesigned on this occasion features a play on materials expressed in two-tone gold and titanium. While the upper surface of the case glows with the restrained elegance of grade 5 titanium, the sides are made from red gold, adorned with modeled engraving. The engravings depict Asclepius, the Greek god of medicine, and his snake-entwined staff, the symbol of medicine – a fine allegory and praise to the Only Watch initiative. SPECIAL REFERENCE 5004T by PATEK PHILIPPE Yet another Swiss luxury watch manufacturer, Patek Philippe donated its one of the greatest classics, Grand Complications collection between 1995 and 2011, Reference 5004 to the charity. The model is a traditional, manually wound chronograph of

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the highest level. Its Calibre CHR 27-70 Q is based on a ‘Nouvelle Lémania’ movement, produced exclusively for Patek Philippe and completely reworked in the company’s workshops, to which the brand’s engineers and master watchmakers have added a sophisticated split-seconds mechanism and a very fine perpetual calendar. Over the years, this rare combination of complications was housed in a timeless, discreet and elegant case of white gold, yellow gold, platinum and steel. This Only Watch 2013 special reference 5004T is the first and only version ever produced in titanium. ALTIPLANO AUTOMATIC SKELETON by PIAGET Piaget, best known for its signature ultra-thin movements, is a Swiss watch manufactory brand that had already made an indelible imprint on the history of horology. The brand’s generous contribution to Only Watch initiative manifested in a unique timepiece created on the basis of its emblematic Altiplano Skeleton: the Piaget Altiplano 38mm Only Watch Skeleton 1200S. To further enhance the unique features of this iconic

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Founded in 1991, Bell & Ross today owns workshops in Switzerland and perpetuates the Swiss art of luxury watchmaking while ensuring compliance with age-old traditions. The company draws its inspiration from the history of aviation and the military specifications that accompany it. For Only Watch 2013, Bell & Ross has designed a collector’s box of six unique watches. This lavish case fashioned from high-quality wood contains six watches: the BR01 Horizon, Altimeter and Turn Coordinator, created in 2012, and the BR01 Heading Indicator, Airspeed and Climb, created in 2013. They are all inspired by instruments that are essential to aeronautical navigation and have, as their common and unique denominator, a touch of orange. Orange is the ultimate colour for aeronautical instrumentation due to its high level of legibility and capacity to make important information stand out through contrast. It is also a traditional colour for Bell & Ross, who have used it on timepieces for the same reasons. The watches are encased in a presentation box made from wood and metal with a numbered plaque as well apertures in the top to allow the faces of the timepieces below to show through.

watch, the case is also engraved with ‘Only Watch 2013 – Piece Unique’. It is the world’s thinnest automatic skeleton watch placed in 18-carat white gold case. BREGUET CLASSIQUE CHRONOGRAPH OPENWORKED 5284 Breguet has supported Only Watch from the very first years of its inception. This year the brand once again made a contribution by offering a one-of-a-kind watch created especially for the occasion. Designed in the grand tradition of exclusive Breguet timepieces, the model Classique Chronograph openworked 5284 is animated by an exceptional hand-wound movement, calibre CH 27, that has long been the motor of the finest watches. Today, Breguet brings this movement to life again by offering it a unique design. The case of reference 5284 in 18-carat yellow gold is decorated with fine fluting on the caseband, reflecting Breguet’s first timepieces. The open tipped hands, designed around 1783 by the brands founder, enhance the overall beauty of the movement entirely engraved by hand, which can be admired through a sapphire crystal.

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THE LEADING MAN

HACKETT LONDON PRESENTS

THE LEADING MAN TEXT:

FRANCESCA FOLEY PHOTOS: TERRY O’NEILL

Hackett London has set the tone for modern English menswear for over three decades. With an exploration of the modern man through a typically British sartorial lens it has made its name by creating stunning pieces of clean and modern ‘kit’ with a thoroughly traditional perspective. Its latest ‘Leading Man’ campaign delves further into the styles of the quintessentially well-dressed gent.

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Pinstripe Suit in Grey Royal Oxford Shirt in White Solid Natte Tie in Navy Plain Pocket Square in White

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Plain Wool/Cotton Blend Jacket in Grey Classic Fine Twill Shirt in White Flannel Trousers in Grey Knitted Tie in Silver

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HACKETT HAS RETAINED KEY ELEMENTS THAT HAVE MADE THE LINE SO POPULAR OVER THE YEARS, WHILE INTRODUCING A NUMBER OF SUBTLE CHANGES TO UPDATE AND REFRESH THE COLLECTION

      The ‘Leading Man’ campaign put together by Hackett looks to explore and define the elements of what makes a Leading Man – is it his personality, charisma, talent or innate style? What makes the man at the top, tick? Teaming up with noted photographer Terry O’Neill and their new spokesman, actor Pierce Brosnan, Hackett has chosen its Mayfair line as the inspiration for this photographic essay on modern professional attire. The collection is a range of clean and crisp garments that capture the spirit of the brand as a reflection of the modern man. The line is given a refreshing new feel this season, Hackett has retained key elements that have made the line so popular over the years, while introducing a number of subtle changes to update and refresh the collection, drawing unmistakable inspiration from the 1960’s. While the collection is inspired by that most swinging of decades, the modish aesthetic is undeniably contemporary with a keen use of sleek silhouettes, slimmer design details and new fabrication methods. A softer shoulder shape gives the silhouette a slightly gentler appearance and means that the suit no longer has to be worn as a whole outfit and can be accessorised and dressed up. Always elegant, jackets can now be mixed with contrasting trousers while the more formal shirt and tie combination can be dispensed of in favour of a more casual, fine knit silk mix sweater or cashmere polo shirt. Pattern is a key ingredient to the story with checks and tartans in subdued

shades of grey, blue and brown – a very ‘London’ colour scheme. The photo essay put together by O’Neill sees Brosnan staring in a set of seven timeless, cinematic images, all with a 1960’s twist, which tell the story of the ‘The Leading Man’. Brosnan, in Hackett’s view, was the perfect face for the campaign. He is a something of an artistic risk-taker as reflected in his many leading roles in films, such as ‘The Thomas Crown Affair’ and four James Bond movies. Selected pieces on show are classic two and three-piece suits, light grey flannel trousers and a brand favourite - the navy packable mac. Further accents from the Hackett range come in the accessories, such as the Prince of Wales check holdall, and solid cashwool tie. The garments clean and sharp appeal make them the equal of the man wearing them, making it a perfect combination. When asked about why Pierce was the man for the campaign, Jeremy Hackett, founder and head of the eponymous brand, explained : “He’s internationally well known and he has played James Bond, not to mention our long standing relationship with Aston Martin. Pierce seemed to perfectly capture the spirit of the 1960’s which the collection is influenced by and frankly, he was a perfect fit.” Brosnan’s decision to accept the task of becoming the new face of Hackett comes from his own appreciation for the style of the brand. He explained: “I was walking down Sloane Street one day and there was this wonderful store called Hackett, which I had remembered from years past. However here it was now with a whole new makeover. It

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THE LEADING MAN

3 Piece Suit in Charcoal Classic Fine Twill Shirt in White Solid Grenadine Tie in Black Bowler Hat Pocket Square Umbrella in Black

became my favourite store, so when they called me to ask if I would be part of their campaign, it was a very organic acceptance. Great clothes cut well and with care to detail.” Working with Terry O’Neill was also a big draw. “I loved the whole shoot with Terry O’Neill who I admired very much and had worked with before. He has worked with two of my favourite heroes from the world of movie making, Sean Connery and Steve McQueen, so to replicate his own work with these two great icons in the context of the shoot for Hackett was a wonderful challenge and a memorable experience.” O’Neill’s six decades of experience, photographing everybody from Frank Sinatra to Elton John, made him the perfect creative partner for the shoot. His unique photographic style captures the natural charisma and iconic presence of his famous subjects. O’Neill’s more cinematographic style of photography perfectly captures the spirit not only of the man, but also of the city, that so inspires Hackett’s style. The London look is an ever changing idea, constantly evolving and growing, but Hackett continues to promote its own perspective of British style and producing stunning and beautifully made pieces of kit for the modern man who has an appreciation for heritage.

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The helmets, which weigh less than 1.8 kilograms, are miracles of engineering made up of 56 parts. The shell consists of 19 layers of carbon fiber and of a carbon/aramid hybrid composite.

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THE LEADING MAN

Double Face Charcoal Overcoat in Grey Classic Fine Twill Shirt in White Flannel Trousers in Light Grey Prince of Wales Check Holdall Small Natte Dot Tie Black Oxfords

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THE LEADING MAN

Travel Packable Mac in Navy Fine Oxford Shirt in Sky Blue Flannel Trousers in Light Grey Cashwool Solid Tie in Grey Leather Belt in Brown

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THE LEADING MAN

Pick and Pick Suit in Grey Royal Oxford Shirt in White Flannel Pinstripe Tie

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Left to right : Terry O‘Neill, Pierce Brosnan, Jeremy Hackett

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BEHIND THE CAMERA The master of sophisticated and relaxed p o r t r a i t u r e , Te r r y O ’ N e i l l w a s t h e p e r f e c t m a n t o c a p t u r e H a c k e t t ’s ‘ L e a d i n g M a n ’ c a m p a i g n .

      For over six decades, Terry O’Neill has photographed the world’s leading men and women, from the greats of screen, stage and rock stadium, to presidents, prime ministers and royals, capturing them all in his own inimitable style. Terry’s career started in highly unusual circumstances. As an aspiring Jazz drummer, he took a job working for BOAC (what would then become British Airways) in order to become a steward - the idea being that the layovers in New York on the transatlantic route would give him access to the city and the chance to play with the best Jazz musicians of the day. In theory the idea was watertight – but he missed the application deadline and was forced to wait until the next enrollment on the training course. To tide him over until then, BOAC sent Terry to work with its photographic unit based at London’s Heathrow airport. With no photographic experience behind him, O’Neill set about teaching himself how to photograph. While on assignment at the airport, he photographed a sleeping figure in a waiting area that, by happenstance, was revealed to be Britain’s then Home Secretary. O’Neill thereafter found work on Fleet Street, the heart of London’s then booming newspaper trade, with The Daily Sketch in 1959. His first professional job was photographing Laurence Olivier. His reputation grew during the 1960’s along with other brilliant and prolific photographers, including David Bailey, Terence Donovan and Brian Duffy. Working out of London in the sixties saw Terry chronicling the seismic shift in music, fashion and culture. In addition to photographing the decade’s show-business elite, such as Judy Garland, the Beatles and the Rolling Stones, he also photographed members of the British Royal Family and prominent politicians, showing a more natural and human side to these subjects that had never usually been portrayed. Developing a unique candid style, his images became some of the most iconic of the age. His portraits are often compelling and give insights into the world around us. His unmistakable touch is what colours the ‘Leading Man’ campaign, bringing Hackett’s Mayfair line and its spokesman to life, embodying the spirit of the age for a new generation.

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OUT OF TIME

Out of time LEGACY MACHINES ARE WONDROUS REINTERPRETATIONS OF SIGNIFICANT HOROLOGICAL INVENTIONS FROM THE GREATEST WATCHMAKERS IN HISTORY. THESE THREE-DIMENSIONAL KINETIC SCULPTURES REPRESENT A REFINED BALANCE OF INTRICATE MICRO-ENGINEERING AND FLAWLESS AESTHETICS.

   

  The contemporary look and otherworldly appearance of Legacy Machine No. 2’s dual flying balances may at first appear full of modern appeal, but make no mistake; LM2 is a timepiece tracing its lineage back over 250 years to three of the greatest watchmakers who ever lived: Abraham-Louis Breguet (1747–1823), Ferdinand Berthoud (1727–1807) and Antide Janvier (1751–1835). Two and a half centuries after these legendary watchmakers put two balance wheels into their movements, MB&F celebrated their pioneering works by creating LM2, a timepiece with two balances hovering outside the movement. Founded in 2005 by Maximilian Büsser, MB&F is no ordinary watch brand. It is an artistic, micro-engineering concept laboratory in which collectives of independent horological professionals are assembled each year to design and craft radical horological machines. Respecting tradition without being shackled by it enables MB&F to fuse

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historical, high quality watchmaking with cutting-edge technology and avant-garde three-dimensional sculpture. Starting from the very first years of its inception, the company set itself apart from other brands by focusing on three main concepts that offer completely fresh approach towards the craft of modern watchmaking. Architectural horology The concept of three-dimensional architectural horology was inspired by the desire to measure the time by intricate micromechanical sculptures. As opposed to traditional wristwatches, horological machines go beyond the simple practice of timekeeping. The principle was introduced in 2007 with the inception of HM1, the first timepiece created by MB&F. Science fiction Setting itself apart from other timepiece makes and classic design references MB&F has introduced ideas and themes from science fiction into the design of their

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watches. As HM1 was followed by HM2 in 2008 and HM3 in 2009, fascination towards futuristic aesthetics and exciting anticipation of upcoming technological discoveries became more and more apparent. Reinterpretation of historical complications Virtually all horological mechanisms we see in MB&F watches today were developed without computer assistance in the 18th and 19 th centuries. It is this incredible high quality of craftsmanship that inspires Maximilian Büsser and his team. 2011 saw the introduction of LM1, the first of the Legacy Machines that attempted revisiting and reinterpreting the past creations. While MB&F’s all previous futuristic horological machines had a firm foundation in the very best of traditional watchmaking, Büsser wanted to pay homage to that rich tradition more thoroughly. The idea was to imagine the type of timepieces he might create if he had been born 100 years earlier in 1867. As a result, Legacy Machine No. 2 came into existence.


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OUT OF TIME

ENGINE

Winding: Manual with single mainspring barrel Power reserve: 45 hours Differential: Planetary differential comprising 3 gears and 5 pinions Balance wheels: Two 1mm balance wheels with four traditional regulating screws Balance spring: traditional Breguet curve terminating with stud holder Frequency: 2.5 Hz Components: 241 Jewels: 44 Chatons: Gold chatons with polished countersinks

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The movement of Legacy Machine No. 2 was developed to MB&F’s specifications by an award-winning watchmaker Jean-François Mojon (Best Watchmaker at the 2010 Grand Prix d’Horlogerie de Genève) and his team at Chronode.

With its two flying balances, raised planetary differential, historical bridge designs and classical fine finishing, LM2 celebrates historical dual regulator watches with flair and passion. The movement of the watch was developed to MB&F’s specifications by award-winning watchmaker Jean-François Mojon and his team at Chronode. On display under a domed sapphire crystal cupola, the dial of LM2 is an object lesson in symmetrical simplicity. The white stretched lacquer sub dial at 12 o’clock, with its blued gold hour and minute hands, is visually balanced by the large, raised differential at 6 o’clock. The two flying balances and their escapements are identical mirror images, right down to the position of the stud holders, pinning their balance springs. While the levitated oscillating balance wheels of the binary regulators catch and hold the viewer’s gaze, it is the large planetary differential sitting proud of the dial that is the

real heart of LM2. The differential transfers power to each of the regulators and receives the individual timing rates from each balance. By transmitting the average rate of the two regulators to the gear train, it finally manifests itself as the displayed time. One of the rarest mechanisms in the history of watchmaking, the dual regulators in LM2 are transmitted by a differential to a single gear train, where the majority had two separate movements. Acclaimed independent watchmaker Kari Voutilainen ensured that the movement’s aesthetic style was consistent with highquality traditional timepieces of the 19 th century and for specifying the superlative hand finishing. A finely engraved sunray pattern on top of the movement plate subtly catches the eye at certain angles without distracting attention from the pure white sub dial, flying balances and raised differential. But it is in the style and finish of the bridges and plates visible through the

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display on the back of the movement that Voutilainen has excelled in providing e x q u i s i t e h i s t o r i c a l a c c u r a c y. T h i s manifested in both the shape of elegantly curved bridges and the traditionally wide spaces between the bridges and between the bridges and the case. On the back of the movement, oversized ruby jewels set in highly-polished countersunk gold chatons provide striking visual counterpoints to the Geneva waves traversing the sensually curved bridges. The names of the two men responsible for the movement, Jean-François Mojon and Kari Voutilainen, are hand engraved on the back of each watch. While superficially Legacy Machine No. 2 may look like a traditional round watch, its three-dimensional architecture offers visual treats on multiple levels. This brilliant wonder of sophisticated watchmaking is available in 18-carat red gold, 18-carat white gold and a limited edition of 18 pieces in platinum 950 that features a striking sky-blue dial.

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Artful investment

1858 Limited is a leading International Art Advisory firm providing independent and impartial advice to clients on all aspects of the art collecting process.

   

  The holder of the prestigious Spear’s Wealth Managers Art Advisory firm of the year award, 1858 Limited offers unique guidance to people who are passionate about art. The company specialises in providing discreet, expert and tailored advice covering all aspects of art collecting, from auction representation and acquisition to collection management and divestment. We speak to Harvey Mendelson, Managing Director of 1858 Limited Art Advisory, to find out more about the services the company offers, together with the useful tips one should consider when navigating the art market.

Waving – Patriotic Demonstration’ by Glacomo Balla, 1915

Can you tell us a few terms or phrases an art auction novice should be aware of? One of the most important factors auction novices should be aware of is that the process is not impartial. Auction houses look to achieve the highest possible price for an artwork, and so it is not favourable towards the buyers. However, if clients are looking to buy an artwork, which is up for auction, 1858 Limited can add significant value to the process. When it comes to selling at auction, we can manage the process including ensuring anonymity of the seller, selecting the most appropriate auction house and sale date in the

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Reproductions appear on the market more often than people think. Extensive research is the key in identifying a work of art’s authenticity.

calendar and negotiating selling premiums. We also manage shipping and storage where appropriate.  How does one place a bid? If you are attending, placing a bid generally requires registering in advance of the sale, and then making it clear to the auctioneer through a slight hand raise or head nod that you are placing a bid. However, many people prefer to remain anonymous when bidding or cannot attend a sale in person, and so send a representative, a service we often provide to our clients. Is there one particular art genre that is the most popular? The most popular genres for collecting and certainly for buying at auction are Modern Art and Contemporary Art. However, collectors should not buy art genres based on their popularity. At 1858 Limited we make a point of understanding our individual client’s tastes and interests, because the first rule of buying art is buying art you love. How to research art and gather information on whether or not it is a good investment? Researching art involves seeing a lot of it and building knowledge of various artists, genres and mediums. The key to buying art is to buy pieces that represent not only potentially interesting financial investments, but also that guarantee an emotional return, which is where we begin the process with our clients. Understanding whether a piece is a good investment financially then requires further market research. An artwork’s provenance and the price of other works by the same artist are some of the indicators that help us identify good investments. Before any piece is bought, we carry out a thorough due diligence process that ensures nothing has been overlooked, including factors such as any tax involved with buying a certain piece and what the insurance costs might be once it is bought. The art market is largely unregulated and so it is vital to be meticulous in gathering information before any purchase is made.

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How can one recognise an original work of art from its reproductions? Before buying any work of art it is crucial to investigate the piece thoroughly to be sure the work is authentic. To an untrained eye, however, it can be very difficult to recognise a reproduction and it is always advisable to seek the help of a professional. This due diligence process is one 1858 Limited often undertakes and involves having an in-depth understanding of the artist in question’s work and style. Extensive research can also help identify a work of art’s provenance, which can be the key to knowing whether a work is original. In some cases technical and scientific analyses can be carried out to find out things such as what pigments have been used and to see below the surface, all of which can help identify an artist. The UAE is still a young and relatively inexperienced art market. What are the pitfalls and advantages associated with buying art here or investing in local art? Buying art in a young market has its risks namely a result of the market’s inexperience. As for buying pieces by UAE artists, that will have both advantages and disadvantage. Younger or less established artists can be riskier to invest in depending on how their careers progress. However, if buyers focus on art they are passionate about, the financial risks are mitigated against their emotional investment. Having the opportunity to get involved with artists at an early stage in their career can be hugely rewarding for buyers and is something which is more easily done in younger markets. If a potential client wanted representation in buying art internationally, how could you help them? We manage all aspects of the buying and selling process, including any shipping arrangements and the import/export licenses involved. We have clients all over the world and work with only the most trusted providers in these areas. One of our main roles is to provide our clients access to the finest international art, including for clients seeking to acquire museum quality works of art. With our help our clients find the exact pieces they are looking for. As a result of having unfettered access across the whole market, our clients benefit hugely, especially when it comes to visibility to off market works. We also conduct all due diligence on our clients’ behalf to ensure they are buying authentic works at fair market prices. In addition, should our clients be looking for liquidity, we can assist them in raising finance against art.

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‘Femme Au Chapeau’ by Pablo Picasso, 1971, in front and ‘L’ouled Nail’ by Kees Van Dongen, 1910. SIGNé ◊ EDITION 02

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Heritage


THROUGH THE AGES

275 YEARS OF FINE WATCHMAKING Jaquet Droz’s high-end timepieces represent a synthesis of horological expertise and a distinctive personality that has beguiled the most powerful figures of past three centuries. Its modern creations recapture the success the brand enjoyed during the Age of Enlightenment and preserve the exceptional heritage of its founder.

1738 1758

In 1773 Pierre Jaquet-Droz and his son, Henri-Louis, present their famous humanoid automata, The Writer, The Draughtsman and The Musician, to the Royal courts of Europe. Encouraged by the success, Pierre sets up a workshop in London – a hub for industry and trade. With the help of Cox Company, the brand gets represented in the Far East market. The Qianlong Emperor of China himself is captivated by the Jaquet Droz creations.

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1770’s

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Starting in 1738, Pierre Jaquet-Droz sets up his first watchmaking workshop in La Chaux-de-Fonds. He begins producing long-case clocks with increasingly sophisticated movements that rapidly catch the attention of a wealthy and demanding clientele. In 1758 Pierre travels to Spain and presents his clocks to King Ferdinand VI. The presentation is a triumph; the monarch and his court are left speechless and purchase the complete set of clocks.


In 1784 the Jaquet-Droz family opens the first watchmaking manufacture in Geneva. The company continues to expand by selling clocks, automata, watches and singing birds all over the world. Cases with enameled spangle made with extraordinary skill of carving and engraving, contribute significantly to the success and reputation of Jaquet-Droz timepieces.

1780’s

1790

In 2000 Jaquet Droz is acquired by the Swatch Group and joins its prestige and luxury range. Inspired by a timeless classic pocket watch created in the 18 th century, the Grande Seconde is launched in 2002, honouring the philosophy that has remained unchanged since the Enlightenment.

Pierre and Henri-Louis Jaquet-Droz die just one year apart. The French revolution and the troubles that followed it, as well as Napoleonic wars, bring an end to a period of creativity and prosperity for the company.

2000’s

2010

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Marc A. Hayek takes over at Jaquet Droz with the firm intention of cultivating the spirit of excellence and innovation while continuing to respect the emotional values created two centuries ago. The company launches The Eclipse: a magnificent timepiece displaying eight stars and an engraved moon that continuously evolves, changing with each new dawn.

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THROUGH THE AGES

2011

To celebrate the genius of Jaquet Droz, an impressive number of pieces and documents go on in display for the first time in the three museums in the canton of Neuchâtel: the Musée d’art et d’histoire de Neuchâtel, the Musée d’horlogerie de Locle and the Musée international d’horlogerie in La Chaux-de-Fonds.

2012

2013

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One of the most recognisable Jaquet Droz models, the Grande Seconde, is combined with a masterpiece of high-precision watchmaking: the tourbillion. The same year, Jaquet Droz moves its Atelier d’Art collection to its fine watchmaking workshop to ensure the preservation of its age-old craftsmanship.

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Jaquet Droz celebrates its 275th anniversary, maintaining the avant-garde spirit and refined taste that distinguished its founder. After almost 300 years, the link between the Age of Enlightenment and the third millennium remains intact.


& JAQUET DROZ

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L A D O L C E R I VA

La Dolce Riva WITH CRAFTSMANSHIP, ELEGANCE AND PREMIUM PERFORMANCE AT ITS HEART, RIVA HAS MADE A NAME FOR ITSELF AS A PRODUCER OF THE FINEST PLEASURE CRAFT AND YACHTS.

       In 1842 a storm smashes into Lake d’Iseo in the Val Camonic region of northern Italy - wreaking havoc on its unsuspecting inhabitants and causing unspeakable damage to the fishing fleet at the heart of its small surrounding communities. To the rescue comes a young carpenter from Como, setting up a temporary workshop to repair the damaged boats. In the process he becomes something of a local hero. This story may sound like the opening act of a Hollywood script, but this is precisely how Pietro Riva came to establish Riva and set up his Sarnico shipyard some 171 years ago. Initially building and repairing commercial vessels, the boats produced by Riva’s company became renowned for their beautiful quality and high calibre. The business continued to thrive – staying in the

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hands of the Riva family. As the firm matured, so did its product offering, and subsequent generations have all played their part in Riva becoming what it is today. Pietro’s son Ernesto took over the business and it was his decision to start including combustion engines in Riva craft that put the small artisanal firm of craftsmen and entrepreneurs on its steep upward trajectory. It was after the end of First World War that the company, under the management of Serafino Riva, began to transition away from larger more commercial boats. Instead the focus shifted towards pleasure boats and motor craft for a more affluent and sporting clientele, transforming the shipyard and the brand. Throughout the 1920’s and 30’s the Riva name became synonymous with elegant Mediterranean pleasure boating and also

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garnered a reputation for producing world beating speedboats that won competitions on the national and international stage. The Carlo Riva era of the 1950’s saw the brand go from strength to strength becoming a supplier to the great and the good of the day. The Riva name had become utterly synonymous with glamour, status and the pursuit of maritime perfection and also became an iconic representation of La Dolce Vita. With materials chosen only from the very best available, painstaking care taken over detail and decades worth of artisan experience, Riva boats have been coveted by all who have sailed in them. It was Carlo Riva’s unmistakably classic wooden designs, inspired by the innovation and prestige of motor racing’s golden age, that would offer the hallmarks of the brand’s style - hallmarks of blistering turns of speed


The helmets, which weigh less than 1.8 kilograms, are miracles of engineering made up of 56 parts. The shell consists of 19 layers of carbon fiber and of a carbon/aramid hybrid composite.

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The classic style of Riva‘s open top cruisers has become utterly synonymous with the brand‘s image of glamour and timeless elegance.

paired with stunning beauty. Among the first boats in this new style was the Ariston, considered to be a groundbreaking model that championed a new form of luxury, family-style motorboat. It was followed by the Tritone, the first twinengine boat, the Sebino, which heralded the mass-production of boats, and the Florida, which captured a fresh perspective filled with an American style sensibility. These yachts produced under the guidance of Carlo Riva are all characterised by a painstaking attention to detail, a plentiful use of wood and a performance that was hard to beat. C a r l o R i v a ’s e n t re p re n e u r i a l f a rsightedness and innovative spirit saw Riva create the first boat made from fiberglass. This not only made Riva’s boats light but also highly durable and more flexible to design. While the shift to fiberglass drew derision from maritime purists, the focus of

the boat designs never strayed from its classical Mediterranean sensibilities of highend detailing and premium performance. In 1969, Carlo Riva sold the shipyard to the US company Whittaker, maintaining the role of chairman and general manager, from which he resigned in 1971 and passed the baton to his brother-in-law Gino Gervasoni. In 1989 Riva changed hands again and was bought by Vickers, an English group of which Rolls Royce was also a part. A year later Gino Gervasoni left the company after 41 years of activity bringing to a close the Riva family’s presence at the shipyard. Despite the company falling out of family hands, 171 years since that lone intrepid carpenter Pietro Riva set out his stall the brand continues. Purchasing the boatyards in 2000, the Ferretti group now count Riva as one of its key assets and is pushing the company ever forward into new territories.

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Today Riva builds a variety of yachts and pleasure craft ranging between 27 and 68 feet in length. While the company has not shied away from modernity – creating a variety of avant-garde shapes and designs in their couple and flybridge ranges, the classic ally timeless mid century open style boats are perhaps its most celebrated and sought after products. With technological advancement comes the need to grow and in 2004 Riva expanded into a 60,000 square metre, state of the art shipyard in La Spezia. Here discerning customers can order a customised and bespoke super yacht of the highest standards. But it is its steadfast grasp of classical mid 20th century boat design that keeps customers returning to Riva time and time again. Their classical elegance and beautiful construction will always be its calling card.

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ISEO The Iseo is the smallest boat in Riva’s offering. At 27 feet long, it is a towable boat and takes its name from the lake on which the company was founded. It has a restrained elegance in its clean lines and deft choice of the finest fabrication materials highlight the link between the brand’s storied past and its exciting present. The vast use of mahogany seen here is skilfully implemented and is finished with 20 coats of varnish to give the boat dramatic sheen – ten of which are done by hand. It has incredible manoeuvrability and its category B offshore rating means that, with the help of a water-jet propulsion system, it is suitable for sailing both the open and shallow water. The Iseo is a perfect option for both cruising through the Venetian lagoons and a sojourn on the Riviera. It features Riva’s unmistakable design style combining sleek classicism with traditional fabrication techniques. It is fitted with a Yanmar 260 mhp engine capable of 36 knots, a Yanmar 320 mhp engine capable of 40 knots and a range topping gasoline version equipped with a 320 mhp Mercruiser V8 engine providing a top speed of 41 knots. The yacht will also be available in a hybrid engine version with the ZEM (Zero Emission Mode) cruising option particularly well suited for owners with an environmental conscience and is best suited to lakes, especially where normal boating is forbidden. The same company that provides Bentley and Rolls Royce with their tonneaux, creates the retractable roof that covers the boat and it comes with a custom-made trailer, meaning the boat can be easily transported with minimal fuss. Never afraid of adopting a modern touch here and there, Riva has eschewed conventional electronics in the Iseo and has fitted it with one of the more sophisticated infotainment systems in a boat of this class. It features a GPS charting system based on the Apple iPad platform, which has been specifically developed for Riva.

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AQUARIVA SUPER If there were a single model in the Riva range that epitomises the spirit and outlook of the company, it would be the Aquariva Super. This 33-footer again champions handcrafted and beautifully styled boat manufacture and is a symbol of Riva’s modern elegance. With an abundance of skilfully crafted timbers, such as the mahogany deck inlayed with maple, the attention to detail and sophisticated use of the finest quality materials is evident throughout. The result of a close working relationship between Officina Italiana Design, the studio that exclusively designs all yachts in the Riva range, and the team of engineers and designers of the Ferretti Group, the Aquariva Super has a number of beautifully designed stainless steel pieces on board with the air intake and the bow nose both being hand-molded on each boat which juxtapose beautifully against the rich natural grains of the highly polished wood. The automatic gearbox with the electronic 2-speed control improves the acceleration at lower speed, cruise speed and optimises the top speed. The innovative, electronically-controlled, two-speed gearbox reveals all the gritty passion of the two powerful 380 mhp Yanmar motors featuring an exceptional performance: 41 knots at maximum speed and 36 knots at cruising speed.

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RIVARAMA SUPER At 44 feet, the Rivarama Super is a beautiful beast of a boat which is often dubbed “the floating suite”. Inheriting the natural elegance and comfort of the original model, it has been appointed Best European Open in the 40 to 60 foot category for two years running. This model has, however, seen a selection of improvements. The Rivarama Super features classical lines and extensive use of wood – again the finest mahogany that is found throughout but most strikingly on the deck. It is the “conceptual heir” to Riva’s previous legendary models. The Rivarama Super is technologically innovative as well as stylish. A number of features make this model unique, including its futuristic driving seat - an example of design mixed with ergonomics that transform a single seat into three by way of a hydraulic system. The Rivarama is the only standard yacht with an electronically controlled two-speed gearbox, giving quick acceleration, like a real sports car, and a faster cruising speed with higher fuel efficiency. Its innovative design means that it will berth two within its single, five-star master cabin. It even includes a unique rapid cooling system for a bottle of champagne and a couple of fluted glasses. It also houses a small deckhand cabin with its own access and private bathroom, making it completely independent. The exterior cockpit is equipped with all the necessary accessories to ensure the very best in comfort: an electro-hydraulic Bimini provides shade from the sun even when at sea, the folding teak table can seat eight guests and the spacious stern sundeck provides safe, easy access to the water by means of three comfortable steps in non-slip treated mahogany. The Rivarama Super is equipped with two 800 mhp MAN R6 – 800 engines delivering a maximum speed of 41.5 knots and a cruising speed of 36 knots.

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BOND FOR LIFE

BOND FOR LIFE Of all the great literary and cinematic love stories that have ever been, from Scarlett O’Hara and Rhett Butler in ‘Gone With The Wind’ to Rick Blaine and Ilsa Lund in ‘Casablanca’, perhaps the most enduring and most memorable love affair is found, not between a man and a woman, but rather between a certain British secret agent and his wheels.

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BOND FOR LIFE

James Bond‘s past and present have all had the opportunity to put the DB5 through its paces.

   

  For nearly the last 50 years the love affair between James Bond and Aston Martin has evolved into an epic romance of such implacable permanence, to see 007 driving anything else at this point is nigh on blasphemous. There have been a couple of notable episodes where Bond “saw other people” so to speak - infamous dalliances with other brands. Roger Moore’s Bond famously never appeared behind the wheel of an Aston, instead favouring a strange mix of vehicles ranging from the brilliantly kooky Lotus Espirit

submarine car, to the AMC Hor net Sportabout. Pierce Brosnan’s Bond too had an oddball mid 90’s sortie with BMW that caused much consternation among the diehard Bond fans. But while these Bonds may have strayed from the path a couple of times, eventually the hard as nails, smooth as silk suave man of many missions, many guises and many women always came back to one of his two constants - his Aston Martin (the other being his favoured brand of a certain “shaken, not stirred” libation). It was in the pages of Ian Fleming’s

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seventh Bond novel - ‘Goldfinger’, in which the enduring romance between 007 and Aston Martin came to fruition. In this chapter of the Bond saga, 007 pursues the dastardly Auric Goldfinger through Europe in his typically “bondified” Aston Martin DB Mark III complete with reinforced bumpers and a secret compartment just big enough to hide a Colt 45 pistol. In the movie version of the same story, Bond – played to iconoclastic perfection by the inimitable Sean Connery – asks Desmond Llewelyn’s Q where his Bentley has gotten to


The DB5 retains its sense of style and elegance, and it is still the only true Bond Car.

at one of his typically camp gadget inspection sessions (Bentley having been Bond’s first car of choice), only to be met with a reply of “Oh, it’s had its day, I’m afraid”. Similarly, the DB Mark III, which was Bond’s Bentley replacement, had also gone past its sell by date so producer Cubby Broccoli badgered and pestered Aston Martin into a product placement deal to replace the DB Mark III with its newest product – the 4.0 litre DB5 grand tourer. Aston relented and, with that masterstroke, the first out and out four-wheeled movie star was born.

There were of course a few obligatory Hollywood additions to the first true “Bond Car”, including revolving number plates, a switch activated oil slick, machine guns mounted on the wings and not forgetting the most important piece of kit for any secret agent - the passenger side ejector seat complete with gear stick trigger. The gadgets were all well and good, but it was the way in which the DB5 so accurately mirrored Bond’s personality – the combination of suave and sleek looks with a brutal efficiency and power, that made this

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cinematic pairing so appealing. After Goldfinger hit the global box-office, sales of the DB5 went up rapidly, cementing the relationship further. The DB5 also appeared in Goldfinger’s follow-up, ‘Thunderball’ (this time including new gadgets like a rear facing water cannon and a jetpack in the boot), ‘Goldeneye’ where it took Ferrari to task and in the recently released ‘Skyfall’ as the most conspicuous get-away car in movie history. But while the DB5 may, in most fans of the movie franchise, be the ultimate Bond

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BOND FOR LIFE

The features that set the DB5 apart from other Bond vehicles include its beautifully crafted interior, which leant itself perfectly to some gentle modifications for the Bond films.

Car, there have been plenty of young pretenders from the more recent Aston catalogue vying for their piece of Bond lore. Aston’s have, in general, popped up in no less than nine Bond movies in some form or other, including the Aston Martin DBS in 1969’s ‘On Her Majesty’s Secret Service’, the

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V8 Vantage Volante in 1989’s ‘The Living Daylights’, the V12 Vanquish in ‘Die Another Day’, the DBS V12 in 2006’s ‘Casino Royale’ and the DB9 in ‘Quantum of Solace’. Perhaps the pick of the pretenders comes from the car that helped re-launch James Bond for the 21st century in ‘Casino

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Royal’ - the DBS V12. The car was an absolute scene-stealer in the classic tradition of Bond and helped the rebranded 007, played with a renewed sense of purpose by Daniel Craig, reach entirely new levels of modern appeal. The DBS carried the enormous burden of


Today‘s Bond Cars have lots to live up to, but despite moving with the times in technological terms, retain the requisite levels of cool that all of 007‘s most iconic cars share.

giving the Aston/Bond bond a shot in the arm and with a single spectacular stunt (one that put the car into the Guinness Book of World Records for the most flips in a single stunt sequence) and plenty of that quite lovely throaty V12 engine burble, it succeeded - championing the brand for a

new generation of fans. Cleverly though, the DB5 did make a cameo – memorialising rather than eulogising the end of the old era, and saluting a new, improved and more bombastic age for the franchise. Craig has recently signed on to star in what is currently being dubbed only as Bond

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24. Set for release in late 2015 and whatever the plot may be, there are a few things that be almost guaranteed. There will be M, Q, girls, danger, intrigue, espionage and an Aston for the man on her majesty’s secret service and a license to kill - the way it should always be.

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GOLDEN ERA

La Belle Époque THERE ARE FEW ERAS OF ARTISTIC INNOVATION MORE ALLURING OR MORE IMPORTANT TO THE HISTORY OF MODERN EUROPEAN ART AND DESIGN THAN THAT OF LA BELLE ÉPOQUE.    

  Widely regarded as the most revolutionary and important era of modern European art and design, La Belle Époque was brought about by an unprecedented period of peace and prosperity in mainland Europe at the end of the 19th and beginning of the 20th century. Literally meaning “the beautiful era” it was a period that saw Paris become a bohemian enclave of decadence and freedom, and the city’s artists begin to revel in a freer, more organic way of creating. These ideas propagated and became the foundation of the most popularly recognised movement to emerge from this period – Art Nouveau.

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Such was Art Nouveau’s prevalence at the time, its more free-form curvilinear style began to permeate public architecture design and consequently the movement is still synonymous with Parisian design and style today.  From the post-impressionistic art of Pierre Bonnard, Édouard Vuillard, Paul Gauguin, Henri Matisse and Henri de Toulouse-Lautrec to the fashions of Paul Poiret, the architecture of Victor Horta, the literature of Emile Zola and the music of Debussy - the echoes of this most creative and spectacular period in modern times are still being felt today.  

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P R E C I S I O N WAT C H M A K I N G

PRECISION WATCHMAKING In the history of precision watchmaking only few people have the talent to translate scientific insights into ingenious technical solutions. Ferdinand A. Lange was one of them. Today, A. Lange & Söhne carries on his legacy holding a top-tier position among the world’s finest watch brands.

   

  A. Lange & Söhne’s watchmaking artistry has, for the last 200 years, brought to life the most elaborate watches. By redefining the benchmarks of time measurement and creating mechanisms that often enter uncharted horological territory, the brand has a long-standing tradition of delivering meaningful contributions to fine watchmaking. Origins In 1830, Johann Friedrich Gutkaes, one of the most eminent clockmakers of his time, accepted the 15 year old Ferdinand A. Lange as an apprentice in view of his talent. After having successfully

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completed his apprenticeship, Ferdinand travelled through France, England, and Switzerland as a journeyman. He painstakingly recorded his observations and ideas in a workbook. As a compendium full of horological insights and ideas it is, to this very day, the spiritual foundation on which every A. Lange & Söhne timepiece is built. On the 7 th of December 1845, Ferdinand A. Lange made his dream of making the world’s best watches in his own manufactory, a reality by establishing a production workshop for pocket watches in the secluded town of Germany, Glashütte. With this act Ferdinand A. Lange laid the foundation for Saxony’s precision watchmaking industry.

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With a grande sonnerie, a perpetual calendar, and a split-seconds chronograph with flying seconds, the Grand Complication is the most intricate timepiece manufactured by A. Lange & Söhne. The work involved in creating this masterpiece is so intricate that only one of these watches can be produced per year. The Grand Complication edition is limited to six watches.

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2010 marked the 165 th anniversary of Saxon fine watchmaking founded by Ferdinand A. Lange. Lange’s 21 st century watchmakers commemorated the founder’s spiritual legacy with a set of three exceptional complications that gave a new face to the enduring watchmaking tradition of the Lange family.

Lange’s innovations and achievements In the years following the establishment of his manufactory, Ferdinand A. Lange tirelessly evolved the craft of watchmaking with his insights. Among others, he introduced the metric system to watchmaking and developed the three-quarter plate for improved stability of the movement – an invention that remains a key element of today’s A. Lange & Söhne watches. He was also the first to realise that adding beryllium to nickel and steel alloys improves the quality of hairsprings – the heart of every mechanical movement. All these innovations translated into the impressive list of customers. Among the clients of A. Lange & Söhne were German Emperor William II and King Ludwig II of Bavaria. Over several generations A. Lange & Söhne was the favourite watch brand of the court of Saxony.

Hardships & glorious comeback In 1948 the Lange factory is nationalised by the communist regime that until 1989 governed the eastern part of a divided Germany. For the next forty years, the name A. Lange & Söhne nearly fell into oblivion. It continued to exist only as a legend among watch collectors till 1990, when Ferdinand A. Lange’s great-grandson Walter Lange, master watchmaker in the fourth generation, re-launched the brand. On the 24th of October 1994, dealers and journalists witnessed the presentation of the première quartet at a memorable event in Dresden’s Royal Palace. The new Lange collection – above all the Lange 1 with its iconic graphics – surpassed all expectations: Germany had found its time again.

The second generation When Ferdinand A. Lange died in 1875, he bequeathed his groundbreaking accomplishments and legendary timepieces to the world of precision watchmaking, and a flourishing business to his sons. Within a few years time, Lange family’s second generation would take the company to new levels. This period coincided with the unprecedented economic prosperity of Germany, when the phrase

Modern day When A. Lange & Söhne’s dedicated team of designers and watchmakers started to design and craft the first watches of the new era, they followed the same vision that had guided the brand since it was founded: to build the world’s best watches. In doing so, they followed the wisdom once formulated by Walter Lange: “There’s something one should expect not only of a watch, but also of oneself: to never stand still.” This quest for perfection comes to

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“Made in Germany” became a quality seal, and A. Lange & Söhne won worldwide fame.

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In 2001, A. Lange & Söhne was able to return to its historical home at No 1 Ferdinand A. Lange Square, Glashütte, a place where horological history of Saxony had been written.

the fore in many facets of modern manufactory. Today A. Lange & Söhne timepieces are crafted from precious materials with the utmost of artisanal skill. This is the reason why about 600 employees complete only a very exclusive number of watches per year. Every movement is assembled twice to assure supreme perfection and precision. Screwed gold chatons, diamond endstones, and thermally blued screws are typical quality hallmarks that make the purchase of an A. Lange & Söhne watch a pleasurable long-term investment. Nurturing the new generation of watchmakers The commitment to talented young people has been rooted deeply in the tradition of the brand. When Ferdinand A. Lange founded his compnay, he trained 15 apprentices. Today, sourcing new watchmaking talent is essential to the future of the company. A. Lange & Söhne established an in-house watchmaking school in 1997 and the school provides training that meets the high standards demanded by the factory. Meanwhile, more than a hundred young watchmakers have successfully completed the three years’ apprenticeship. Most of them work at the Lange workshops and are among the most talented watchmakers.

Today, A. Lange & Söhne carries on the legacy of its founder with one of the world’s most state-of-the-art production facilities. The watchmakers at A. Lange & Söhne are committed to constantly strive for improvement and in the pursuit of creating timepieces of unrivalled passion for detail and supreme elegance. Distinguished models Lange 1 The Lange 1 is the signature model of the brand. With its off-centre dial configuration and the first outsize date inspired by the famous Five-Minute Clock in Dresden’s Semper Opera, it has become the touchstone for the company’s every new development. Unlike any other watch, the Lange 1 symbolises A. Lange & Söhne’s untiring quest for the perfect watch. With its unique combination of traditional and innovative feature, it represents a perfect symbiosis of utility and aesthetic design.

Future plans Over the last 20 years, Lange’s four individually designed movements have multiplied to 40. They provide a driving force for progress and are evidence of unparalleled design expertise and vertical integration. No part of these inhouse developed and manufactured masterpieces is shared with others. This allows maximum autonomy in the development and implementation of exciting new ideas at the highest level.

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Zeitwerk In 2009, the Lange Zeitwerk presented yet another trailblazing concept. The first mechanical wristwatch that displays hours and minutes with jumping numerals won multiple awards, above all the “L’ Aiguille d’Or” at the “Grand Prix d’Horlogerie de Genève”. The innovative esprit of the Zeitwerk is also expressed in the design of this watch. A German-silver time bridge is part of the movement and extends through the dial. It constitutes the framework for the precisely jumping hour and minute discs. A particularly large crown is needed to comfortably and quickly wind the powerful mainspring. Unusually for wristwatches, it points toward northeast and therefore cannot jab the back of its owner’s hand.

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La Dolce Vita


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SMOKE & MIRRORS

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SMOKE

MIRRORS THE C CLUB AT THE ZABEEL SARAY PALM JUMEIRAH IS A STRIKINGLY BEAUTIFUL SAFE HAVEN FOR THOSE WHO ENJOY THE SIMPLE PLEASURE OF A GOOD CIGAR.

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SMOKE & MIRRORS

      With smoking bans rightly or wrongly beginning to creep evermore into the public sphere, there are fewer and fewer places where the gentleman who appreciates a little tobacco can go to enjoy a relaxing smoke without judgement or the angry wafting hand of passing non-smokers. There is however, a new venue in Dubai specifically introduced for cigar devotees which specialises not only in the dark art of cigar preparation, but also stocks a wide variety of exclusive and highly sought after tobacco products to suit the tastes of the most discerning connoisseur. This venue is the new C Club at the Zabeel Saray on Palm Jumeirah and it is the cigar smoker’s new best friend. The venue takes a personal approach to the smoking experience with tableside service performed by professionals with the knowledge of the appropriate method of lighting and clipping your cigar, specific to your personal tastes. With humidors and cases stocked to bursting with the finest cigars on the market from Parejo to Presidente, there is plenty on offer. Most notable among the collection of brands and styles is the OpusX – regarded as one of the finest and most highly rated brands in the world. OpusX is world-renowned for its full-bodied and rich, robust flavour. From the Dominican Republic, the OpusX is produced in spite of

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its harsh climate and topography, in which it is highly challenging to produce wrapping tobacco of sufficient quality. Almost impossible to find, this cigar is widely considered the “best of the best”. But the C in C Club does not merely stand for cigar, it also stands for chocolate and cognac, both of which are in ready supply and in their finest forms. The waiters are able to offer information and recommendations on which chocolate or cognac pairs best with which cigar, showing an understanding of the flavour profiles of each and making the appropriate endorsement. This tailored service stretches so far as to assist patrons on their choice in keeping with their taste and mood. Its shelves are filled with an extensive range of cognacs and whiskeys but the club also offers its own house blends to surprise and excite its patrons. The club itself has a strikingly eclectic yet refined style and furnishing. The venue has a colonial elegance, which is enhanced by its jazz music selection, making the C Club an excellent after dinner destination in which to enjoy an ambient atmosphere, while partaking of the excellent selection of products at hand. With gilded, rich wooden wall panelling and high ceilings, the C Club re-creates the atmosphere of a gentleman’s club in luxurious style.

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CIGAR ETIQUETTE Enjoying a cigar to its maximum potential is not simply about biting the end off and setting it alight. There are appropriate techniques for preparing and smoking your cigar that gets the most out of each.

Staff at the C Club are trained in the exacting art of cigar preparation and have a bounty of product knowledge to assist customers.

A PROPPER CUT Cigars should be cut just above the cap line at the point just before the cigar begins to taper towards the end. The objective is to create an aperture that ensures a smooth opening for smoking without damaging the structure. There are many different styles of cigar cutter, including the double or single bladed cutter, special cigar scissors or a punch cutter with a circular blade. The Pierce: A simple small hole punched in the end of the cigar. It keeps the “head” firm but may produce a sharp “bite” as the concentrated jet of smoke hits the tongue. The Guillotine Cut: A straight-across slice with a razor-sharp cutter, it provides a clean, open drawing area and disperses the smoke to avoid “bite.” Americans tend to choose this option. The “V” Cut: Preferred by Europeans, it provides ample area for proper air circulation, yet keeps bitter tars down at the deep end of the “V” and away from your tongue. LIGHTING YOUR CIGAR The ritual of lighting a cigar can be ruined before it has begun by using the wrong flame. The instrument should ideally be a butane lighter or a cedar or wooden match. Avoid petrol lighters, candles or wax matches as all of these impart odours that the cigar is quick to absorb.

The second principle to remember is that a cigar must be lit with the utmost patience and tranquillity. Nothing spoils the enjoyment of a Habano faster than a badly lit cigar. WARMING YOUR CIGAR Holding the cigar at 90 degrees hover it above the flame of your lighter. Burning directly in the flame makes it too hot. Patiently twist or rotate the cigar until all parts of the foot are evenly charred. Place the cigar to your lips and with the flame still under the foot, puff gently onto the cigar until the flames jump up. Continue to slowly rotate the cigar while occasionally blowing on the foot to ensure an even burn. ASHING Allow the ashes of a cigar to gently fall from the cigar - a cigar is not meant to be tapped like a cigarette on the edge of an ashtray. Should you prefer to control the release of ash, carefully roll the ash off using the edge of the ashtray. RELIGHTING It is fine to relight your Habano if it goes out. Just simply clean the ashes off the foot of the cigar by twisting its sides on the edge of an ashtray.

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THE WHITE TURF

The White Turf In the regular flat race season, when the ground becomes frozen, race-meets are often abandoned, leaving spectators hungry for action and jockeys with a day off. But there is one race meet on the international calendar that not only requires plenty of ice and snow – it demands it.

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Switzerland is not the most well established world centre for equine events – in fact its pervading icons still appear its mountains, its chocolates, its spas and its clocks, however on the three consecutive Sundays each February – on a frozen lake, under winter sun and among the stunningly beautiful, snow-capped mountains of St Moritz, the eyes of the horseracing world turn to the outrageously fantastic White Turf race meet. Beginning in 1906, the event has for the last century combined the pioneering spirit of the winter sports movement with top quality

equestrianism in radical and highly entertaining ways. With a combination of events varying from the traditional to the more eccentric and eclectic, there is plenty of interest in the meet as both an exercise in organised insanity and a brilliant spectacle of horsemanship in simply stunning surroundings. It has quite rightly become one of the most highly anticipated social occaisions of the year, attracting the great and the good to watch and participate – there are few events on the global social circuit that so elegantly combine furs and sunglasses!

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THE WHITE TURF

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The event takes place on a 2,700 metre long course of compressed ice “turf” and organisers assure that despite the weight of the stands, spectators, horses and gear, there is no danger of anyone falling through the ice. The meet has only been cancelled due to mild weather once in its history. The event is a hugely social occasion, attracting upwards of 35,000 visitors annually. In among the equine activities there is live music, art

exhibitions and five-star cuisine on show, but it is the horses and their intrepid riders that are the centre of focus. Among the events on show at the White Turf is the quite nutty Swiss pastime of Skijoring. The name is derived from the Norwegian word “snörekjöring” meaning driving with ropes. In this sport instead of the jockeys racing on horseback they are fitted with skis and towed around the track behind the horse. It is a pastime that requires its participants to

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THE WHITE TURF

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have a great deal of skiing prowess, a considerable amount of strength, athleticism, balance, instinct, toughness and pluck – not to mention a firm and steady control of their four-legged partners. With the participants hurtling around it at quite frankly insane speeds of up to 50 km/h, and a real danger of trampling, this event is not for the faint of heart. There is also the more commonly known event of Trotting, in which horse and buggies race in a no holds barred chariot race. While the race is tremendously fast-paced, the horse however must never break trotting stride. The sport in its modern form emerged at the end of the 18th century and requires absolute control and a tremendous amount of skill and balance.

Finally, the event does feature the globally recognised horsemounted flat race. In the traditional vein of horseracing, The Gübelin Grand Prix of St. Moritz sees jockeys saddled-up and launched from the starting gate, gallop around the icy track at breakneck speeds. It makes for an uncommonly fabulous and ultimately thrilling sight as the powder covering the track is churned and the horses steam, figuratively and literally, around the course. The White Turf is the richest horse event on the Swiss calendar with large prizes for the winners. Given the enormous attendance and the outrageousness of the spectacle, it seems that this most unusual of events can only go from strength to strength.

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JEWEL OF BALI

JEWEL OF BALI

THE BULGARI RESORT IN BALI IS ONE OF THE MOST EXCLUSIVE

DESTINATIONS ON THE PLANET, PERFECT FOR THOSE WHO LOVE TO DIGRESS FROM THE PAVED TOURIST DESTINATIONS AND EXPLORE NEW EXOTIC LOCATIONS.

      Nestled between the majestic cliff and the serene Indian Ocean, Bulgari Bali Resort is a place where two worlds merge. The exotic charm of the resort mesmerises from soft-sanded beach to the ever-receding horizon. Contemporary luxury in hospitality is the philosophy behind Bulgari Hotels & Resorts and its 59-villa property in Bali is not the exception. Here, guests are surrounded by the breathtaking beauty of unspoiled nature, sophisticated, contemporary Italian design, and highly personalised service – an ideal blend of harmony and comfort. Located near the village of Pecatu and the stunning cliff top site of the Pura Luhur Uluwatu Temple, the resort lies 20 km north of Jimbaran Bay and the international airport, while Kuta, the touristy heart of Bali, is a 40-minute drive. As the resort is positioned at more than 150 metres above the seashore, you can enjoy unrivalled views across the Indian Ocean. A 1.5 kilometre-long beach is accessible only through the resort’s inclined elevator. An impressive Hindu Temple rises on the highest point of the property, designated as a place of worship in accordance with the Balinese tradition. Further inside, the imposing arrival pavilion with its magnificent proportions and masterful design welcomes guests. Designed by architects Antonio Citterio and Partners, the resort reflects a contemporary interpretation of the traditional Balinese design while conveying the Bulgari’s distinctive Italian style.

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The layout and overall design also incorporates the culture and natural elements of the location. The hotel has been built and furnished using hand-cut volcanic stones, rich wood and refined fabrics. A collection of exquisite Balinese antiques and exotic art pieces, including more than 90 examples, adorn the entire resort. Furniture and decorative details, such as stemware, flatware, ceramics and woven fabrics, were designed and produced in Bali by a team of local artists and designers in collaboration with the resort’s architects. Upon arrival to this otherworldly resort, guests can choose from one of 59 oceanview villas, including three, two-bedroom villas and one exclusive 1,300-square metres Bulgari Villa. The latter has two large bedrooms with their own private balconies overlooking terraced grounds, a swimming pool and the stunning view of the Indian Ocean from Bali’s southern coast. The Italian and Indonesian restaurants, the lounge bar, the spa and the cliff-edge pool are all planned to become the vibrant hub of the resort, guaranteeing an unforgettable experience.

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THE WINTER PALACE There can be few better places in Europe in which to winter than among the mountains and valley’s of the Bernese Oberland. The Gstaad Palace hotel offers a luxurious, rich and opulent destination in Switzerland’s Alpine heartland.

      The Gstaad Palace hotel has become an icon in the world of hospitality. Dominating the skyline of Gstaad from its perch on a hill overlooking the beautiful Saanenland – its turrets cast their long winter shadows over the quaint, traditional log cabins and chalets below. To call this monolithic Schloss imposing would be an understatement, but in its grandeur there is also magic and beneath its robust and commanding façade there is a reputation for first class service of the highest order that goes back a century. The Palace has played host to a who’s who of international dignitaries, celebrities and the generally well-to-do since 1913, bringing their brand of five-star service to its typically high-class clientele. Gstaad at the time of the hotel’s opening was an innocuous little town and the development of the hotel put it on the international map. However, forty years after its opening, the hotel began to lose a little of its lustre in no small part thanks to the advent of the Second World War and the global recession it left in its wake. But, all was not lost. It was then owner Ernst Scherz, who sparked the Palace back into life by making it a venue to see and be seen, and enticing the best Jazz musicians of the time, such as Louis Armstrong and Ella Fitzgerald to perform there. The success of this venture reinvigorated the hotel’s brand drawing a fresh stream of clientele to Gstaad, laying the groundwork for another sixty years of the most dedicated, high-end service. Given the hotel’s size and modern celebrities craving for privacy from prying eyes and camera lenses, the hotel is less of a magnet for

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the glitterati today, but the hotel remains an exemplar for a more traditional old-word style of attentive, yet informal luxury. There is a quietly beautiful dignity and reserve in the hotel’s atmosphere, and it offers a level of luxury rarely found in such stunning surroundings. Refurbished to an achingly beautiful standard in 2010, it retains an old-world charm, perhaps best described as Alpine chic by way of an English country house and the finishing and fittings are modern without losing its outlook. Comfortingly homey and robust wooden décor can be found throughout and is a thoughtfully considered homage to the region, giving the hotel a real sense of place. It is decadent, but never to brash excess. The facilities of the hotel are thoroughly comprehensive with access to some of Switzerland’s best ski-slopes a key attraction. The hotel also has a range of dining options in house with international cuisine at the formal Le Grill Rôtisserie, where gentlemen are requested to wear a jacket in the evening. Gildo’s Ristorante is a particular favourite and is named after head Maître D’ Gildo Bocchini, who has been an indispensable part of the Palace since the sixties. There is also a range of formal and informal bars to cater to every palette. For guests with a bent towards first class health and wellness, the hotel facilities include spa complete with Hammam, swimming pool, and fitness centre with saunas and massage rooms and a

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tennis academy. Also there is plenty to do should visitors wish to venture out of the hotel. Gstaad has grown up around the hotel, and while on first glance it seems a humble and inconspicuous town, it has a generous variety of high-end boutiques and fine restaurants to keep travellers entertained. There are also plenty of Alpine delights on offer over the winter high season. To mark its centenary year, the Gstaad has opened its doors as a winter wonderland, for the festive season. The igloo village is a must visit site made entirely of snow. Located up on the Saanerslochgrat at approximately 1900 m, guests can enjoy a taste of world of the Inuits in a 0°C special winter experience. The hotel is also hosting a series of action packed entertainment, including tobogganing trails, curling, air boarding, paragliding, winter hiking trails during the day, and an exhilarating night life every evening at the famous GreenGo nightclub. More experienced and adventurous snow-lovers will thrive at the acrobatic snow park, heli and off-piste snowshoeing and ice climbing, all a possibility on the epic 250 km of pristine white slopes, ranging up to 3000 m. With Geneva airport a mere two hours away by rail, and Zurich two and a half, the Gstaad palace is open for the winter season as of December 18th, 2013.

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THE WEEKENDER

The Weekender THE WEEKEND AWAY IS MADE EASY WITH THE SLEEK AND STYLISH APPAREL AVAILABLE AT RALPH LAUREN SPECIFICALLY TAILORED TO THE JET SET.

   

  Living and working in the UAE can often be something of a fretful day to day slog, but geographically speaking, the UAE is a perfect jump off point for a weekend away as you are never more than a couple of hours flight away from rest and relaxation. But taking time out for a weekend away should never be over-complicated by fuss or by frantic preparation. One should simply be able to pack a bag at a moments notice and jump aboard the next outbound. Keeping it simple can be tricky, but there are a few ways in which the avid weekend warrior can streamline their pack-up and go to make the most of the short time away thanks to the beautiful collections from Ralph Lauren. With key pieces from its Jet Setter collection, you can pop in and pop out of your nearest boutique replete with every thing a traveller might need to get away in style. If your trip includes a mix of formal and

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leisure time, a good suit can perform double duty for smart causal fashions as well as dining out. Ralph Lauren’s Italianmade Anthony suit is crafted from seasonspanning wool gabardine and designed with hand-finished details and a clean, modern fit and is a perfect and versatile option. Simply keep a tie in your carry-on so you can elevate your outfit instantly. For a more casual, yet equally stylish look, a sleek sport coat or jacket can be layered over anything from a basic T-shirt to a lightweight sweater and won’t take up much room in the overhead. The

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Anthony Linen Sport Coat fits the bill perfectly. Complete your look with a pair of dark shades to achieve high-altitude style. When it comes to looking the part of a jetsetter, you can never beat a good pair of aviators and the Classic Pilot Sunglasses are a brilliant option. In accessories, utility is just as important as style. You’ll want a bag that is easy to carry and makes your belongings, from your iPad to your passport, easily accessible. Ralph Lauren’s Gents Duffel Bag is made from calfskin leather and comes with a removable leather shoulder strap, making it a luxurious and versatile carryall. Your iPad can also have a luxury fit out with the Pebbled Leather tablet case in a range of six colours. Ralph Lauren can also provide a beautiful Gents Shaving Bag – again made from leather with a twill lining, it is the perfect complement fit for the most luxurious travel essentials.


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SARTORIAL TOUCH

SARTORIAL TOUCH TEXT:

K E T E VA N C H A R T O L A N I

TOD’S SARTORIAL TOUCH IS A SPECIAL NEW PROJECT THAT IS HOME TO THE BRAND’S NEWEST COLLECTION OF BESPOKE SHOES AND ACCESSORIES, CONCENTRATING ON PERSONAL SERVICE THAT ECHOES THE EXPERIENCE OF VISITING A TAILOR.

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The wonderful thing about shoes is that they can tell you a lot about their owner. They can reveal hints about his style, personality, and even hobbies, likes and dislikes. Bespoke shoes aren’t only about comfort, but are also about the status that comes with walking in them. Finding footwear that accurately represents the wearer is itself a form of art and it all starts with the brand that will satisfy your most elaborated, specific demands. This is a story of one such brand whose handmade Italian footwear is created only for those gentlemen who know the price of individuality.

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SARTORIAL TOUCH

Decorated with objects ranging from vintage pieces to contemporary art and travel memorabilia, the J.P. Club welcomes its guests to an exclusive and intimate ambience marked with a masculine signature.

J.P. Club The superb wooden flooring of the club THE INTENTION OF CREATING THE If you happen to discover yourself wondering SARTORIAL FLOOR WAS TO evokes the palazzo in Corso Venezia. Here, REVIVE THE AGE-OLD TRADITION along the busy Via della Spiga streets in Milan you will find yourself surrounded by design OF A PRIVATE MEMBER’S CLUB, in search of something extraordinary, make objects, aesthetic details and works of art that WHERE CUSTOMERS CAN sure to pay a visit to the J.P. Club - a sanctuary embellish the ambience and upholds the INTERACT, ESPECIALLY ON dedicated to all things masculine and unique tradition of the brand. To top it all, the sublime COLLECTIBLE ITEMS, AND HAVE A in men’s accessories. artisan-crafted quality product is displayed in DRINK AT THE BAR. Situated on the top floor of the Tod’s Tod’s hallmark sophisticated leather trunks. Milanese boutique, accessible only by special D I E G O D E L L A VA L L E Decorated with objects ranging from vintage request, the club is an exclusive and stylish pieces to contemporary art and travel niche where privileged customers can immerse themselves in the memorabilia, the Sartorial Floor will welcome you as a respected member comfort of warm and inviting ambience. Tod’s, in its mission to convey of an exclusive, intimate and modern club where you can truly relax and the quality of its craftsmanship, has created a world that celebrates indulge in the taste of fine blends whilst conversing with friends. true artistry or in the company’s own words: a ‘Sartorial Touch’. The You can also choose to spend some time at the bar that name is derived from the brand’s correlation between exclusive complements the exquisite nature of the club and savour Tod’s tailoring resulting in the exceptional pieces. exceptional Sartorial cocktail, designed expressly for the J.P. Club by This inner sanctum called the Sartorial Floor is built out like a two highly skilled bartenders. gentlemen’s club in rich browns, beiges and camel shades highlighted This notable cocktail has a decisive taste and character and by glints of chrome and steel. Upon entering the realms of the J.P. contains gin, spumante, lemon, raspberries and fresh mint. It is a Club, you are immediately greeted by a sumptuous atmosphere that worthy addition to the collection of whiskeys and liqueurs available in stays true to Tod’s refined elegance. the American Bar.

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The sublime artisan-crafted quality product from the Sartorial Touch collection is displayed in the J.P Club in Tod’s hallmark sophisticated leather trunks.

Diego della Valle, the owner of Tod’s Group, says that the intention of creating Sartorial Floor was to revive the old tradition of a club, where customers would interact, especially on collectible items, but would also have fun. Gentlemen who share a passion for handcraftsmanship and sartorial savoir-faire will feel very at home here. At the club, visitors can have an experience that goes beyond that offered at any other luxury boutique. The J.P. Tod’s Sartorial Collection While the club itself is worth a visit on its own, the main reason why you should visit the Tod’s Sartorial Floor is the brand’s latest collection of impeccable shoes and bags. With this leather collection Tod’s is reexamining the meaning of quality Italian handmade footwear and is

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taking the art of shoemaking to new heights. The collection is called J.P. Tod’s and harks back to the company’s original name, paying tribute to its history and traditional aesthetics. The J.P. monogram represents the emblem of Tod’s excellence and craftsmanship by celebrating and sharing the brand philosophy that has always upheld the heritage of the leather processes. Created by CEO of the luxury house, Diego della Valle, the collection consists of five classic signature footwear styles. You are free to choose among iconic Loafer, Ankle Boot, Monk Strap, Brogues, and Lace-up Brogues and tailor it in accordance to your taste and request. In addition, a series of bags from Tod’s new double stripe line have also been crafted with the same leathers. Tod’s five signature footwear styles are available in a varied

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LOAFER An accolade to the most exclusive footwear of Neapolitan tradition, the iconic loafer combines classic style with contemporary design. The exquisite hand-stitching along the welt accentuates the slender silhouette and exalts the skilled craftsmanship of the fabrication.

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MONK STRAP The flattering Monk Strap is a masterpiece of craftsmanship; an eye-catching design to appeal to the discerning modern gentleman. The high-quality leather in soft melting shades combined with the wraparound side fastening creates a contrast of features. The elegant hand-stitching detail and the burnished buckle with personalised logo complete the look.

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THE REFINED EXCELLENCE OF THE MATERIALS, CONCEPTUAL RESEARCH, SKILLED CRAFTSMANSHIP AND SUPERB PERFORMANCE: THESE ARE THE FEATURES OF THE J.P. TOD’S SARTORIAL COLLECTION THAT TAKE THE ART OF SHOEMAKING TO NEW HEIGHTS

The main focus of the collection is the leather and its treatments. Back to the roots, the process aims to bring the leather to its origins with the help of techniques that had been handed down over generations.

choice of fine leathers that all share the same high quality and sartorial attention to detail. Three bag styles complete the range of the collection, spanning from eclectic to business. The whole line is dedicated to the executive and businessmen who work from Monday through Friday. If you are looking for the opportunity to blend your very own personal touch with the Tod’s creations, you can be sure that here you will encounter truly distinctive style. Each shoe can be customised with initials embossed on the leather, while the bags can be modified both in choice of material, and with the addition of a personal monogram.

Craftsmanship The refined materials, conceptual research, skilled craftsmanship and superb performance: these are all the features of the J.P. Tod’s Sartorial Collection with a perfect synthesis of lines and shapes enhanced by sartorial-inspired details. The main focus of the collection is the leather and its treatments. Back to the roots, the process aims to bring it back to its origin with the help of techniques that give the leather its true essence. Each pair of shoes is made using techniques that date back to the 1920’s and have been handed down over generations. The process of

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treating the leather with an antique finishing is a two-step procedure. It starts with leather that is first treated with a special cream, and then dried for two days before another layer is applied. The final result is a range of shoes with a vintage-inspired patina with added depth and shine. Each item comes inscribed with the word ‘J.P. Tod’s’ like a badge of honour proclaiming its unique character. Bespoke details In Tod’s Sartorial Gentlemen’s club you have the opportunity to engage in the made-to-order services on offer. From the choice of the leather to the embossed personal initials, the elegant products from the J.P. Tod’s Sartorial Collection can be customised according to personal taste in order to create unique and exclusive items. The selection of J.P. Tod’s Sartorial Collection leathers and the extensive colour range are presented in three volumes. This enables clients to browse through choices and appreciate the excellent quality. The first volume is devoted to the Nuvolati skins, a Tod’s exclusive, the result of a meticulous process that involves several stages of hand-

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FRANCESINA LACE-UP BROGUES The excellence of the leather, the superb craftsmanship and a touch of erudite style create the unique personality of the Francesina Sartorial Lace-up Brogues. The perfect combination of sinuous shape with wingtip decoration on the slightly squared toe is enhanced by sartorial details like the embossed logo on the inimitable buffered leather and the hand-stitching along the upper.

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FRANCESINA The characteristic buffered highquality glossy leather of the J.P. Tod’s Sartorial Collection is perfect for the Francesina Lace-up style. The smooth, polished and elegant design, combined with the detailed stitching, culminate in the perfect example of coveted formal elegance.

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buffing. The second range is devoted to traditional English crusted leathers, offered in five different colour versions and the third presents eleven coloured variants of exquisite and luxurious alligator skins. An option of bespoke initialing is available on shoes and bags made with the exclusive Nuvolato skins to make the J.P. Tod’s Sartorial Collection even more individual. These can comprise up to four-letters, can either be embossed or painted silver onto the surface of a shoe’s upper, buttress or insole or on the handles and strap finishes of one of Tod’s custom bags. The customised shopping experience provides clients with a

private assistant who will take you through the collections and assist you by telling the story of the project. Visitors to the boutique can enjoy an experience that is very well suited to the tastes of discerning collectors: something precious and unique. The creation of Tod’s products is a one-of-a-kind process. The artisans and specialists follow the unique tradition by using the best quality leathers, which they cut, work and sew by hand. This is the reason why the brand’s every single object becomes an inimitable item, a masterpiece of handcrafted leather that is recognised and loved around the world.

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Flower of Scotland IF STATELY GLAMOUR IS YOUR PARTICULAR STYLE OF LUXURY TRAVEL, THERE ARE FEW GREATER OR MORE FANTASTIC WAYS OF SEEING AND EXPERIENCING THE SCOTTISH HIGHLANDS THAN TO TAKE A TRIP ABOARD THE ORIENT EXPRESS’S ROYAL SCOTSMAN.

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  Travelling has changed. There was a time when you didn’t have to think about legroom, what movies are on the inflight entertainment system ignoring the snoring gentleman to your left, with chronic sleep apnoea and no appreciation of personal space. There was a time when travelling wasn’t merely getting from A to B but rather it was an occasion, and to do so in high style was an event filled with the glamour of the age. Those glory days of stately first class travel have sadly long since departed, but littered around this age of transit lounges and baggage reclaim, there are still a couple of vestiges of a more lavish and more luxurious way of travelling. At the top of this ever-shrinking list you will find the Orient Express’s Royal Scotsman – a luxurious, nostalgic and intimate way of experiencing the best of what Scotland has to offer infused with the allure of the age of steam and Victoriana. The journey begins in the city of Edinburgh. The old steam train takes in the sights of rural Scotland, through highland and glen, snaking through areas like Arbroath, Kyle of Lochalsh, the Black Isle, Spey Valley,

Cairngorms and Dundee – far indeed from the madding crowd. Each journey is designed as a showcase of all that is best about Scottish history, culture and outdoor life in the Highlands with visits to castles and estates where guests can experience the native wildlife, participate in fishing or shooting as well as partake of Scotland’s best exports in tours through a range of high-end distilleries.  The Royal Scotsman is comprised of a total of nine cars. The five state cars house fourteen twin, two double and four single cabins. There are also two dining cars and an observation car from which the very best views of Scotland’s charming scenery can be taken in. The cars themselves are quite compact thanks to the Scottish railway network’s less than generous proportions when compared to that seen on the European continent. But what they lack in size, they make up for in charm and are exceptionally well appointed. The décor mirrors that of a traditional Scottish country house with a thorough use of tartan fabric and carpets, which pairs beautifully with the use of wooden panelling and marquetry that can be seen throughout the Scotsman.

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Each sleeping compartment comes with a small shower room and is heated – Scotland is known to be quite changeable, but it can certainly be relied upon to be chilly in either summer or winter. During the day, the train is in motion, but thankfully, the evenings are spent berthed in sidings dotted around the country allowing a stationary and restful sleep – anyone who has ever tried to sleep on an older train on the move will attest to it often being far from a restful experience. This is the kind of journey that is an event in and of itself and requires that you dress to match - especially for dinner. The train hosts both formal and informal dinners – usually on alternate nights. For the formal dinners, gentlemen passengers are encouraged to don either a tuxedo or kilt and the ladies, a cocktail dress or similar. If you don’t yet own a kilt however there is no need to fret, as the Scotsman will put you in touch with the famed Kinloch Anderson, kilt-maker and tailor. Kinloch Anderson will on request incorporate your family tartan or if you should like to commemorate your stay aboard the Scotsman, will use the navy, plum and


The train travels through Scotland‘s most scenic rail routes taking in the natural splendour of the region.

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Dressing for dinner - passengers can enjoy the stunning surroundings of the dinner cars and the ambience of the observation car while taking in the dramatic highland scenery.

mulberry tartan that specifically belongs to the Royal Scotsman. The morning before boarding the train, passengers are delivered from their hotel and taken to the Kinloch Anderson showroom for a fitting. Up to ten weeks later, the handcrafted garments will be couriered to your home – a wonderful memento of your time on board. While your dress is being tailored, a complimentary set of Highland Dress will be provided for you to wear for the duration of your journey. Dinner service is a highlight of the Royal Scotsman experience, with sumptuous meals served throughout the journey in the two

mahogany-paneled dining cars. The menu is inspired by the finest locally sourced produce, with regional specialties served from a traditional Highland breakfast to the finest smoked salmon, hand-dived scallops and Aberdeen Angus beef from world’s oldest herd – all of which are accompanied by a wide range of the very finest wines and spirits. After dinner, guests are invited to the observation car for plenty of cocktails and conversation and nightly entertainment creates a memorable Scottish ambience. Day or night, the observation car provides a wonderful vantage point from which to enjoy the spectacular Highlands scenery –

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like playing a part in a live action Alexander Naysmyth landscape. The car is fitted with comfortable sofas and armchairs in which to view the scene taking in castles, villages and glens as you go. For open-air views, there is a veranda to appreciate the wild beauty of the countryside and coast. The train offers a variety of stay options from two to eight days and the train can even be booked in its entirety, facilitating 36 guests at a time and the itinerary for larger groups can be tailored to include guests’ preferred activities and alternative excursions – provided booking is made well in advance.

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CHARTING A NEW COURSE

Charting a new course GULFSTREAM’S FLAGSHIP PRIVATE JET OFFERS A FULLY CUSTOMISABLE DESIGN EXPERIENCE COMPLETE WITH THE FINEST AVIATION TECHNOLOGY CURRENTLY ON THE MARKET.

    The Gulfstream G650 is widely regarded as being the gold standard in private aviation. Gulfstream’s flagship model, the G650 can fly further and faster than any jet in its class and does so with a fantastic sense of comfort. Introduced in 2008, the G650 can carry eight passengers and a crew of four on nonstop legs of 7,000 nautical miles (12,964 km). That means it will link Dubai with New York and London with Buenos Aires. With its powerful Rolls-Royce BR725 engines, the G650 will cover shorter distances at a speed of Mach 0.925 – only slightly less than the speed of sound – a feat that made Concorde the premium scheduled passenger carrier in the world for decades.

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Exceptional power and ultra-long legs aside, the G650 will be remarkably versatile. It will deliver excellent take-off and landing performance with a balanced field length of just 5,858 feet (1,786 m). As in all avionics, safety is a primary element in the G650’s design, and Enhanced Vision Systems, Head’s up display and Synthetic Vision-Primary Flight Display come as standard. Its Planeview cockpit is equipped with a Triplex Flight Management System, Automatic Emergency Descent Mode, 3-D weather radar, Advanced Flight Controls – in short, a full array of sophisticated, next-generation technology to improve pilot situational awareness and enhance safety.

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Designed with passenger comfort and interior ergonomics as a priority, the G650 has a long, wide and tall cabin, making its living environment comfortable and capable of accommodating up to eighteen people for long or short haul trips. Purchasers of this particular Gulfstream model can avail themselves of twelve floor plans for the interior to suit their specific needs and can be configured to meet most passenger requirements. It can even feature a four-place conference table with two additional seats across the aisle for meals or meetings for up to six people and can be fitted with wider seats, more aisle room and a large stateroom option for resting up between world capitals.


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